CARTOONS AND CHILDREN IN KERALA: A QUALITATIVE RESEARCH STUDY

ON HOW CARTOONS AFFECT THE SOCIAL BEHAVIOR OF CHILDREN IN

KERALA

Dissertation submitted to Kerala University

In partial fulfilment of the requirements for the award of the Degree of

M. Sc. Counselling Psychology

By

Athmaja Panickar

(Reg. No:60421115006)

Under the guidance of

Mr. Johns P. John

Assistant professor in Counselling Psychology

Department of Counselling Psychology

Loyola College of Social Sciences

Sreekariyam, Thiruvananthapuram

2021- 2023
 CERTIFICATE

This is to certify that the Dissertation entitled “Cartoon and children in Kerala : A
qualitative research study on how cartoon affect the social behaviour of children in
Kerala ” is an authentic work carried out by Athmaja Panickar, Reg. No. 60421115006 under
the guidance of Mr .Johns P. John during the fourth semester of M.Sc. Counselling Psychology
programme in the academic year 2021- 2023.

Ms. Jesline Maria Mamen Mr. Johns P. John

Head of the Department Assistant Professor

Department of Counselling Psychology Department of Counselling Psychology

Loyola College of Social Sciences. Loyola College of Social Sciences.

Thiruvananthapuram. Thiruvananthapuram.

Submitted for the examination held on ……………………

 DECLARATION

I, Athmaja Panickar, do hereby declare that the dissertation titled “Cartoon and children in

Kerala : A qualitative research study on how cartoon affect the social behaviour of

children in Kerala”, submitted to the Department of Counselling Psychology, Loyola

College of Social Sciences, Sreekariyam, under the supervision of Mr .Johns P. John,

Assistant professor of the Department of Counselling Psychology, for the award of the degree

of Master’s in Science of Counselling Psychology, is a bonafide work carried out by me and

no part thereof has been submitted for the award of any other degree in any University.

Sreekariyam Name: Athmaja Panickar

Date: Reg. No. 60421115006

M.Sc. Counselling Psychology

 ACKNOWLEDGEMENT

Conducting this project has posed one of the most significant academic challenges I have

encountered to date. Without the unwavering support, mentorship, and guidance of the

individuals mentioned below, the realization of this research endeavor would have remained

an insurmountable task . It is also them to whom I owe my deepest gratitude.

Foremost, I extend my sincere gratitude to Miss Seetha Lekshmy VS and Fr. Tony

Plavunilkunnathil. Their invaluable assistance proved indispensable in the successful

completion of this academic undertaking. Additionally, I wish to acknowledge the

contributions of Kavya Satheeshan and Prince V B, whose support during the data collection

phase greatly facilitated this work.

I reserve my utmost thanks and heartfelt appreciation for my parents and family, whose

unwavering support and encouragement sustained me throughout this journey.

My deepest gratitude goes to my research guide, Mr. Johns P. John, an Assistant Professor of

Counselling Psychology. His tireless dedication, unwavering support, and invaluable guidance

have been instrumental in shaping the trajectory of this research.

In addition to my guide, I wish to express my gratitude to Ms. Jesline Maria Mamen, Assistant

Professor and Head of the Department of Counselling Psychology, Dr. Ammu Lukose,

Assistant Professor in the Department of Counselling Psychology, and Dr. Pramod S.K,

Assistant Professor in the Department of Counselling Psychology, for their continuous support,

expertise, and guidance, which have significantly contributed to the completion of this

research.
I extend my heartfelt appreciation to all the participants who generously dedicated their time

to assist me in my research endeavors.

Lastly, I acknowledge the collective efforts of my friends, family, and all those who supported

and encouraged me in successfully completing this research.

With Warm Regards,

Athmaja Panickar
 CONTENTS

LIST OF TABLES

LIST OF APPENDICES

ABSTRACT

CHAPTERS PAGE NO.

CHAPTER I INTRODUCTION 1

CHAPTER II REVIEW OF LITERATURE 14

CHAPTER III METHOD 32

CHAPTER IV RESULT AND DISCUSSION 36

CHAPTER V SUMMARY AND CONCLUSION 97

REFERENCE

APPENDICES
 LIST OF TABLES
Table no. Title Page No.

4.1 Personal profile of the children watching cartoon 36

4.2 Thematic analysis 57

4.3 Thematic analysis 81

 Abstract

The aim of the research is to explore the intricate dynamics between cartoons and

children's social behaviour in the context of Kerala, India. Focusing on diverse themes, the

study delves into how exposure to cartoon content relates to the manifestation of social

behaviours. Within the "Violence" theme, action-packed cartoons are observed to influence

aggressive behaviour imitation, potentially blurring the distinction between fiction and reality.

In "Language Acquisition," cartoons facilitate language learning, enhancing cognitive

flexibility, vocabulary enrichment, and communication skills. The "Socialization" theme

highlights the interplay between cartoons and face-to-face interactions, impacting norms and

relationships. "Morals and Judgment" reveal a link between protagonist identification and

moral perceptions, shaping children's willingness to enact positive change. Departing from

traditional norms, the "Stereotypes" theme showcases equitable gender perceptions and

inclusive occupational perspectives. Lastly, the "Blurring of Fantasy and Reality" theme

illustrates children's integration of cartoon personas into daily life, influencing desires and

behaviour. This study underscores the multifaceted influence of cartoons on children's social

behaviour, emphasizing the need for balanced media consumption and informed guidance.

Keywords: cartoons, social behaviour, violence, language acquisition, socialization,

morals, judgment, stereotypes, fantasy, reality, media consumption, children, Kerala.

CARTOONS AND CHILDREN IN KERALA 1

CHAPTER I

INTRODUCTION

The landscape of children's entertainment underwent a notable transformation during

the 1980s and 1990s, characterized by the remarkable influence of renowned entities such as

Walt Disney Productions, alongside iconic cartoon shows like "Tom & Jerry," "Popeye," and

"Bugs Bunny." These offerings held a prominent position within the children's entertainment

market, captivating young audiences with their imaginative narratives and endearing

characters. However, the emergence of the satellite TV revolution introduced a seismic shift in

the dynamics of the global entertainment sphere, ushering in a new era of animated content that

would leave an indelible mark on children's preferences and cultural consumptions.

In this transformative era, one notable phenomenon emerged as a captivating force on

the international stage: the overwhelming prominence of Japanese cartoons. These Japanese

animated shows, commonly referred to as anime, swiftly captured the hearts and minds of

children worldwide. With their distinct artistic style, intricate storylines, and diverse range of

genres, Japanese cartoons became a formidable presence in the global entertainment market.

The enduring popularity of iconic Japanese anime like "Doraemon," "Shinchan," and "Ninja

Hattori" exemplifies the resounding impact of these offerings on the preferences of young

audiences. The irresistible allure of these anime series transcended geographical boundaries,

leading to a remarkable shift in the hierarchy of children's favourite shows.

Simultaneously, the Indian animation industry embarked on a journey marked by

resilience, creativity, and evolution. While the first animated film in India, "The Banyan Deer,"

was released in 1957, the subsequent decades posed numerous challenges for the nascent

industry. Limited resources, technological constraints, and limited exposure to international

CARTOONS AND CHILDREN IN KERALA 2

animation standards hindered the growth of Indian animation. However, the 1980s and 1990s

marked a significant turning point, as the introduction of the national television broadcaster

Doordarshan ushered in a new era of possibilities.

