University of New Mexico UNM Digital Repository Communication ETDs Electronic Theses and Dissertations 5-1-2016 FEMALE GENDER ROLE REPRESENTATION BETWEEN 1990 AND 2010 IN IMPORTED CHILDRENS CARTOONS AND THEIR IMPLICATIONS FOR CONSERVATIVE YEMENI CULTURE Fatima Al-Hattami Follow this and additional works at: https://digitalrepository.unm.edu/cj_etds Part of the Journalism Studies Commons Recommended Citation Al-Hattami, Fatima. "FEMALE GENDER ROLE REPRESENTATION BETWEEN 1990 AND 2010 IN IMPORTED CHILDRENS CARTOONS AND THEIR IMPLICATIONS FOR CONSERVATIVE YEMENI CULTURE." (2016). https://digitalrepository.unm.edu/cj_etds/67 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Communication ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Fatima Q. Al Hattami Candidate Communication and Journalism Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Richard Schaefer, Chairperson Ilia Rodríguez Miguel Gandert ii FEMALE GENDER ROLE REPRESENTATION BETWEEN 1990 AND 2010 IN IMPORTED CHILDREN’S CARTOONS AND THEIR IMPLICATIONS FOR CONSERVATIVE YEMENI CULTURE By FATIMA Q. AL HATTAMI B.A., ENGLISH STUDIES SANAA UNIVERSITY, 2010 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTERS of Arts Communication The University of New Mexico Albuquerque, New Mexico May, 2016 iii ABSTRACT This thesis explores the female gender role representations in imported cartoons across the years 1990 and 2010 and their resonance with the conservative Yemeni Muslim culture. The two selected cartoons are A Little Princess Sara (a Nippon Animation production) and Totally Spies (a Marathon Media production), both of which are imported to the Arab countries, dubbed into the Arabic language, aired on Arab children’s channels and popular among girls. The study is inspired by theories of media and cultural globalization and imperialism, which were developed to explain media policies and flow around the globe. The study also draws on the assumptions of social learning theory and cultivation theory that explain media’s influences on viewers. Analysis ultimately revealed several differences in female gender representations that are depicted in these cartoons. Although the representations in neither of the two cartoons examined proved completely resonant with the conservative Yemeni Muslim culture, in A Little Princess Sara some of the representations are resonant with some aspects of the Yemeni culture. In contrast, in Totally Spies almost all of the representations are highly dissonant to the Yemeni culture. This study explicates a number of the potential implications of these imported female gender representations for conservative Yemeni culture and the factors that impact the potential influences of these representations. Keywords: Female gender role representation, media, children’s cartoons, globalization, cultural imperialism, Yemeni culture. iv ACKNOWLEDGEMENTS First and foremost I wholeheartedly acknowledge and thank Dr. Richard Schaefer, my advisor and thesis chair, for constantly directing and encouraging me to challenge myself through the many meetings and notes he provided throughout the long months of writing my thesis and the two years of study for my master’s degree. His directions and professional way of instructing me will always remain a bright spot of light in my trajectory as a scholar. My acknowledgement and special thanks extend to my committee member Dr. Ilia Rodríguez, who spent a considerable amount of time closely reading and commenting on my thesis. Her detailed and insightful comments were of great value for the development of my work. Also, I present my sincere thanks to my committee member Dr. Miguel Gandert, who always enthusiastically supported my choices. Gratitude also reaches the U.S. m Department of State, AMIDEAST Washington and the Fulbright Committee for funding this research. I would also like to thank all the professors who introduced me to a whole new space of knowledge and community. To all the faculty who have been so helpful and supportive, thank you. A special word of thanks to Dr. David Weiss, who has been a wonderful support by providing detailed and constructive feedback to me. To my mother, who always shed her tears for my happiness and success, kept praying for me and was always my supporter. The love you have showered upon me and the passion you inundated and blessed me with will never go in vain. Nothing can be put in balance with your love, and your passion will always remain the light in my path. v To my family: father, brothers and sisters, who gave me insurmountable support over the two years in the master’s program abroad. Your words of reassurance are highly