Coping Models of Adverse Experiences in Children's Television

COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 1 Representing Mental Health: Coping Models of Adverse Experiences in Children’s Television Cyan DeVeaux Duke University COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 2 ABSTRACT Children’s television media is familiar with addressing “mature” topics and exploring the emotions of characters facing these situations. This paper examines the potential for these television shows, viewed in informal settings, to assist the development of healthy coping mechanisms in older children, particularly those who have undergone adverse experiences. Due to the large number of children who encounter adverse experiences, understanding ways to help them through these difficult times is important. Previous work has shown audiovisual material to be helpful in clinical settings, but overlooks its potential benefits in more casual settings. With this paper, I convey that viewing television episodes in the absence of a therapist can have some effect. I provide a review of other creative forms of therapy, such as cinematherapy, and a discussion on why television shows have this potential to resonate with viewers. Moreover, the accessibility of television shows over clinical therapy should be noted. Following this, the paper offers a content analysis that determines how two episodes of television shows aimed towards older children attempt to effectively relate to their viewers and convey messages about coping with adverse experiences. I focus on an older childhood audience because there already exists a show aimed towards younger children praised for its ability to teach young kids positive messages about mental health: Sesame Street. However, Sesame Street does not reach a 5th grader as much as it would reach a preschooler. The episodes I chose came from Cartoon Network’s Steven Universe and Nickelodeon’s Avatar: The Last Airbender. They were chosen due to their therapeutic value. In order to further examine this value and determine its relevancy to an older childhood audience, the episodes are analyzed based on how they represent identification, catharsis, insight, and coping mechanisms on screen. The first three criteria stem from the three stages of cinematherapy. The closer the criteria are to real word situations, the COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 3 more likely it is for a viewer to identify with the episode and gain something from it. Using these findings, I propose that a television show that instills positive mental health practices in older children looks like should not only be realistic in terms of the coping process, but also demonstrate the complex emotions of the protagonist. COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 4 INTRODUCTION According to a 2016 National Survey of Children’s Health, almost half of American children experience an adverse childhood experience and one in five experience at least two. These experiences range from death of a family member, to abuse, to poverty, to divorce, to illness, and more (Kamanetz, 2017). The National Child Traumatic Stress Network points out that children experiencing traumatic stress can react in ways that interfere with their daily life and interactions. They may experience depressive symptoms, intense emotional upset, anxiety, and behavioral changes. Although this reaction differs from child to child and depends on their age and developmental level, its potential harm demonstrates the necessity for children to develop healthy coping mechanisms regardless of whether they have experienced a traumatic event or not (NCTSN, 2003). In order to develop this skill, Help Guide, an online trusted guide to mental and emotional health, suggests for adults not to pressure children into talking about a traumatic experience because they may find it difficult to do so. Instead they point to indirect alternatives such as drawing pictures to illustrate feelings and discussing their art. (Smith, 2017). Additionally, research has demonstrated the benefits of using strategically chosen books and movies as a means to facilitate discussion between children and therapists. However, could viewing a television show outside of a clinical setting assist the development of healthy coping mechanisms in children as well? Television shows can be just as complex as books and movies, even if children are their targeted demographic and if they take place in the span of the standard 11-minute format. They address topics that reflect and metaphorically relate to the range of experiences of their viewers. Consequently, there are notable examples of television episodes marketed towards children that COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 5 address “mature” topics and provide healthy models for coping to its audiences. And even while there may not be a therapist present, something is gained by indulging in the stories of characters with situations that hit close to home. The casual viewing of television has potential to serve as a relevant form of passive therapy for children still learning how to manage their emotions. This study will examine the means through which television can encourage positive coping mechanism in older children. It will include a literature review that discusses previous ways that media has been used in therapy and explain why television has potential for this favorable consequence. Using criteria found in the literature review, I will conduct a content analysis on two episodes to explore how they convey their messages. Lastly, I will analyze how effective the shows were, based on the criteria, and how relevant they are to real world situation that kids face. LITERATURE REVIEW Various mental health organizations emphasize the importance of telling stories. In Resources to Recovery’s “The Way Back from Mental Illness: 6 Reasons Why You Should Tell Your Story of Hope and Recovery”, insists that someone sharing their story can be another person’s saving light (Boll, 2015). The National Alliance on Mental Illness, America’s largest grassroots mental health organization, states, “It’s important for people living with mental health conditions to know that they are not alone. Sharing stories about your personal experiences with mental health challenges can help in your own recovery as well as provide encouragement and support to others with similar experiences.” In other words, NAMI believes that sharing stories about personal experiences can be beneficial to the mental health of both the teller and the listener (NAMI, 2003). Similarly, television shows utilize storytelling. Whether they feature human or non-human protagonists, television shows detail experiences that, at its core, are COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 6 relevant to some aspect of the real life and can provide the same “encouragement and support” as a person telling their story. Therefore, television shows with stories that resonate with their viewers can help improve the mental health of its viewers. Previous studies have demonstrated bibliotherapy as a beneficial means to aid people through the coping with adversities such as death of a loved one, adoption, disability, mental illness, and parent separation. Clients are assigned a book to read and discuss with a therapist afterwards. When children identify with particular characters in a story, it can validate their thoughts and feelings. They feel less isolated when their reactions to difficult experiences are normalized. Furthermore, it creates an environment where children feel more comfortable sharing their feelings to therapists when it is through “the safe distance of a storybook character, cartoon, or animal” (Mendel, 2016; Berns, 2004). Cinematherapy is an extension of this process that uses movies instead of books and has several advantages. According to Emily Marsick, “books are less popular with many child and adolescent clients because some young clients do not want to invest the time required for reading, and many prefer technology, television, and movies.” They would rather spend time watching a two-hour movie than reading a long book (Marsick 2010; Sharp 2002). Bibliotherapy and cinematherapy consists of three stages: identification, catharsis, and insight. Identification happens when a reader consciously or unconsciously relates to a character or situation in a story. As the reader becomes emotionally involved in the story, they vicariously share the character’s experiences and feelings. Catharsis, an emotional release that occurs when a reader revisits previously repressed feelings, happens as a result of this. Lastly, insight represents when the reader understands their feelings in a new way and is prompted to make positive behavioral changes (Rozalski, 2010; Mendel, 2016; Deslile, 1977). This entire process COPING MODELS OF ADVERSE EXPERIENCES IN CHILDREN’S TELEVISION 7 demonstrates how as readers empathize with the characters in the stories they read, they are better aware and understand more of their situations in real life (Sharp, 2002). Therapists play a crucial role in these forms of therapy. They help process the client’s experience by either asking specific questions about client’s situation or indirect, metaphorical questions. Metaphorical questions can be advantageous because the reduce defensiveness in the client (Sharp 2002, Mars, 1995). However, even in the absence of a therapist, storytelling has been shown to promote at least temporary positive behavioral changes. A study conducted

Load more