The introduction of television as a medium for animated content dissemination brought

Indian cartoons into the living rooms of countless households across the nation. Shows like

"Mowgli - The Jungle Book," "Ramayana: The Legend of Prince Rama," and "Tenali Raman"

quickly became staples of children's programming, capturing the imaginations of young

viewers and creating a lasting impact on their cultural experiences. These shows harnessed the

power of storytelling to present Indian folklore, mythology, and cultural heritage in an engaging

and accessible manner. The result was an unprecedented surge in popularity, as families and

children eagerly tuned in to experience these captivating tales.

As the 2000s dawned, a renewed sense of creative vigor infused the Indian animation

landscape. A surge in the creation of original Indian cartoons marked a profound

transformation, as these shows showcased a distinct blend of cultural authenticity and relatable

narratives. Animated offerings such as "Chhota Bheem," "Krishna Balram," and "Little

Krishna" emerged as frontrunners, resonating deeply with Indian audiences through characters

and stories that reflected their own cultural milieu. These shows celebrated Indian values,

traditions, and mythology, creating a sense of pride and connection among viewers.

The enduring popularity of these Indian cartoons underscored the industry's ability to

strike a harmonious chord between entertainment and education. Through creative storytelling,

these shows seamlessly imparted moral lessons, fostered a sense of identity, and introduced

viewers to the rich tapestry of Indian culture. As a result, Indian cartoons transitioned from

mere sources of amusement to valuable tools for cultural preservation and education.
CARTOONS AND CHILDREN IN KERALA 3

In the dynamic landscape of children's entertainment, the interplay between indigenous

creations and the localization of internationally popular cartoons has significantly shaped the

preferences and cultural experiences of young audiences. The convergence of these two facets

has not only contributed to the popularity of animated content but has also wielded a

transformative influence on the way children engage with media and storytelling.

The localization of internationally acclaimed cartoons has been a pivotal driver in

expanding the repertoire of animated offerings available to Indian audiences. Shows like "Shin

Chan," "Doraemon," and "Roll No. 21," which is based on the renowned "Dragon Ball Z"

series, swiftly captured the hearts and imaginations of Indian children, propelling these series

to the status of household names. These internationally sourced shows managed to strike a

chord with young viewers, seamlessly blending elements of foreign narratives with cultural

sensibilities that resonate within the Indian context. The familiar characters, relatable themes,

and engaging plots of these localized shows offered a unique viewing experience that bridged

the gap between cultures while retaining the inherent charm of the original content.

The rise of digital platforms and streaming services has ushered in a new era of

accessibility and convenience for audiences, providing a significant boost to the popularity of

Indian cartoons. Platforms like YouTube have become virtual playgrounds for children,

offering a diverse array of animated content at their fingertips. Channels such as "WowKidz,"

"ChuChu TV," and "Infobells" have emerged as veritable hubs of Indian animation, amassing

millions of subscribers and views. This widespread availability has not only amplified the reach

of Indian cartoons but has also facilitated an immersive viewing experience that aligns with the

digital-native generation's preferences.

Indian cartoons have transcended their role as mere sources of entertainment, assuming

a multifaceted role in promoting Indian culture, values, and storytelling traditions. These
CARTOONS AND CHILDREN IN KERALA 4

animated shows serve as conduits through which children are introduced to the rich tapestry of

Indian heritage, mythology, and regional diversity. The incorporation of educational elements

and moral lessons within the narrative fabric of these cartoons imparts a dimension of

edutainment, where entertainment serves as a vehicle for holistic learning. From imparting

lessons in ethical behaviour and decision-making to showcasing the importance of empathy

and cooperation, Indian cartoons seamlessly weave valuable life lessons into their storytelling,

shaping young minds in the process.

One noteworthy study that delves into the psychological implications of children's

cartoon consumption is "Effects of cartoon programs on behavioural, habitual and

communicative changes in children" by Rai (2016). The study illuminates the profound impact

that prolonged exposure to cartoons can have on children's behaviour, habits, and

communication patterns. It underscores the progression from casual viewership to a deeper

emotional attachment, often resulting in children imitating their beloved cartoon characters in

various aspects of their lives. The study's findings shed light on the phenomenon of children

adopting these animated figures as role models, a trend observed when they begin to emulate

their favourite characters' behaviours, gestures, and even preferences in clothing.

The study also highlights a disconcerting aspect of excessive cartoon consumption,

where children may become increasingly resistant to engaging in activities other than watching

cartoons. This attachment to animated content could potentially lead to conflicts with parents

or guardians when they attempt to regulate screen time. The study's observations, particularly

regarding instances of heightened aggression or frustration when restricted from watching

cartoons, resonate with broader concerns about the psychological and behavioural impacts of

media consumption on young minds.

CARTOONS AND CHILDREN IN KERALA 5

In specific regional contexts like Kerala, the study's findings could be particularly

relevant, given the universality of children's media consumption patterns. It offers valuable

insights into the potential challenges faced by parents and caregivers in managing children's

cartoon consumption and fostering a balanced media diet. The study underscores the need for

a nuanced approach to media engagement, with an emphasis on guiding children to differentiate

between fictional narratives and real-world behaviour.

The captivating realm of cartoons possesses a profound and enduring influence on the

cognitive, emotional, and social development of children, leaving an indelible mark on their

mental responses and behaviours. As illuminated by the enlightening study titled "Cartoons’

Effect in Changing Children Mental Response and Behaviour," conducted by Habib and

Soliman, the impact of cartoons extends far beyond entertainment, shaping the very contours

of young minds and moulding their perceptions of the world.

One of the most remarkable dimensions of this influence lies in the realm of cognitive

development. Cartoons have emerged as powerful catalysts for fostering essential cognitive

skills in children. Through engaging narratives and imaginative scenarios, cartoons stimulate

problem-solving abilities, honing children's critical thinking skills as they decipher intricate

plotlines and anticipate outcomes. Moreover, the incorporation of interactive elements in

educational cartoons propels young viewers into a realm of participatory learning, where they

are invited to actively engage in activities that enhance memory retention and cognitive

flexibility. This cognitive engagement not only amplifies the entertainment value but also

nurtures the growth of intellectual capacities that underpin a child's capacity for future learning

and academic achievement.

The rich tapestry of emotions, relationships, and social dynamics depicted in cartoons

contributes significantly to the social and emotional development of children. These animated
CARTOONS AND CHILDREN IN KERALA 6

narratives serve as microcosms of real-life scenarios, offering children a safe space to explore

and understand a myriad of emotions. By witnessing characters navigate challenges, joys, and

conflicts, children vicariously learn how to manage their own feelings, develop empathy, and

cultivate vital social skills like sharing, cooperation, and conflict resolution. The emotional

resonance of cartoons is further accentuated by the deep emotional attachments that children

often form with their favourite characters. These animated protagonists become relatable and

aspirational role models, guiding children in their quest to comprehend and navigate the

complexities of their emotions and relationships. The sway of cartoons extends beyond the

realm of emotions, as they subtly shape children's values, attitudes, and behavioural

inclinations. Positive role models depicted in cartoons serve as beacons of virtue, inspiring

young minds to adopt positive traits and behaviours. The influence of these role models

transcends the animated screen, spilling into children's daily lives as they seek to emulate the

ethical choices and actions they witness. Cartoons, therefore, play an instrumental role in

shaping the moral compass of children, presenting them with scenarios that present moral

dilemmas and ethical choices. Through storytelling, characters in cartoons confront these

dilemmas, enabling children to witness the consequences of actions, understand the concepts

of right and wrong, and internalize lessons that contribute to their ethical development.

