Whose Story Is Being Told? RESULTS of an ANALYSIS of CHILDREN’S TV in 8 COUNTRIES

RESEARCH Whose story is being told? RESULTS OF AN ANALYSIS OF CHILDREN’S TV IN 8 COUNTRIES

Maya Götz, Ole Hofmann, Caroline Mendel, Dafna Lemish, Sebastian Scherr, Yuval Gozansky, Kirsten Huang, Elizabeth Prommer, Colleen Russo-Johnson, Eileen Sanabria, Lynn Whitaker1

The article summarises the results integrated into the make-believe revealed a clear gender gap: only 1 of the quantitative content analysis world of children, their identity and in 3 main characters was female and “Children’s Television Worldwide 2” worldview (Lemish, 2015) and has the gap was even larger when the in 8 countries in comparison to the the potential to offer strategies for main character was an animal, object findings of a similar study from 10 resilience. Yet very much depends on or magical creature. Girls were often years ago. the content and the main characters blond and presented as members of a and the characteristics they represent. team. If they were leaders, they tended The stories children’s television offers Ten years ago, the IZI conducted the to be red-haired. can be a powerful tool for maintain- world’s largest analysis of children’s On the occasion of the 10th anniver- ing and restoring emotional balance TV in 24 countries (Götz et al., 2008; sary of this study, we conducted a in everyday life, as children’s TV is Götz & Lemish, 2012). The results “condensed version” of the quantitative content analysis.2 The study “Chil- dren’s Television Worldwide 2” aims to Country Broadcaster Hours of recording address the following questions: • What characterises the range of Cartoon Network, Disney Channel, children’s TV programming that Belgium Disney Jr., Kadet, Ketnet, Nick Jr., 166:41 reached kids in the year 2017? Nickelodeon, Studio 100, VTM Kzoom • Who are the main characters of the TFC, CBC, FAMILY JR, TELETOON, TFC, programmes? Canada 165:42 TREEHOUSE, TVO, YTV • What characterises the integration of the main characters into the Cuba Canal Educativo, Cubavision, Multivision 163:45 social context and narrative? • What kinds of differences exist be- Disney Channel, KiKA, Nickelodeon, tween male and female characters, Germany 178:58 SuperRTL between public and private chan- nels, and between domestic and Disney Channel, Hop!, IE TV, Nick Jr., Israel Nickelodeon, e Childrens‘s Channel, 213:01 international productions? Zoom In the following, we will present a brief summary of some of the pre- Cartoon Network, Disney Channel, Momo Taiwan 183:00 liminary findings in 8 countries, in Kids, YOKO TV, PTS comparison to the findings from 10 years ago. UK CBBC, Cbeebies, Channel 5, CiTV 301:33

Cartoon Network, Disney Channel, USA Disney Jr., Nick Jr., Nickelodeon, PBS Kids, 196:17 METHOD Sprout - Universal Kids In each of the 8 participating countries Total 1,568:58 (Ill. 1) a sample of children’s TV pro-

31/2018/E 61

TelevIZIon_31_2018_E.indb 61 14.05.2018 13:24:00 RESEARCH

dience up to the age 2007 2017 of 12. On average 196 50% hours of broadcast- ing were recorded in 40% 41 each participating 38 37 36 37 country, which rep- 35 35 35 34 34 72 35 30% 32 33 33 resented the most- 31 31 watched children’s TV programming in 20% that country. The recording period was 10% 20 between September and November 0% 2017; all countries

