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There’s an old urban legend called “the water engine,” which tells of the discovery of a way to turn water into fuel. There are variations to the story – sometimes it’s tap water, sometimes sea water; in recent versions it’s specified the fuel is nonpolluting – but the ending is always the same: the invention is suppressed by the oil companies, either by buying the invention and burying it or by forcing the inventor into ruin and suicide. One reason the legend has persisted so long – it’s been recorded as early as the 1950s, and probably dates to the first time someone grumbled about the cost of filling up his car – is because it confirms something we already believe, which is that the oil companies are evil and would rather murder a man and doom the world than sacrifice a dime of profit.
This week, the Students whom I work with at Golf Road Junior Public School had an amazing opportunity directly related to our work together in studying Media Literacy, specific to Television and Film Media. After being approached by Media Smarts, I was connected with the CBC who wanted to engage with and film a class focused on Students’ perceptions and opinions on Violence within popular films.
Most young children enjoy pretend play and love to imitate action heroes. But many teachers, parents and child care workers say the influence of children’s superhero TV shows or movies, can result in havoc when little fans get together.
Talking to kids about violence in the media they consume – television, movies, video games, music and the Internet – can help them put media violence into perspective and perhaps diffuse some of its power.
Screen-Free Week is an annual event that traditionally takes place in April. Each year people from around the world make a conscious decision to turn off screens of all kinds for the week.
Whether it’s Darth Vader, the Daleks in Doctor Who or the winged monkeys in The Wizard of Oz, most of us remember seeing something on screen that we could only watch from behind a couch or under one of our parents’ coats: in fact, 90 per cent of adults report an enduring memory of having been traumatized as a child by something they saw on television or in a movie. What we may not remember, however, is how serious and persistent the effects of these frightening moments and images can be. As we guide our children through their media experiences, it’s important to realize that what they see can lead to problems like vivid nightmares, fear of the dark, having trouble sleeping and refusing to sleep alone.
Representations of violence are not new. In fact, violence has been a key part of media since the birth of literature: Ancient Greek poetry and drama frequently portrayed murder, suicide and self-mutilation, many of Shakespeare’s plays revel in violence, torture, maiming, rape, revenge and psychological terror, and some of the most popular books of the 19th century were “penny dreadfuls” that delivered blood, gore and other shocks to the lowest common denominator.
No one knows better than the communications industries that children and youth represent a huge market, due to both their own spending power and their influence on family spending decisions.
While parents may find certain representations of violence wholly appropriate for young people, there is a wide continuum of content that exists online and in the media. Anything from a cartoon cat having an anvil comically dropped on his head to video images of real life injuries and deaths can be accessed online by children and youth.
It is difficult to set down in a definitive way what effect media violence has on consumers and young people. There are a number of reasons for this, but the main issue is that terms like “violence” and “aggression” are not easily defined or categorized. To a child, almost any kind of conflict, such as the heated arguments of some talk-radio shows or primetime news pundits, can sound as aggressive as two cartoon characters dropping anvils on one another.