The educational potential of cartoons reaches even deeper, embracing the enrichment

of cultural awareness, diversity, and inclusivity. Animated narratives serve as portals to

different cultures, languages, and traditions, providing children with windows into a global

tapestry of human experiences. This exposure fosters a sense of cultural curiosity and

understanding, breaking down barriers of ignorance and prejudice. Cartoons, in their evolution,

are embracing this transformative role by incorporating more diverse characters and storylines

that mirror the multicultural society in which children are growing up. This shift acknowledges
CARTOONS AND CHILDREN IN KERALA 7

the importance of representation and provides children with a richer tapestry of characters and

narratives to identify with, fostering a more inclusive worldview.

The impact of cartoons on children's psychological development is a subject of

extensive study and scrutiny. While cartoons offer a wealth of entertainment and educational

value, their influence extends beyond the screen, shaping children's perceptions, behaviours,

and societal norms. A seminal study by Bjorkqvist and Lagerspctz titled "Children's Experience

of Three Types of Cartoons at Two Age Levels" and the research conducted by Habib and

Soliman titled "Cartoons’ Effect in Changing Children Mental Response and Behaviour" shed

light on the intricate interplay between cartoons and children's psychological development.

Violence, a prominent concern associated with cartoons, has been thoroughly explored.

Some studies suggest a correlation between exposure to violent content in cartoons and

aggressive behaviour in children (Bushman & Huesmann, 2006). This influence manifests

through imitative aggressive actions, where children mimic the confrontations and powers

exhibited by characters (Gentile, Lynch, Linder, & Walsh, 2004). However, violence is not the

sole factor at play. Cartoons can perpetuate harmful gender stereotypes, portraying specific

roles and behaviours as suitable for boys or girls (Signorielli, 2001). These portrayals may limit

children's aspirations and reinforce societal norms, ultimately affecting their self-perception

and future choices.

Beyond gender stereotypes, cartoons often present idealized and unrealistic depictions

of characters and situations (Vandenbosch & Eggermont, 2012). This can distort children's

understanding of reality, leading to unrealistic expectations and potential dissatisfaction when

real life doesn't align with the fantasy depicted. Additionally, some cartoons serve as marketing

tools for merchandise and toys, cultivating materialistic desires and placing pressure on parents

to fulfil these wishes (Dittmar, Long, & Bond, 2007).

CARTOONS AND CHILDREN IN KERALA 8

Cartoons are multifaceted vehicles of influence. While they may expose children to

potentially harmful content, they also contribute positively to language acquisition and

socialization. Animated narratives offer a playful and engaging environment for language

development, enhancing vocabulary, grammar, and communication skills (Linebarger & Vaala,

2010). Moreover, cartoons provide a unique platform for children to learn about diverse

cultures, fostering cross-cultural understanding and appreciation (Subrahmanyam et al., 2000).

However, the significance of cartoons transcends entertainment and education—they

serve as inadvertent instructors and role models in children's lives. Cartoons, due to their appeal

and accessibility, become children's earliest teachers (Hobson, 2002). These colourful and

funny companions wield an influential role in shaping children's values, attitudes, and

behaviours. As Habib and Soliman's research elucidates, children form emotional attachments

to characters, making them aspirational models that influence behaviour and choices. The

dichotomy of cartoons as influencers of both positive and negative attributes underscores their

potential to shape the psychological landscape of young minds.

Given the pivotal role of cartoons in children's psychological development, the

responsibility of managing and guiding their consumption falls largely on parents, educators,

and content creators. Responsible media consumption entails selecting age-appropriate content

that aligns with children's cognitive and emotional maturity (AAP, 2016). Engaging children

in discussions about themes, messages, and consequences depicted in cartoons fosters critical

thinking and media literacy (Buijzen & Valkenburg, 2005). Active parental involvement

empowers children to navigate the complex psychological nuances of cartoons, extracting the

positive while mitigating potential negative influences.

Social behaviour is a fundamental aspect of human interaction that plays a pivotal role

in shaping individuals' experiences, relationships, and integration within a society. Rooted in

CARTOONS AND CHILDREN IN KERALA 9

complex psychological and sociocultural dynamics, social behaviour encompasses a broad

spectrum of actions, reactions, and expressions exhibited by individuals as they navigate the

intricate fabric of social settings. This phenomenon is not only a reflection of personal

preferences and beliefs but also a manifestation of societal norms and expectations. Exploring

the nuances of social behaviour unveils a multifaceted tapestry woven from psychological,

cultural, and environmental threads. At its core, social behaviour refers to the array of conduct

demonstrated by individuals as they engage with others within a particular social context. It is

intrinsically linked to the notion of acceptability, wherein individuals adjust their actions to

align with the perceived norms of their peer group (Wentzel, 2012). This process involves not

only adhering to behaviours that are deemed appropriate but also avoiding actions that may be

considered undesirable or unacceptable. Social behaviour, therefore, serves as a mechanism for

fostering harmonious coexistence and facilitating effective communication among members of

a society.

In the realm of human behaviour, social behaviour assumes a comprehensive

dimension, encompassing a wide range of interactions that extend beyond verbal and nonverbal

communication. It encompasses a totality of engagements, from overt actions such as verbal

conversations and gestures to more subtle expressions like facial expressions, body language,

and even personal choices like dress sense and preferences. Social behaviour goes beyond mere

surface interactions; it delves into the intricacies of how individuals respond to various stimuli

and navigate the intricate web of human relationships.

A seminal contribution to the understanding of social behaviour comes from the work

of Hartup (1965), who provided a nuanced perspective on the subject. Hartup's definition

encapsulates the reciprocal nature of social behaviour, where activity is both elicited by stimuli

originating from individuals and possesses inherent stimulus value for others. This intricate

interplay highlights the dynamic nature of social interactions, wherein individuals continuously
CARTOONS AND CHILDREN IN KERALA 10

respond to and influence each other, shaping the collective social fabric. The manifestation of

social behaviour extends beyond the individual level, encompassing broader societal dynamics.

Cultural norms, beliefs, and values intricately intertwine with social behaviour, shaping the

way individuals express themselves and engage with others (Markus & Kitayama, 1991). As

individuals navigate the contours of their culture, they internalize norms that govern their

behaviour, influencing their choices, interactions, and responses to various stimuli.

Furthermore, social behaviour serves as a window into the intricate workings of the

human psyche. It provides insights into cognitive processes, emotional responses, and decision-

making mechanisms that guide individuals' actions in social contexts (Gergen, 1973).

Psychological factors such as empathy, perspective-taking, and self-regulation contribute to the

complexity of social behaviour, influencing how individuals understand, relate to, and

collaborate with others.

Need and Significance

Kerala, an esteemed cultural and academically progressive state in India, stands as a

beacon of commitment to education and exemplary literacy rates. Rooted in a tradition of

holistic learning, children's studies occupy a pivotal place within its comprehensive educational

framework. While significant research efforts have spanned various regions, such as in Nairobi

by Kidenda, and Pakistan (2013) by Hassan, Ali & Daniyal, Muhammad, a conspicuous void

emerges in scholarly discussions when examining studies related to Kerala, as far as my current

knowledge extends. This gap pertains to a comprehensive exploration into the potential

ramifications of cartoons on the social behaviour of children within Kerala's distinct socio-

cultural milieu.

