Kritička analiza likova u dečjim crtanim filmovima sa fokusom na rodne stereotipe

Abstract

Danas je sve teže u dečjim crtanim filmovima pronaći bilo kakve stereotipe, jer su s godinama prikazi stereotipa postali suptilni, te se kroz animirane likove neprimetno ukorenjuju u najmlađoj dobi i na taj način oblikuju razmišljanja budućih mladih ljudi. Zato predmet ove disertacije jeste crtani film kao moćan medijski sadržaj koji ima izuzetan uticaj na decu kao marginalizovanu grupu u društvu, kao i način na koji on prenosi poruke koje deca usvajaju utičući tako na proces socijalizacije dece. Cilj istraživanja je da utvrdim način reprezentacije muškaraca i žena u odabranim kratkometražnim crtanim filmovima koji su dostupni deci na drugom programu javnog servisa RTS-a, kao i da dekonstrujišem stereotipe i predrasude i kodove filmske umetnosti kojima se implicitno implementiraju dominantne poruke u ovim kratkim animiranim formama čija su najbrojnija publika upravo mlađi uzrasti dece. Osnovna hipoteza od koje polazim glasi: likovi u dečjim crtanim filmovima, koji su predmet istraživanja ovog rada, rodno su stereotipni potpomognuti kodovima filmske umetnosti da implicitno implementiraju stereotipne poruke koje su u skladu sa patriajahalnom matricom, tj. tradicionalnim društvenim konstruktima i predstavama o rodu, gde su muškarci aktivni, van kuće i imaju moć, kontrolu i dominaciju, a žene predstavljene kao seksualni objekti, potčinjene, pasivne, uglavnom u kućnom okruženju. Primenom dva kodna protokola: Kodni protokol upotrebljen u okviru kvantitativno - kvalitativne analize sadržaja i kodni protokol zasnovan na zapažanjima merljivih kategorija i varijabli van Dejka analizirane su 65 epizode kratkometražnih crtanih filmova u okviru 7 serijala emitovanih na programu javnog servisa RTS2 u periodu od 12. 03. 2016 do 02. 04. 2016. Serijal Bio jednom jedan život nastao je 80-tih godina XX veka, dok su preostali serijali Snupi, Kalimero, Kloin ormarić, Leon, Džoni Test, Zozonci nastali u prve dve decenije 21. veka. Rezultati pokazuju da analizirani ctrani filmovi uz pomoć likova prenose patrijahalne društvene obrasce implicitno implementirajući stereotipne poruke potpomognuti kodovima filmske umetnosti što se odražava na rodnu socijalizaciju dece. U fokus grupnom intervjuisanju roditelji su izneli stav da crtani filmovi sadrže rodne stereotipe. Fokus grupnim intervjuisanjem i anketiranjem dece zapaženo je da devojčice biraju ženske likove i uglavnom se opredeljuju na osnovu garderobe, fizičke lepote, dobrote likova čime je ponovo potvrđeno da one biraju na osnovu rodne uloge koja im je usađena socijalizacijom, a to je da one treba da budu lepe, negovane, zaštićene i sl., dok dečaci biraju likove koji su borci, mišićavi, imaju zaštitničku i spasilačku ulogu što odgovara rodnoj ulozi muškarca. Dubinskim intervjuom sam ustanovila da deca ni u jednom crtanom filmu nisu uvidela da poruke koje šalju crtani filmovi su obeležene i rodnim stereotipima. Odgovori dece su uglavnom bili pozitivni i nisu bili usmereni na prepoznavanje rodnih uloga već više na uočavanje zapamćenih univerzalnih moralnih poruka. Znači deca ne prepoznaju rodne stereotipe, te samim tim ih i ne pamte. Krajnja poruka crtanog filma samim tim nije diskriminatorna prema drugom. Opšti zaključak istraživanja je da i pored činjenice da je reč o serijalu savremenih crtanih filmova, oni podržavaju patrijahalni društveni poredak. Ipak, primećen je i izvestan pomak u korist rodne osetljivosti, koji ukazuje na sazrevanje značaja pojma rodnosti i rodne osetljivosti u društvu, ali nedovoljan, jer akteri nakon iskoraka odmah budu vraćeni u patrijahalne okvire ponašanja. Takođe, iako su korišćeni različiti instrumenti koje nude umetnički filmski kodovi kako bi se implicitno plasirali rodni stereotipi i predstavili kao poželjni, negativne rodne uloge su prisutne i vidljive. Zato je veoma važno dekodirati rodne stereotipe i prepoznati instrumente kojima se predstavljaju i prenose.

Today, it is increasingly difficult to find any stereotypes in children’s cartoons, because over the years the depictions of stereotypes have become subtle, and through animated characters they are imperceptibly rooted at youngest age and thus they shape the thinking of future young people. That is why the subject of this dissertation is cartoon as a powerful media content that has an exceptional impact on children as a marginalized group in society, as well as the way it conveys the messages that children adopt, thus influencing the process of children’s socialiazation. The aim of the research is to determine the way of representation of men and women in selected short cartoons available to children on second RTS public service program, as well as to deconstruct stereotypes and prejudices and codes of film art that implicitly implement dominant messages in these short animated forms whose are the most numerous audience just younger children. The basic hypothesis from which I start is: the characters in children's cartoons that are the subject of research in this paper are gender stereotypical, aided by the codes of film art to implicitly implement stereotypical messages that are in line with the patriarchal matrix, i.e. traditional social constructs and representations of gender, where men are active, out of the house and have power, control and domination, and women are presented as sexual objects, subordinate, passive, mostly in the home environment. Using two code protocols: Code protocol used in quantitative - qualitative content analysis and code protocol based on observations of measurable categories and variables by Van Dijk. 65 episodes of short cartoons were analyzed within 7 series broadcast on the public service program RTS2 in the period from March 12, 2016 to April 2, 2016. The series Once Upon a Time…Man was created in the 80s of the 20th century, while the remaining series Snoopy, Calimero, Chloe's Closet, Leon, Johnny Test, Pet Pals originated in the first two decades of the 21st century. The results show that the analyzed cartoons, with the help of characters, convey patriarchal social patterns by implicitly implementing stereotypical messages supported by the codes of film art, which is reflected in the gender socialization of children. In a focus group interview, parents expressed the view that cartoons contain gender stereotypes. Using Focus group interviews and surveying children, it was noticed that girls choose female characters and mostly decide on the basis of wardrobe, physical beauty, kindness of characters, which reaffirmed that they choose based on the gender role instilled in them by socialization, which is that they should to be beautiful, nurtured, protected, etc., while the boys choose characters who are fighters, muscular, have a protective and saving role that corresponds to the gender role of the man. In an in-depth interview, I found that the children did not realize in any of the cartoons that the messages sent by the cartoons were also marked by gender stereotypes. The children's responses were mostly positive and were not aimed at recognizing gender roles but more at perceiving memorized universal moral messages. So children do not recognize gender stereotypes, and therefore do not remember them. The final message of the cartoon is therefore not discriminatory towards the other. The general conclusion of the research is that despite the fact that it is a series of contemporary cartoons, they support the patriarchal social order. However, a certain shift in favor of gender sensitivity has been noticed, which indicates the maturing of the importance of the notion of gender and gender sensitivity in society, but insufficient, because the actors will be immediately returned to patriarchal frameworks of behavior. Also, although various instruments offered by artistic film codes have been used to implicitly place gender stereotypes and present them as desirable, negative gender roles are present and visible. That is why it is very important to decode gender stereotypes and recognize the instruments by which they are presented and transmitted.