“Linguistic Ideologies in Children’s Animated Films”;
Linguistic Ideologies in Children’s Animated Films
Description
Using non-native English accents for non-human characters in animation films subconsciously teaches adolescent children to discriminate between character roles that mirror the positions of minorities in U.S. society. In addition to being underrepresented in the media, most researchers have pointed out that, when racial minority group members are included in the media, they are often portrayed in negative and stereotypical ways (despite not having “human” characteristics). These characteristics are particularly impressionable for young viewers, especially those who are exposed to such media heavily. In a study performed by the researcher Kayla Bois & Brad Bushman “Michigan University”, they summed up the cartoon content of an average child as follows: 2 – 5 years old children watch cartoon 32 hours weekly, 6 – 11 years old children watch cartoon 28 hours weekly. Additionally their study showed that 71% of 8-18 years old has a TV in their rooms, 53% of 7 – 12 years old have no parental monitoring for what being watched on TV, and that in 51% of homes the TV is switched on most of time. Compared to previous years when televisions and access to the internet for videos was more difficult, children in this current generation are constantly surrounded by animated film. In many cases in schools, animated videos are used to teach students certain concepts, and as subtle as an accent may be, those repeated actions has the power to influence a vulnerable child’s growing paradigm of society (Bazzini, 2010).
The Kaiser Family Foundation is a PBS sponsored group that reports on children and Electronic media. Research from 2015 revealed that children that are as young as two years old were capable of establishing paradigms of certain companies and brands being promoted on television and parental behavior. Additionally, they observed that children as young as one year old would avoid an object if they had witnessed an actor on television react badly towards it. This suggests that infants and younger children have the ability to apply the emotions and paradigms they observe on television to guide and teach their own behaviors (Leventi-Perez, 2010). This research when compared to Lippi-Green’s work reveals how stereotypes are enforced in animated films. Children are constantly interpreting new experiences, thus an interesting character, visual effects and an exciting script are enough to get children romanticizing (in a way) certain characteristics of a hero. Therefore when a child views a negative portrayal of a stereotype, not only will they be entertained but they will also begin to adopt negative attitudes towards certain groups associated with that stereotype. As the observation mass media model put it, viewers of this type of content will learn which behaviors are “appropriate” and will thus later be rewarded or celebrated (Habib, 2015)
In 1997, Lippi-Green examined the use of American and British Standard English in contrast to accented English language in film. She examined the top 24 grossing disney animated films with non-human characters from around 1930- the late 90s. Overall she observed that in general, characters associated with marked accents is negative, within the films she discovered that nearly 40% of non-native speakers of English in the films were portrayed as evil or villainous. However, she also argues that accents are not being used consistently across the board in films; in some parts they are being used to justify the place setting of a film in order to give the film its own personality. But more often, accents are being used so that viewers are able to quickly jump to characterization (Lippi-Green 84).
Recommendation
Being aware of these circumstances, perhaps educators can develop school policies that take into account what ethnic minorities experience. For example, by recognizing how racist discourses in popular culture reproduce negative images of ethnic people, we can help educators build school programs that appreciate diversity. This is something that can have a major effect on the messages being sent from the schools to the children and their families.
In particular, the film industry and writers bear the most responsibility regarding a more effective and appropriate classification system for the benefit reinforcing positive stereotypes for younger children in film. This can be developed through a national ratings system. Another option is to begin raising public awareness. If more people are aware of the types of “subtle” discrimination in animation in general, it will gain more support and attention. Additionally, having open conversations in schools with students, teachers and counselors regarding the importance of embracing and celebrating diversity is recommended so that children feel comfortable with who they are not solely based on their interpretation of the media on television. Finally, parents also have a role in creating smaller, more personal policies to hold themselves and their families to. This would include limiting the total amount of time your child watches television daily, or in general enforcing positive perspectives regarding various ethnicities and races.
However, there is no “gold standard” in content analysis, therefore it is often difficult to define characters, overt racism and o forth. Additionally, at times, accents are necessary for enforcing the personality or setting of a particular film. Finally, it should be acknowledged that having a cast full of various ethnic background does not necessarily count as a proper portrayal of such races/ethnicities. The fact that animation is less rooted in “real-life” situations makes aspects more subjective when assessing their impacts.
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