appreciated for your trust in me always kept me afloat. To my husband, who always encouraged me to move onward toward my goals. Your help, support and encouragement to pursue the opportunity to do my master’s in the United State is well embraced. To my friends Wejdan and Hanan who always stayed in touch and lived every moment of happiness, sadness, despair and optimism along with me. Thank you for always being there for me when I needed it, despite the long distances involved. To all mentioned above, although a simple expression like “thank you” is incomparable to your support, I say “thank you” with the deepest gratitude for your support. Your encouragement is boundlessly treasured. vi TABLE OF CONTENTS Abstract………………………………………..…………………………………….…iii Acknowledgment……………………………………………………………...……......iv Introduction……………………………………………………………….…..……..….1 Chapter 1: Theoretical Framework and Literature Review Theoretical Framework……………..….………………………………….……….....10 Literature Review…………..…………………………………………………………12 New World Communication and Information Order and media Imperialism…….…12 Media and Cultural Globalization and Glocalization…………………………..…….19 Hybridity……………………………………………………………………………. 26 Gender Role Representations…………………….……………..……………………28 Media Effects Theories…………………………………....………….......…………29 Social Learning Theory……………………………………………………...29 Cultivation Theory…………………………………………………………..32 Children and Media Content: Violence……………………………...………………...34 Broadcast Media in Arab Countries…………………………………………………….40 Broadcast Media in Yemen: Overview…………………………………………………41 Chapter 2 Methodology…………………………………………………………………...………43 Chapter 3 Findings and Discussion Findings……………………..…………………………...…………..............................49 Representations of Roles of Women in Society………………………………………...51 vii The Representations of Females Characters……………………………………………53 Emotional Dependence on Family and the Need for Help to Survive……….…53 Girls as Independent, Individual Decision Makers……………………………..53 Engaging in and Performing Violent Behaviors………………………………..54 Gender Relationships:…………………………………………………………..55 Dress Codes Indoors and Outdoors:…………………………………………….58 Values Conveyed: (Clashing and Reinforcing Values)…………………...……59 Resonance of the Identified Themese with the Muslim Conservative Yemeni Culture..61 Discussion………………………………………………………………………………74 Conclusion.………….………………………………..…..………………………….....90 Figures…………………………………………………...…………………………….95 References……………………………….……………….…………………………….98 1 Introduction Mass media and their multiple influences, agendas and ideologies have always been a central focus of interest to researchers concerned with the power of media to shape people’s perceptions, opinions, and behaviors in society. Many scholars have argued that as media have become an integral part of people’s everyday lives, they are influential forces in shaping people’s sense of who they are and their sense of history. Some, like Grossberg, Wartella, Whitney and Wise (2006), have proposed that media offer a large part of the imagery and soundtrack of people’s memories. Indeed, the pervasiveness and complex structure of popular media of communication make them powerful cultural forces across cultures. Media are networks that encompass all the organizations, channels—such as television, radio, newspapers, Internet—content producers and programming that provide news and information for the public (Longman). Media outlets control the dissemination of entertainment, information, education, data, or promotional messages that reach most people in any society. In today’s environment, they operate through broadcasting and narrowcasting to both large and segmented audiences (Online Business Dictionary). As Grossberg et al. (2006) noted, media can be divided into a range of categories. Media can be categorized in accordance with their geographic coverage (local, national, regional or global), modalities, or the type of social relations and modalities they are designed to construct. Examples of these types of relations are interpersonal media that are primarily used for person-to-person interaction and mass media that are used to deliver messages from one source to many audience groups. Media can also be labeled according to their diverse modalities. Among these are print (books), electronic (television), chemical (film), visual, and audio (radio). 2 Although each medium has been studied substantially by scholars, television has received considerable attention among researchers who have produced valuable work on the influences of television and its content on viewers. This work has generated multiple theories about television’s