The significance of probing into the impact of cartoons on Kerala's children extends

beyond academic curiosity. This study seeks to unravel the intricate interplay between cartoon
CARTOONS AND CHILDREN IN KERALA 11

consumption and social behaviour among Keralite children, offering theoretical insights and

pragmatic applications. Within Kerala's unique cultural and educational context, this research

aims to illuminate the nuanced dynamics that may shape children's interactions, perceptions,

and behaviours. Moreover, it addresses a distinct gap in knowledge, enriching our

understanding of the cognitive, emotional, and behavioural consequences of cartoon exposure

within this regional context.

This study's ramifications extend to educators, policymakers, parents, and content

creators. By offering evidence-based insights, it fosters informed dialogue and empowers

stakeholders to harness the educational potential of cartoons while mitigating unintended

negative effects. This aligns with Kerala's dedication to holistic education, fostering a mindful

and constructive media environment for its children. Furthermore, the exploration aligns

seamlessly with counselling psychology, providing invaluable insights into the interplay

between media and behaviour. With potential implications for emotional expression,

interpersonal dynamics, and ethical decision-making, counsellors can benefit from this

nuanced understanding. Integrating these findings into therapeutic strategies can promote

healthier social behaviours and emotional development, contributing to the intricate landscape

of children's psychological growth within Kerala's unique context. In essence, this research

magnifies the interconnections between media consumption, societal well-being, and

psychological insights, enriching Kerala's educational landscape and beyond.

Statement of the problem

The impact of cartoon on social behaviour of cartoon watching children in Kerala.

Operational definition

• Social behaviour
CARTOONS AND CHILDREN IN KERALA 12

Observable expressions and interactions related to violence, gender stereotype, morals and

judgment, language acquisition, and socializing, encompassing the various ways children

engage with and respond to their social environment.

• Violence

Behaviour that is intended to harm another individual, encompassing a range of actions

that can result in physical or psychological harm to oneself, others, or objects in the

environment.

• Socializing

Spending time with other people for the purpose of connecting with them and enjoying

oneself.

The expression of a personal understanding or evaluation of right and wrong behavior.

• Stereotypes

Beliefs, attitudes, or expectations about the roles, behaviors, and characteristics

associated with different genders

• Language acquisition

The ability to comprehend and produce language

Research questions

Do cartoons have an effect on the social behaviour of children in Kerala?

Do these shows alter the viewers perspective of reality?

does cartoon watching cause violence in the behaviour of children? to what extend?
CARTOONS AND CHILDREN IN KERALA 13

Does cartoon watching affect language accusation? to what extend?

Does cartoon watching affect socializing of children? to what extend?

Does cartoon watching affects morals and judgement of children? to what extend?

Does watching cartoons contribute to the development of gender stereotypes in children?

CARTOONS AND CHILDREN IN KERALA 14

CHAPTRE II

REVIEW OF LITERATURE

THEORETICAL REVIEW

Cultivation Theory

The long-term impacts of television viewing on viewers' perceptions of social reality

are investigated under the cultivation theory. Analysis of cultivation started as a part of the

George Gerbner-founded Cultural Indicators Project in the late 1960s. The main premise of

cultivation analysis is that, despite sharing most major demographic characteristics with those

who watch less television, those who watch more television are more likely to perceive the real

world in a way that is most frequently depicted in television messages (Gerbner, 1969).

The most prevalent and ongoing educational system in society is television. Cultivation

analysis views television as a messaging system with aggregate and repeating picture patterns,

elements of which were ingested by watchers over an extended period of time. Cultivation

analysis emphasises the broad and widespread impact of continuous television exposure, in

contrast to the then-traditional media communication research, which focused on the effects of

individual messages, episodes, series, and genres on immediate attitudes and behaviour

changes (Signorielli and Morgan, 2009). The results of more than four decades of cultivation

study on television messaging systems have shown a "distorted" reality, including inflated

crime numbers, an overrepresentation of violence, gender-role stereotyping, atypical family

structures, the "mean world syndrome," and more (Morgan et al., 2009). The worldview of

frequent viewers, who rely on television as their primary source of views and values,

progressively becomes dominated by this distorted yet repetitively conveyed "reality."

Television, which tells most of the stories in our society, has an impact on not just

individual ideas but also on society as a whole because it is the main source of popular culture.
CARTOONS AND CHILDREN IN KERALA 15

Despite individual diversity, societies with huge television audiences tend to have rather

uniform outlooks and attitudes that end up dominating or mainstreaming that society.

According to Signorielli and Morgan (2009), “television viewing may reduce or override

differences in perspectives and behaviour which stem from other social, cultural, and

demographic influences”.

Major components of cultivation research have looked at how television affects things

like violence, stereotypes regarding gender, well-being, and relatives, as well as more recently,

the effects of online gaming on psychological health (Signorielli and Morgan, 2009).

Theories of Moral Development

Freud, the father of psychoanalysis, postulated a conflict between an individual's wants

and those of society in 1962. Freud believed that moral growth occurs when an individual's

self-serving interests are suppressed and replaced by the values of significant socialising

figures in their lives, such as their parents. Skinner (1972), a supporter of behaviourism,

emphasised socialisation as the main driver of moral growth. Skinner concentrated on the

ability of outside influences (reinforcement contingencies) to influence a person's

development, as opposed to Freud's idea of a conflict between internal and external forces.

Piaget (1965) concentrated on the individual's construction, construal, and interpretation of

morality from a social-cognitive and social-emotional perspective, as opposed to Freud and

Skinner, who both focused on the external forces that have an impact on morality (parents in

the case of Freud, and behavioural contingencies in the case of Skinner).

Piagetian theories of moral development were built upon by Kohlberg (1963). Although

Kohlberg gave a methodical 3-level, 6-stage sequence illustrating changes in moral judgement

across the lifespan, both of them saw moral growth as the product of a conscious effort to

improve the coordination and integration of one's orientation to the world. Kohlberg claimed
CARTOONS AND CHILDREN IN KERALA 16

specifically that moral growth follows societal development, which is concerned with the

consistent application of universal ethical principles, and personal development, which is

concerned with group functioning.

Turiel (1983) argued for a social domain approach to social cognition, outlining how

people distinguish between emotional (personal, individual prerogative) and social

(conventions, group functioning, traditions) concepts from early in development throughout

the lifespan. This model has been supported by research findings over the past 40 years,

showing how kids, teens, and adults distinguish moral rules from conventional rules, recognise

the personal domain as a non-regulated domain, and assess multifaceted (or complex) situations

that span multiple domains.

Piaget’s Theory of Moral Development

The Swiss psychologist Jean Piaget (1896–1981) was one of the first to recognise that

children and adults thought in fundamentally different ways. Piaget did not believe that children

were inferior copies of adults in terms of intelligence, in contrast to many of his forebears.

They basically perceive in an alternative manner. According to his four-stage theory of

cognitive development, children's mental skills go from sensorimotor to pre-operational to

concrete operational to formal operational. Children can only develop to the fullest extent of

their intellectual capacity after mastering each one of them.

Heteronomous and autonomous morality were the two phases of moral development

that Piaget identified in his Theory of Moral Development. Children between the ages of 5 and

10 often go through the period of heteronomous morality, also known as moral realism or other-

directed morality. Children at this age firmly believe that they must follow the rules because

they comprehend the repercussions. Negative results will result from breaking the regulations.
CARTOONS AND CHILDREN IN KERALA 17

Most younger kids will follow the rules only to avoid getting in trouble. Since morality is

imposed from without, an authoritative figure's actual presence is irrelevant.

