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The Cartoon Effect: Rethinking Comic Violence in the Animated Children's The Cartoon Effect: Rethinking Comic Violence in the Animated Children’s Cartoon A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Julia L. Staben August 2018 © 2018 Julia L. Staben. All Rights Reserved. 2 ABSTRACT STABEN, JULIA L, M.A., August 2018, Film Studies The Carton Effect: Rethinking Comic Violence in the Animated Children’s Cartoon Director of Thesis: Ofer Eliaz “The Cartoon Effect” examines comedically violent performances of the animated cartoon placed specifically on cartoon children. The thesis looks at cartoon violence in the post-government regulation era of cable network television (1990-) in order to interrogate the cartoon’s relationship to children, violence, and control through the lens of biopower and affect. In my argument, I assert that the cartoon is an affect understood and read through violence, not comedy. In the late-capitalist 21st century, the modulations of power manifest as violences of resistance and control. 3 DEDICATION This thesis is dedicated to the Professors of the Ohio Film Division and the members of the Society for Animation Studies. 4 ACKNOWLEDGMENTS I would like to acknowledge the Professors and students of the Ohio Film Division and Media School including Ofer Eliaz, Louis Georges-Schwartz, Katherine Raney, Erin Schlumpf, Dr. David Thomas and Steve Ross. I would also like to acknowledge the members of the Society for Animation Studies for pushing the boundaries of animation scholarship. 5 TABLE OF CONTENTS Page Abstract ............................................................................................................................... 2 Dedication ........................................................................................................................... 3 Acknowledgments............................................................................................................... 4 List of Figures ..................................................................................................................... 6 INTRODUCTION .............................................................................................................. 7 Corpus and Literature Review .................................................................................... 12 Chapter Summary ....................................................................................................... 21 SO THEY RUINED YOUR CHILDHOOD..................................................................... 24 The Children’s Television Act .................................................................................... 24 The Dark Ages ............................................................................................................ 30 The Cartoon Boom! .................................................................................................... 37 Conclusion .................................................................................................................. 45 KIDS JUST BEING KIDS................................................................................................ 47 Introduction ................................................................................................................. 47 Fairy World: A Magical Agency ................................................................................ 50 Adults Ruin Everything .............................................................................................. 55 Un-Fundamentals ........................................................................................................ 61 Conclusion .................................................................................................................. 65 BATTLE STATIONS!...................................................................................................... 68 Saving Recess ............................................................................................................. 71 The Spinach Inquisition .............................................................................................. 74 Turning 13: The Adult Problem .................................................................................. 78 Conclusion .................................................................................................................. 82 CONCLUSION ................................................................................................................. 84 References ......................................................................................................................... 94 6 LIST OF FIGURES Page Figure 1. Limited Animation ............................................................................................ 35 Figure 2. The Transformers toy/screenshot ...................................................................... 37 Figure 3. Operation S.P.A.N.K.E.N.S.T.I.N.E. ................................................................ 70 7 INTRODUCTION The cartoon child does not feel pain. The cartoon child is not a subject. They do not re-enact a scene of assault in front of a camera. They do not step outside of the camera’s frame to process the implications of this performance. There is no material separation between the world of the cartoon child and the cartoon child itself. They are controlled in their very existence, controlled in what they are allowed to express and what they are not. The cartoon child is not real, and unlike the photographed child or the cinematic child, they do not project an illusion of realness. They can be beaten and rejected, scorned, and condemned, and no one has to be held accountable. The cartoon child’s body is not a real body, nor does it represent a real body. Rather, it is a performance of a body, one that suffers abuse without consequence to entertain those with real bodies that can feel real pain. Thus, the cartoon child is caught between their position as innocent and their malleable form. There is a confusion surrounding the children’s cartoon, an intersection of paranoia adjoining the child’s body and the cartoon’s almost necessary violence. This paranoia reveals an unavoidable relation between children and violence, both the violence acted upon bodies overlooked or justified by the necessity of control, and the violence of resistance. While “cartoon” and “child” feel natural together, the cartoon child expresses a point of intersection for the panic surrounding the child as symbol, a symbol for futurity or purity, and the violence of social control. Nancy Signorielli and her research team claim in their 1995 study “Violence on Television: The Cultural Indicators Project” that in the United States: “Violence appear(s) in two-thirds to three-quarters of all television plays at a rate of between six and ten incidents per hour in primetime, and at rates three or four times as much in children’s 8 programing (mostly cartoons).”1 Steven J. Kirsh writes in his study “Cartoon Violence and Aggression in Youth” that the acts of violence in cartoons are “minor” and “sanitize the outcomes.”2 It is absurd that the television programs that contain the most violent acts per minute in the United States are those marketed for children. It is more absurd that amongst these programs are instances of violence enacted on child characters by adults. With studies upon studies about the effects of media violence on impressionable minds, the consensus tends to center around the fact that exposure to violence in media desensitizes people, most notably children, to violence. Whether or not this leads to violent action is contestable and there is no evidence to suggest the relationship between violent media viewing and violent action is correlational.3 Nevertheless, the violent assault on the cartoon child’s body continues despite the protests, studies, and the attempts of US government regulation such as the Children’s Television or Television Violence Acts warning us against the desensitization of violence. Most of the time it goes unrecognized, unnoticed, even dismissed by simply stating: “it’s just a cartoon. It’s not real.” It is absolutely absurd. And yet, if one takes a closer look, not absurd at all. Cartoon or comic violence has been a point of contention surrounding children’s television as early as the 1950s and because of this much has been written about the 1 Signorielli, Nancy, George Gerbner, and Michael Morgan. "Standpoint: Violence on television: The cultural indicators project." (1995): 278-283. 2 Kirsh, Steven J. "Cartoon violence and aggression in youth." Aggression and Violent Behavior 11, no. 6 (2006): 547-557. 3 There is a study that contradicts the traditional view of cartoon violence as impactful against children’s understanding of violence. It covers the large consensus that violence in the cartoon is accepted as influential in the child’s violent or aggressive behavior. Blumberg, Fran C., Kristen P. Bierwirth, and Allison J. Schwartz. "Does cartoon violence beget aggressive behavior in real life? An opposing view." Early Childhood Education Journal 36, no. 2 (2008): 101. 9 relationship between children and onscreen media violence, particularly in cartoons. However, the studies that surround this topic often depend on a notion of violence that must be witnessed onscreen in order to ‘affect’ the younger viewer. While undoubtedly useful, there are limitations to this approach. The first and most glaring, is the framing of violence
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