© IZI Total CanadaUSA Cuba UK Belgium Germany Israel Taiwan later used the same Ill. 2: Comparison of the percentage of female main characters in fictional programmes in children’s TV in 2007 and codebook to code 20174 the children’s TV programmes. The complete sample comprises 1,569 hours of linear domestic productions, another 10 % children’s TV programmes were Israel children’s TV programming with 9,795 were produced in co-production with (31 % to 69 %) and Germany (33 % to single programme elements. The de- international partners, and 55 % are 65 %, Ill. 2). tailed analyses presented here focus foreign programmes. A great differ- Overall, public and state broadcast- on 1,110 hours of fictional programmes, ence could be found between public/ ers provided a slightly more balanced which include 3,990 shows and a total state and commercial broadcasters. gender ratio (38 % to 58 %) than of 14,789 characters, with a special The sample revealed that most of the private-commercial broadcasters (34 % focus on the 8,055 human characters programmes (58 %) offered by public/ to 64 %). encountered therein. state broadcasters are domestic pro- The ratio of female and male main ductions or co-productions, whereas characters was even worse in the only 21 % of the series offered by com- non-fictional programmes (43 % CHILDREN’S TV PRO- mercial broadcasters were domesti- females to 56 % males, plus 1 % non- GRAMMES WORLDWIDE: cally produced or co-produced. recognisable). FICTION AND ANIMATION The country with the highest per- In comparison to the sample of centage of domestic production is 2007 – in which we analysed fic- The analysed sample consisted of 3,990 the UK (73 %) followed by the USA tional programmes only ‒ the share fictional shows, 445 non-fictional pro- (57 %). The lowest was found in Tai- of female main characters in fictional grammes, and 161 mixed formats. Of wan (8 %). programmes has slightly increased the countries studied, Belgium (96 %) overall (from 32 % to 35 %). The biggest and Israel (95 %) have the highest per- changes were found in Cuba, where the centage of fictional programmes in HERO(IN)ES IN FICTIONAL share of female characters in children’s their TV offerings for children, while CHILDREN’S TELEVISION programme increased from 20 % in Germany (85 %) and the UK (70 %) had 2007 to 41 % in 2017. Despite these the lowest. Overall, the proportion of 1 . Gender of the main characters changes, gender equality is far from non-fiction shows is significantly higher being reached. on public television. In our international sample, 35 % of the The gender imbalance continues in The largest share of fictional pro- main characters in the fictional pro- terms of other aspects of children’s grammes consists of animation programmes were female, 62 % were male television: although most fictional grammes (2-D 46 %, 3-D 30 %, clay and 3 % neutral or not recognisable. shows (73 %) have no dominant animation 1 %). In contrast, the share The highest percentage of female to voice-over, if there is a narrator, it is of fictional live-action programming male characters was found in Cuba 3 times more often a male voice (17 %) is much smaller (14 %).3 (41 % to 58 %) followed by the USA than a female voice (5 %). In 2007, the Around one third of all programmes (38 % to 62 %). The countries with the narrator was twice as often a man as (35 %) of the analysed sample were lowest percentage of female leads in a woman.

62 31/2018/E

TelevIZIon_31_2018_E.indb 62 14.05.2018 13:24:01 RESEARCH

Female Male teenagers (38 %) or children (31 %). 100% Each fourth character was an adult, very few were elderly people (3 %), babies (1 %), or were not recognisable 80% 80 (2 %). If the characters were female, 75 they tended to be more often teenag- 71 60% ers (42 % female compared to 36 % male) and children (33 % compared 57 58 to 30 %), and less often adults (21 % 40% 42 compared to 29 %). 35 20% 25 3 . Social relationships 17 13 Regarding hierarchical relationships 0% of the main characters, more than Human Animal Monster Plant Robot © IZI half of them (56 %) appear more or Ill. 3: Gender ratio and type of main character in 2017 less as equals in the story. One out of 4 represents a leader (24 %), and 14 % are followers of somebody else. The gender-specific analysis reveals: while We also coded which type of being Yet, we can discern that the main 27 % of the male main characters are the main character was. More than characters of children’s television leaders of a group, only 19 % of the half of all main characters in fictional continue to be much more frequently female main characters are group programmes are human (55 %), and constructed as male than female. It leaders. The same tendency was more than one quarter are animals seems that the greater the degree of found in the study of 2007. (27 %). The rest (18 %) were a few creative freedom, the more the gender monsters, mythical creatures, plants, ratio leans towards male characters. 4 . Socio-economic status objects, robots or machines and others. 2 . Age of the main character It was possible to identify the socio- From a gender perspective, the ra- economic status for nearly half of the tio of female to male human main The 8,055 human characters analysed main characters (47 %). The majority characters is the most balanced per- in fictional programmes were mainly of the main characters (81 %) live in centage (42 % to 58 %). Female characters were more noticeably Female Male Neutral under-represented as 60% animals (25 % to 71 %), monsters (35 % to 50% 53 57 %), plants or objects (17 % to 75 %), and 40% 44 robots (13 % to 80 %) 39 (Ill. 3). 72 This is an astonishing 30% 29 finding, given that for these almost one fifth 20% 21 of all characters the 18 14 13 biological sex is purely 10% 12 13 11 11 constructed: whether 9 6 7 an animal or a monster 0% is a “he” or a “she” is STEM Magic Talking/mediation/ Physical power Others

entirely arbitrary and © IZI organising decided by the produc- Ill. 4: Main resource to solve problems in fictional programmes 2017 ers of the programme.