Children, however, go to a greater degree of morality as they grow and mature. When a kid

reaches the age of 10 and continues into adolescence, they often enter the period of autonomous

morality, also known as moral relativism or morality of collaboration. The egocentrism of

middle childhood is now starting to subside in children. As a result of their newly gained

capacity to see things from other people's viewpoints, their understanding of morality changes.

Piaget thought that exactly these kinds of collective decision-making circumstances are where

moral learning is most effectively acquired.

The four stages of Piaget’s cognitive developments are sensorimotor, pre-operational,

concrete operational, and formal operational. The sensorimotor stage is when a youngster is

under the age of four. They are not currently grasping the game's rules unless they wish to

experiment with the texture of the paper. Children in this stage of development behave as they

experiment with their motor plans and their relationships to the game's items. Preoperational

development occurs in children between the ages of 4 and 7. They are primarily egocentric,

and this egocentrism extends to how they see the rules. A youngster that is egocentric makes

their own rules. The youngster is in the concrete operational stage between the ages of 7 and

11. Children are beginning to perceive the world with greater empathy. However, there are

differences in how they talk to and engage with other players. While some people want to play

together, others prefer to do it their own. Children may listen to the game's rules while they

play, but they may not understand them or choose to follow them. By the time a youngster

reaches the formal operational stage, at age 12, they start to comprehend the rules. Additionally,

this awareness is accompanied with a love of the rules. They begin to follow them and

encourage other kids to do the same.

CARTOONS AND CHILDREN IN KERALA 18

Kohlberg’s Stages of Moral Development

The stages of moral development, proposed by Lawrence Kohlberg in 1958, is a whole

step theory of moral development that is based on Jean Piaget's theory of moral judgement for

children (1932). Kohlberg's theory, which is cognitive in character, focuses on the thought

process that takes place when one chooses whether a conduct is right or bad. Thus, rather than

what one decides or does, the theoretical focus is on how one chooses to respond to a moral

issue.

From birth until maturity, people go through six different phases of moral thinking,

according to Kohlberg's thesis. He divided these phases into the pre-conventional,

conventional, and post-conventional moral reasoning stages. Each level corresponds to a more

advanced degree of moral growth. The external control of morality is present at the pre-

conventional level. In order to avoid punishment or gain rewards, people abide by the rules that

are set out by authoritative persons. According to this viewpoint, doing what is right just means

getting away with it or doing what makes you happy. First level comprises two stages- stage 1,

i.e., Punishment/obedience orientation & stage 2, i.e., Instrumental purpose orientation. In

stage 1, actions are influenced by the results. The person will comply in order to avoid being

punished. In stage 2, consequences once more influence behaviour. The person concentrates

on getting rewards or meeting needs for herself. At the conventional level, a person still values

following social norms. On interactions with other individuals and social institutions, rather

than on self-interest, the focus has changed. To gain their acceptance or to preserve social order,

the person tries to abide by the rules that are established by others, such as parents, classmates,

and the government. It also has 2 stages – Stage 3, i.e., Good Boy/Nice Girl orientation & Stage

4, i.e., Law and order orientation. In stage 4, action is influenced by social acceptance. By being

a “good person”, the person hopes to keep or gain the love and acceptance of others. In stage

4, action is governed by societal laws and rules. The person now considers a wider perspective,
CARTOONS AND CHILDREN IN KERALA 19

that of societal laws. Making moral decisions involves more than just taking someone's

personal relationships into account. The person holds the view that laws and regulations uphold

social order, which is something that should be protected. The person overcomes their own

social viewpoint when they reach the post-conventional level. Morality is described in terms

of universally applicable abstract ideals and concepts. The person makes an effort to view

things from everyone else's perspective. It also consists of 2 stages – Stage 5, i.e., social

contract orientation & Stage 6, i.e., Universal ethical principle orientation. Individual rights

determine actions in stage 5. The person sees laws and regulations as adaptable tools for

advancing human goals. That is, there are regulations that can be broken under the appropriate

circumstances. When laws conflict with people's constitutional rights and the interests of the

majority, they do not benefit society and should be replaced with alternatives. According to

Kohlberg, this is the highest functioning level in stage 6. He asserted that certain people,

nevertheless, will never achieve this level. At this point, one's self-selected ethical rules of

conscience guide the proper course of conduct. These ideas are general in scope and abstract

in nature. This method of decision-making entails considering the viewpoints of each

individual or group who may be impacted by the choice.

Language Acquisition Theory

Language acquisition is the process through which people learn to comprehend and

utilise language. In order to comprehend and clarify how the process starts and develops, many

language acquisition theories have been developed in the English language. In learning the

English language, students are subjected to 4 primary theories of language acquisition. They

are Behavioural Theory by B F Skinner, Cognitive Theory by Jean Piaget, Nativist theory by

Noam Chomsky and Interactionist Theory by Jerome Bruner.

CARTOONS AND CHILDREN IN KERALA 20

A component of behavioural thought is the behavioural theory of language acquisition,

sometimes known as the imitation theory. According to behaviourism, we are a result of our

surroundings. Children lack the internal processes or capacity to independently acquire

language. According to B F Skinner (1957), children first pick up a language by mimicking

their careers, who are often their parents, before changing their language usage as a result of

operant conditioning. According to the Cognitive theory of language acquisition, our ideas and

internal workings are what primarily motivate our behaviour. According to Jean Piaget (1923),

infants have very limited cognitive capacity at birth, but as they get older and interact with the

outside world, their minds expand and form new schemas. The ability to assimilate new

knowledge into what is previously known and accommodate new information allows them to

eventually apply language to their schemas. Noam Chomsky (1957) suggests that kids are born

with a language acquisition device (LAD), which he refers to as an inclination or desire for

acquiring languages. He said that even if a kid is not schooled in the language of their home

nation, as long as they are raised in a typical setting, they would still develop a verbal

communication system. As a result, learning a language must have an intrinsic, biological

component. According to Jerome Bruner (1961), children have the capacity to acquire and use

language, but they need consistent engagement with their parents, carers, or instructors in order

to do so fluently. The Language Acquisition Support System (LASS) is the name given to this

concept.

The socio-historical approach to psychology, or socio-cultural theory, is credited to Lev

Vygotsky (1896-1934) as its originator. Vygotsky's main focus, in contrast to Chomsky and

Piaget, was the connection between the development of mind and that of language. He was

curious in how different languages may affect how someone thinks. According to Vygotsky's

idea, language is initially used for social communication before eventually advancing both

language and cognition. According to Vygotsky, language is essential for the growth of the
CARTOONS AND CHILDREN IN KERALA 21

brain. He contends that private communication, which takes the shape of language, directs

cognitive growth. The social importance of education and its link to societal engagement form

the basis of Vygotsky's thesis. He contends that language and culture are crucial to the growth

of the human mind as well as to how people view the world, thereby fostering language and

cognition. According to Vygotsky, language is essential for the growth of the brain. For one to

recognise intellectual growth, one must have a thorough knowledge of how thinking and

language interact. For cognition to develop and personality traits to be established, language is

crucial.

Social Learning Theory

The study of learnt behaviours is known as social learning theory, and it involves seeing,

copying, and modelling new behaviours that are supported by others, or “models”. New

behaviours therefore either persist or stop depending on how they are rewarded or reinforced

in the social context. Albert Bandura, a psychologist, formulated this idea after carrying out the

now-famous Bobo doll experiment in 1961. The experiment examined Bandura's idea of

modelling and observational learning, which would later be developed into the social learning

theory.