31/2018/E 63

TelevIZIon_31_2018_E.indb 63 14.05.2018 13:24:01 RESEARCH

seemingly middle-class conditions, is physical power (18 % of the male 2 . Hair colour of main for example owning a family car and characters compared to 11 % of the characters wearing trendy clothing. 14 % of the female characters). Female characters characters in our sample lived in use magic and supernatural powers Black, brown, and blond were the upper-class conditions, for example twice as often as males (13 % com- dominant hair colours of the main with a swimming pool, a house in pared to 6 %) to make impossible characters in fictional children’s TV. famous areas like Malibu Beach and things happen (Ill. 4). The countries with the highest percent- more than one expensive car. The age of blond-haired girls are Germany gender comparison revealed that (21 %) and Belgium (19 %) followed by female characters more often live in WHAT MALE AND FEMALE Cuba (17 %). upper-class environments than male CHARACTERS LOOK LIKE Female characters are twice as often characters. Only a small minority of blond (22 % compared to 11 %) and the main characters live in seemingly 1 . Skin colour of main red-haired (12 % compared to 6 %) lower-class conditions, for example in characters as male characters. If a character has very small flats or difficult neighbour- pink or purple hair it is nearly exclu- hoods, or in poverty (6 %). Commer- In the fictional programmes revolving sively a female character, as these cial broadcasters present nearly twice around human beings as main charac- colours are culturally associated with as many characters living in upper- ters, the characters normally represent femininity. Red head girls are also class conditions than public or state an ethnic background, visualised in characterised by unique personality broadcasters. the colour of their skin. The major- traits that allow them to break gen- The highest percentage of “lower- ity (68 %) were Caucasian. Characters der stereotypes and be more fiery, class” conditions presented in chil- with brown or black skin (with Sub- adventurous, and assertive. dren’s TV can be found in Germany Saharan African physical traits) make (14 %) and the UK (11 %). The largest up 10 % of the analysed sample, 8 % 3 . Main characters’ body shape share of main characters from the of the fictional human characters in “upper class” is shown in the USA the sample represent Asian physical Most main characters in fictional (26 %). traits, 5 % were classified as Latina/o, programmes have a body shape that 3 % as Middle Eastern and 2 % as South can be described as within the normal 5 . Resource of power (East) Asian. range of TV reality (58 %). However, The highest percentage of black char- 8 % of the characters were very thin In the storyline, the main characters acters in fictional programmes was and 6 % (very) overweight. The share are usually confronted with a prob- found in the UK (16 %) and the USA of particularly skinny characters is a lem they have to solve. We coded (12 %). Countries with the highest little bit higher in international pro- which resource he or she was using percentage of white characters are ductions than in domestic produc- to obtain this goal. Talking, a form Germany (83 %) and Belgium (78 %). tions. of mediation and understanding of Cuba has the highest percentage of The gender-related findings are quite different perspectives, appeared in Latin characters (14 %); Taiwan has the unambiguous: with a percentage of 47 % of the problem-solving cases. highest percentage of Asian characters 11 %, female characters are twice as Using technological and engineering (47 %). This is as expected, given the often presented as very thin as their solutions could be found in nearly 2 geographical location and the demo- male counterparts (6 %). Obese girls out of 10 cases (19 %). A few main graphics of these countries. or women scarcely appear at all in characters were using physical power In comparison to 2007, the propor- the entire sample. Male characters (15 %) or magic (8 %) to solve their tion of Caucasian and Asian charac- are more than 3 times as frequently challenge, plus other ways which ters has slightly declined whereas the overweight as female characters (8 % do not fit into the categories above percentage of black characters has to 3 %). (10 %). Female characters (53 %) use increased. mediation and understanding as a Compared to males, female characters 4 . Main characters with resource significantly more often are significantly more often represent- disabilities than male characters (44 %). Sci- ed as Africans, Asians or Latinas. In this ence, technology, engineering or way one character can respond to the In our sample, 3 % of the main charac- mathematics (STEM) are used more need to diversify the screen – being ters have an obvious disability. While often by male than by female char- both female and a member of a racial we found no gender tendencies, there acters (21 % compared to 14 %), as minority. were clear cultural differences. The