The classical conditioning theory and operant conditioning theory are two of the

fundamental principles of the social learning theory. The idea of classical conditioning, often

known as Pavlovian conditioning, holds that humans learn through association by following a

straightforward pattern of stimulus and response. Operant conditioning adds another level of

complexity to this and gives rise to the idea that humans learn by associating particular

behaviours with rewards or penalties. The theoretical foundations of the social learning theory

are comprised of these two theories as well as Bandura's study that behaviour is learnt from the

environment.
CARTOONS AND CHILDREN IN KERALA 22

The Bandura's four principles of social learning are another set of four guiding ideas

that form the basis of the social learning theory. The social learning process and its results can

be impacted by any of these concepts. There are still other internal and external elements, or

“mediational processes”, that may influence the course of events and obstruct learning even

when they are all present. The principles consist of the following:

• Attention: The setting in which the observed event occurred and the subject's degree of

focus.

• Retention: The subject's ability to recall or maintain the behaviour and event that was

witnessed.

• Reproduction: The capacity of the the observer to mimic the behaviour (cognitively or

physically).

• Motivation: The level to which the observed behaviour is desired to be practised.

Bandura tried to demonstrate that human behaviour is acquired by modelling, or by

watching others, and that these observations may direct activities and lead to mimicked

behaviours in subjects later on. He did this by exposing groups of children aged three to six to

aggressive behaviour. He was able to prove his idea with success. In the study, youngsters did

in fact become more hostile after witnessing aggressive behaviour in adults.

Social learning theory is based on three key ideas:

1. People have the capacity to learn by observation.

2. A crucial component of this learning process is the learner's mental state.

3. A change in behaviour does not always occur after learning something.

A significant application of the social learning theory is aggressiveness, as was shown

in the original Bobo doll experiment. Children frequently pick up violent behaviour through
CARTOONS AND CHILDREN IN KERALA 23

seeing others—especially adults—do it and from seeing how it is modelled and reinforced over

time. When addressing the behaviour of children raised in violent circumstances, the

hypothesis is frequently taken into account.

EMPIRICAL REVIEW

In the case study Gender representations and stereotypes in cartoons: a Jordanian case

study by Salam Al-Mahadin, it is stated that although some new cartoons are putting a different

spin on gender stereotypes, cartoons give children a virtual world that they connect with their

own and through these cartoons they pick up stereotypes and believe that real life should have

these stereotypes as well. (2003).

Children are generally drawn to cartoons, which either directly or indirectly impact

their behaviour, claims 2016 research titled "The Effect of Cartoons on Children." This study

also showed that youngsters start watching a lot of television by the age of 3. Additionally, it

was stated that cartoons have certain beneficial effects on kids' mental, moral, and language

development. The results of this study also showed that youngsters become more violent after

viewing cartoons and began acting like their favourite cartoon characters in real life.

Hassan and Daniyal assert that there is a link between children's behaviour in school

and cartoon viewing. They contend that cartoon violence influences kids' behaviour. (2013)

Hassan and Daniyal In order to test two assumptions, the research "Cartoon Network and its

Impact on Behaviour of School Going Children: A Case Study of Bahawalpur, Pakistan" (2013)

was conducted. "H1: The frequency of cartoon viewing by school-age children affects their

behaviour in the classroom. H2: Children's behaviour is affected by violence depicted in

cartoons.
CARTOONS AND CHILDREN IN KERALA 24

The experiment on content analysis was conducted as part of Lauri Reinhardt's study

on "The effects of television on children's behaviour, attitude, and moral judgement." where

kids were questioned on the plot of the cartoon they had just watched. The interview came to

an end if any of the kids highlighted the cartoon's lesson. If not, the experimenter kept pressing

the kids for an answer by asking things like, "What was the special message of the cartoon?"

If the youngster replied in the affirmative, the question "What was the special message?" was

next asked. (1978) As a consequence of this study, "Only 14 of 60 children extracted a moral

story or lesson from the three cartoon conditions" (Reinhardt, 1978) was the conclusion made.

The 2016 research "The effect of cartoon on children" found that kids' minds are pliable

like play dough and are very easy to mould. even in the most basic ways. According to the

study, "A child is accepting any outer influence and information affecting his character in the

future" (Tripathi, Priyambada, Singh, Anita and Singh, 2016), it is only reasonable that their

language learning would be impacted as well.

The conclusions of multiple research on how gender is portrayed in films, television

shows, and video games are disputed by Dafna Lemish (2010). She aptly summarises how

females are connected with being "in the private sphere" and boys are affiliated with being "in

the public sphere". This argument has several levels. It emphasises how the discussion of

gender stereotypes has led some to believe that media portrayals of men have more social

standing than those of women. One may examine the numerous study strands in the field of

gender representation using this argument as one of the key points of reference.

Mary Claire Akinyi Kidenda's 2010 study, An Investigation of the Effect of Animated

Cartoons on Children in Nairobi A fantastic response rate resulted in 426 of the 450

questionnaires that were issued being fully completed and used to gather the data for this study.

86% of the 426 respondents stated that they had discussed cartoons with their friends in order
CARTOONS AND CHILDREN IN KERALA 25

to determine whether they had the same interests and learn more about their friends' favourite

cartoons and cartoon characters. 2010's Kidenda

Sibel Ergen (2012) investigated how violent TV cartoons were seen by Turkish

schoolchildren. This study sought to discover the behaviour indicating this influence and to

show the gender-specific effects of violent television cartoons on youngsters. A total of 300

students were recruited for the study using a straightforward, random technique and a weighted

stratification within each institution. Data was gathered utilising a 20-question survey

administered in-person to the children on field trips to elementary schools. Results showed that

there was a substantial gender difference in the types of influences that students' favourite

cartoons had on them and in the ways that they emulated the actions of the cartoon characters.

A research on the Perceived Influence of Television Cartoons on Nigerian Children's

Social Behaviour was undertaken in 2014 by Olusola Samuel Oyero and Kehinde Opeyemi

Oyesomi. This study aimed to investigate the effects of cartoons on the social conduct of

Nigerian children from both the parents' and the kids' perspectives. Design for the survey was

used. 100 students and 50 parents' responses to a questionnaire, interviews, and focus groups

were used to gather data. Chi Square and percentages were utilised to analyse the data. The

results demonstrate that parents and children both agree that cartoons have a good impact on

youngsters. While cartoons are credited with improving children's spoken English, teaching

them new things and morals, and keeping them occupied among other advantages, some

parents have expressed concern that some of the effects of cartoons may be detrimental,

necessitating regulations to counteract those effects. It is advised that parents make a conscious

effort to keep an eye on the cartoons their kids are viewing to make sure they are age-

appropriate.
CARTOONS AND CHILDREN IN KERALA 26

Cartoons may also educate children and have a positive impact on them, according to

a different study by Habib and Soliman titled "Cartoons' Effect in Changing Children Mental

Response and Behaviour." For instance, cartoons may teach children to help those in need,

teach them about working in groups, control their anger, act politely, and obey their elders.

(2015).

Effects of cartoon programmes on behavioural, habitual, and communicative changes

in children (2016) is a study done on 200 kids, and it found that 61% of the kids try to copy

stunts after they start watching cartoons, 31% of the kids start acting indecently, and 45% of

the kids start acting violently, especially when the TV is turned off by their parents. (2016) Rai,

Waskel, Sakalle, Dixit, and Mahore. In her 2017 paper Gender Representation in Animation: A

paper on Children's Television Programming in India, Ruchi Jaggi found that the proportion of

male characters in both main and secondary categories is much greater than that of female

characters. With the exception of a few instances when primary men occasionally act

romantically and primary females occasionally succeed, these cartoons hardly display any

cross-type traits. (Jaggi 2017).