64 31/2018/E

TelevIZIon_31_2018_E.indb 64 14.05.2018 13:24:01 RESEARCH

highest percentage of main charac- (86 %) and Belgium (85 %) show the ters with a disability could be found greatest imbalance, followed by NOTES

in Cuba (11 %), followed by Germany Canada and Germany (both 82 % 1 We would like to thank our research assistants Diana (6 %). The lowest percentage of main exclusively men). Floegel, Dan Delmonaco, Laurens Wittevronghel, Adrian Muhajarine, Klaudia Rekas, Rebecca Zala, characters with obvious disabilities Alona Kedem, Einav Gozansky, Marit Behner, Omar were found in Canada (0.0 %) and the Daoudi, Anja Christen, Sophie Radziwill, Julia Stüwe, USA (0.4 %). SUMMARY: WHOSE STORY Huang Ying-Zhen, Jiang Zhu, Lu, Yun. 2 The complete study “Children’s TV Worldwide” con- To summarise, human characters ARE WE TELLING? sists of 10 countries and will be published at a later presented on children’s fictional time. programmes are typically Cauca- According to our study in 8 countries 3 Additionally, 6 % are mixed formats and 1 % puppet shows, other formats 2 %. sian (68 %). Girls turn out to be very in 2017, children’s TV programming 4 Taiwan was not included in the sample of 2007. thin more often, tend to be teenage mainly presents children in animated characters more frequently, and fictional stories. In comparison to are more likely to be presented as 2007, the diversity has slightly im- Latinas or African than their male proved, mainly in the representa- counterparts. Boys, however, are tion of human girls’ characters, but more often Caucasian, and they are still the stories are mostly centred REFERENCES presented as overweight to a higher around white adolescents and chil- Götz, Maya, Hofmann, Ole, Brosius, Hans-Bernd, Cart- percentage. dren, with twice as many male as er, Cindy, Chan, Kara, et al. (2008). Gender in children’s female characters. When it comes television worldwide: Results from a media analysis in 24 countries. TelevIZIon, 21(E), 4-9. to fantastic creatures, the gender Götz, Maya & Lemish, Dafna (2012). Gender represen- WHO PRODUCES, WRITES gap is still at 1 female character tations in children’s television worldwide: a compara- for every 8 male characters. If the tive study of 24 countries. In Maya Götz & Dafna Lem- AND DIRECTS? ish (Eds.), Sexy girls, heroes and funny losers. Gender characters are human, 7 out of 10 representation in children’s TV around the world (pp. With the help of investigating the are Caucasian and most of them 9-48). Munich: Peter Lang. Lemish, Dafna (2015). Children and media: A global credits and further research in the live in middle or upper-class living perspective. Malden: Wiley-Blackwell. Internet in terms of the sex of the conditions. Compared to male char- producers, writers and directors, we acters, female characters live more analysed who wrote and directed often in wealthier socio-economic the shows of children’s TV. Overall, conditions, are less often leaders in 48 % of the analysed programmes of a group, and solve problems THE AUTHORS the scripts were exclusively written more often by talking and applying by men, in 13 % they were exclusively magic and less often by using STEM Dr Maya Götz, head of IZI, Munich, written by women and in 27 % of or physical power. Male characters Germany. the fictional programmes they were have a greater diversity in terms of Dr Ole Hofmann, media researcher, Munich, Germany. written by a team with at least one their body shape, whereas female Caroline Mendel, freelancer at IZI, Mu- woman. Canada revealed the greatest characters are skinnier, tend to be nich, Germany. dominance of male writers (with 63 % a little bit more diverse in terms of Prof. Dafna Lemish, PhD, Rutgers Uni- of programmes authored exclusively their skin colour, and more often versity, USA. by men). have blond hair. Prof. Dr Sebastian Scherr, University of When it comes to directing, only 7 % In comparison to the study of 2007, Leuven, Belgium. of fictional children’s television was very little improvement could be Yuval Gozansky, PhD, University of directed by a female director or a found regarding gender equality. Sapir, Israel. team with at least one woman (7 %), 10 years after our previous study, Kirsten Huang, PhD, Shih Hsin Univer- while 79 % of the programmes of and despite advocacy, research, and sity, Taiwan. fictional children’s TV were directed education about the importance of Prof. Dr Elizabeth Prommer, University exclusively by men. Overall, public equality in gender and racial rep- of Rostock, Germany. and state broadcasters have with resentation, children’s TV, which is Colleen Russo-Johnson, PhD, Ryerson 9 % female directors a slightly bet- mainly dominated by men, continues University, Canada. Eileen Sanabria, Juan Marinello Cul- ter ratio than the private-commercial to present white boys as “the normal- tural Research Institute, Cuba. broadcasters (5 % female directors). ity” and girls as “the other”. Can we Lynn Whitaker, PhD, University of Glas- With around 85 % of programmes hope for a different picture in the gow, UK. exclusively directed by men, Israel next 10 years?

31/2018/E 65

TelevIZIon_31_2018_E.indb 65 14.05.2018 13:24:01