According to Monika Verma, a study on the diffusion of innovation through cartoons

was undertaken by Shaili Misra, Pragya Dwivedi, Shubham Chauhan, Chandan Verma,

Amitabh Mishra, and Mityunjay Pandey (2018). Indian children's lives inevitably include

watching cartoons and animation. Children's entertainment includes a significant amount of

animation and cartoon characters. The Indian cartoon and animation market expanded by 7.3%

in 2016 and is expected to expand by 9.7% in 2017 (FICCI-KPMG). The industry's target

market is children between the ages of 0 and 14, and in India, more than 30% of the population

is under the age of 15. For businesses in the sector, India has grown to be one of the biggest

marketplaces. Children's lifestyles and behaviours have changed as a result of technology

advancements and foreign material in media, and these changes need to be investigated.
CARTOONS AND CHILDREN IN KERALA 27

Therefore, this study was conducted to better understand how innovation dissemination enters

through children's viewing of cartoon programmes and how they interpret such innovation.

Children are likely to pick up ideas, objects, and cultural values by viewing cartoons. Therefore,

it is important to investigate how innovation is spread among youngsters through cartoon

programming.

Olayinka and Sarah Sopeka Researchers Samson Alade, Mary Uchechukwu, and

Ignatius-Ihejirika (2020) looked examined how parents perceived the impact of violent

cartoons on young children's social behaviours. The study used a survey research approach

and a questionnaire to gather information from 100 parents. For data analysis, frequency counts

and percentages were employed. The research revealed that the majority of kids watched

cartoons on a daily and weekly basis. Most of the kids watched violent cartoons with plenty of

battles, aggressive heroes, and shouting and abusive characters. It was discovered that parents'

impressions of the impact of violent cartoons on children's conduct were unfavourable.

A case study of South Punjab was used to assess the impact of violent cartoons on

children's behaviour by Tahir Mahmood, Urwah Iftikhar, and Muhammad Ahsan Bhatti in

2020. The study looks into how kids are exposed to antisocial material and how it affects their

behaviour. Children's personalities are greatly influenced by cartoons, especially when they are

very young. Children attempt to emulate their favourite animated character. They make an

effort to imitate and reproduce the acts of their favourite cartoon character. Another crucial

factor is the atmosphere in which the kids watch scary or violent cartoons. In the absence of

parental supervision, they may grow to have anxieties or exhibit antisocial behaviours.

The viability of employing "the Tom and Jerry show," "Mickey Mouse Clubhouse," and

"Masha and the Bear" series in primary school was investigated by Wender da Silva Caixeta et

al in their 2021 study. The main goal of the current study is to determine if it is feasible to use
CARTOONS AND CHILDREN IN KERALA 28

cartoons as supplemental materials for EE activities conducted in an elementary school setting.

We spent a total of 55h16min analysing 196 episodes of "The Tom and Jerry Show," "Mickey

Mouse Clubhouse," and "Masha and the Bear." The plots and situations of forty-one (41)

episodes provide opportunities for EE activities. These episodes talk with situations connected

to environmental topics. It is assumed that primary school students who took part in the EE

exercise learned more about the Cerrado biome and other broad environmental challenges as a

result of their involvement in the activity. The obtained findings thus support the idea that

cartoons may be employed as didactic-pedagogical support material for EE activities geared

towards youngsters.

The Impact of Prosocial Cartoon Examples on Children's Donating Behaviour was

studied by Qian et al. in 2021. 80 adults judged cartoons as prosocial or controlling. Children

from a total of 156 participated in the research. Children in the experimental group watched

animated series in which the main character had a significant amount of benevolent behaviours,

while children in the control group watched animated series with less benevolent behaviour.

They saw these cartoons nonstop for four days. After that, using the Toy Donation Task (TDT),

children's charitable actions towards their peers were evaluated. Results were analysed using

the analytical technique of 2 (cartoon: prosocial versus control y x 2 (gender; male vs female)

and 3 (age: 4 vs. 5 vs. 6) analysis of variance (ANOVA). The empirical findings showed that

watching cartoons that specifically showed charitable donations—as opposed to cartoons with

other prosocial content—increased donations for charitable causes, whereas watching control

cartoons, or cartoons without prosocial content that did not show characters acting

withdrawingly, did not increase donating behaviour. Specifically. While there were no

discernible age effects among male children, 5-year-old female children reported higher giving

behaviours than 6-year-old and 4-year-old female children. Here, 4-6-year-old girls and 4-5-
CARTOONS AND CHILDREN IN KERALA 29

year-old boys reported higher charitable behaviours when exposed to the prosocial cartoon

condition than when exposed to the control cartoon condition.

Correlation Between Cartoon Violence, Aggressive Behaviour, and Psychological

Well-Being Among Primary School Children was investigated by Doha Abd Elbaseer

Mahmoud, Mawaheb Mahmoud Zaki, and Hend Ahmed Mostafa in 2022. This study used a

descriptive correlational research approach and was done at only one government-run

elementary school in Benha City, Qaliubiya Government. In the previously indicated situation,

a multistage random sample of (400) kids was collected by selecting schools, randomly

selecting one grade, and then collecting all of the children in that grade. Less than half of the

investigated youngsters had low levels of overall psychological wellness, whereas more than

three-quarters of the primary school students had a favourable attitude towards cartoon

violence and more than half had severe levels of aggressiveness.

A study was carried out in May 2016 to determine the impact of cartoon programming

on children's behavioural, habitual, and communicative changes. The majority of children

behave in real life in a way that is similar to how their favourite cartoon character appears on

television, suggesting that children who watch cartoons have some significant behavioural

effects on both their real-life and television behaviour. This study also showed that cartoons

have a significant influence on children nowadays, which is seen in the way they dress, behave,

and speak.

Another research, "Impact of Cartoon Programmes on Children's Language and

Behaviour," published in 2017 indicated that children who watch a lot of cartoons behave more

violently and aggressively when they play with their siblings and other kids. The study also

showed that due to their excessive cartoon viewing, kids are developing disrespectful behaviour

and a high rate of language learning.

CARTOONS AND CHILDREN IN KERALA 30

According to a research published in June 2017 titled "Mother's Perception about

Influence of Cartoons on Child's Behaviour and Parenting Style," children's typical routine

behaviour is greatly influenced by the parenting styles of their parents, especially their mother.

This study has shown that the beneficial effects of animation on children's behaviour outweigh

the negative effects by a significant margin.

The typical routine conduct of children is greatly influenced by the kind of parenting

methods adopted by their parents, particularly by their mother, according to a study published

in June 2017 titled "Mother's Perception about Influence of Cartoons on Child's Behaviour and

Parenting Style." This study has shown that the beneficial effects of animation on children's

behaviour are more pronounced than their negative effects when parents actively intervene.

Social behaviour encompasses the actions taken by an individual that influence, shape,

or otherwise impact the behaviour of another individual within a given societal context. It is a

dynamic interplay where one's behaviour serves as a stimulus that, in turn, prompts responses

from other members of the society or group. This reciprocal pattern of social behaviour not

only reflects individual interactions but also contributes to the broader dynamics of the

collective. While extensive research has been conducted both internationally and within India

on the influence of cartoons on children's social behavior, there exists a noticeable research gap

specific to the region of Kerala. This research deficiency is significant as it pertains to a unique

cultural and traditional milieu. Investigating the effects of cartoons on children's social

behaviour within the context of Kerala holds paramount importance, given its cultural nuances.

The outcomes of such a study are poised to offer invaluable insights for policymakers,

educators, and content creators. By involving the local community, this research aims to

cultivate awareness and collaborative efforts, thereby fostering a more positive and impactful

media landscape in Kerala. Through a comprehensive investigation, this research endeavours

to bridge this gap in the literature, contributing to the existing body of knowledge and enriching
CARTOONS AND CHILDREN IN KERALA 31

our understanding of the intricate interplay between cartoons and children's social behaviour

within the Kerala context.

CARTOONS AND CHILDREN IN KERALA 32

CHAPTER III

METHOD

This chapter deals with the methodology adopted for this study. An attempt is made to

narrate how cartoons affect the social behaviour of children in Kerala.This chapter includes

research design, pilot study, the setting for the study, population, sample, tools, and method of

data collection and how the data will be analysed and interpreted in order to arrive at certain

findings, suggestions and conclusions based on the study.

Research design

The research design refers to the overall strategy that is chosen to integrate the different

components of the study in a coherent and logical way, thereby, ensuring that the research

problem will be addressed effectively. It constitutes the blueprint for the collection,

measurement, and analysis of data.

The research design adopted in this study is multiple case study research design. The case study

research design is an in-depth study of a particular situation rather than a sweeping statistical

survey. “Case study research involves the study of an issue explored through one or more cases

within a bounded system‟ (Creswell 2007:73).

Participants

The participants are 5 children who watches cartoon from Trivandrum and Kollam

district.
CARTOONS AND CHILDREN IN KERALA 33

Inclusion criteria and Exclusion criteria

Native Malayalam speaking children who watches cartoon of age between 5-13 from

Trivandrum and Kollam district were included

Tools for data collection

The interview schedule was prepared to find out the socio-demographic profile of the

children. This schedule consists of closed questions dealing with the socio-demographic profile

like "age, sex, educational, schooling, socio economic level, number of siblings, age and

qualification of parents and no. of members in family".

A semi structured interview guide, including more than 20 questions for parents and 10

questions for children was prepared based on the research questions. In-depth interviews and

discussions were conducted as techniques of data collection to elicit information from the

respondents.

Procedure for data collection

The data collection process for this study involved engaging directly with children who

regularly watched cartoons, as well as their respective parents. The researcher conducted in-

person visits to each participant's residence, ensuring a personalized and comprehensive

approach to data gathering. Through face-to-face interactions, the researcher conducted

individual interviews with both children and parents, facilitating a deep exploration of their

perspectives and experiences. On average, the interviews with parents lasted approximately

one hour, allowing for detailed discussions on the subject matter. In the case of children,

interview durations varied, spanning from half an hour to two hours, depending on each child's

engagement and responses. To capture the essence of the interviews, conducted in the native

language of Malayalam, the researcher transcribed the recorded conversations into English.
CARTOONS AND CHILDREN IN KERALA 34

This meticulous process ensured accurate translation and preserved the richness of participants'

expressions and viewpoints. The decision to personally visit each participant and conduct

interviews in their homes underscored the commitment to gaining an authentic and

comprehensive understanding of the participants' perspectives. The data collection process

involving the children was tailored to their individual preferences for favourite cartoons. As a

result, each interview with the children was conducted subsequent to the identification of their

preferred cartoon.

Data analysis

Thematic analysis

Thematic analysis, a rigorously structured qualitative research methodology, serves as

a systematic framework for dissecting and interpreting textual, visual, or auditory data to

discern recurrent themes, intricate patterns, and nuanced meanings inherent within the dataset.

This method entails a meticulously orchestrated sequence of analytical steps, commencing with

a comprehensive immersion in the data to establish familiarity, followed by the process of

generating initial codes, subsequently identifying overarching thematic patterns, and iteratively

refining and validating these emergent themes through a meticulous review process. By

meticulously engaging in this process, thematic analysis unveils both manifest and latent

themes embedded within the data, facilitating an in-depth exploration of the complexities

inherent within participants' experiences, viewpoints, or narratives. Applied across diverse

research domains encompassing interviews, focus groups, and open-ended surveys, among

others, this approach is paramount in fostering nuanced, contextually rich interpretations that

contribute substantively to the overarching research objectives and scholarly discourse.

CARTOONS AND CHILDREN IN KERALA 35

Ethical consideration

Prior to engaging with the children as participants in the study, a crucial step was taken

to ensure ethical and procedural integrity. Permission was duly obtained from the Head of the

Department of MSc Counselling Psychology, reinforcing the commitment to ethical research

practices. This step highlighted the ethical rigor and institutional support underlying the

research endeavour. In the process of approaching children and their families, explicit steps

were taken to obtain informed consent. Verbal consent was sought from all parents, acting as

guardians of the participating children. This consent was obtained only after a comprehensive

communication about the study's objectives, scope, and intended outcomes. Parents were

provided with a clear understanding of the purpose and significance of the research,

emphasizing the impact it could have on advancing knowledge in the field. Crucially, it was

assured that utmost confidentiality would be maintained, assuaging any concerns related to

data privacy. Furthermore, parents were explicitly informed that the data collected would be

exclusively used for the purpose of this study. This transparency in communication

underscored the researcher's commitment to ethical conduct and safeguarded the integrity of

the participants' involvement. The verbal consent process was meticulously documented,

thereby maintaining a comprehensive record of the participants' willingness to engage in the

study.
CARTOONS AND CHILDREN IN KERALA 36

CHAPTER IV

RESULTS AND DICUSSION

Table 4.1

Personal profile of the children watching cartoon

Case Age Gender Geographical Educational No. of Other

location status siblings family

members in

house.

A 7 Girl Rural II grade 1 5

B 12 Boy Urban VI grade 1 4

C 11 Girl Rural VI grade - 4

D 10 Boy Rural V grade 1 6

E 7 Boy Urban II grade 1 4

The study encompasses five distinct cases, each representing a unique child participant

from different backgrounds in Kerala. Case A features a 7-year-old girl in a rural setting, Case

B involves a 12-year-old boy from an urban context, Case C portrays an 11-year-old girl in

rural surroundings, Case D centres on a 10-year-old boy in a rural environment, and Case E

presents a 7-year-old boy growing up in an urban area. The cases span various ages, genders,
CARTOONS AND CHILDREN IN KERALA 37

educational levels, and family compositions, offering a diverse snapshot of children's social

behaviour within different settings. This diverse array of cases contributes to the study's holistic

exploration of how cartoon consumption influences social behaviour among children in Kerala

Case A

The first participant Case A is a 7-year-old girl belonging to a lower middle-class

family. Her family consists of her father, mother, elder sister, and paternal grandma. She is

studying in 2nd grade, and her sister is studying in 5th grade. Her father (41), who studied up

to the 12th grade, is now a contract worker at a company site, and her mother (35), who

completed a diploma after the 12th grade and is now a homemaker. Her grandmother (68) also

lives with them. The family resides in the rural part of the district of Trivandrum, Kerala.

‘A’ is very much the font of cartoons. She watches cartoons every day for about 2-3

hours. Her mother says, “I have kept the time limit, so that he can socialise with people around”

The mother of ‘A’ has control over her cartoon watching. They usually speak

Malayalam at home, but she is quite good at English, as English was used at school. She

watches cartoons only on TV and not on YouTube. She watches cartoons in Malayalam,

English, and occasionally Hindi. Her mother could not always supervise her while watching

TV as she was busy with her work. The cartoons she usually watches are Oggy and the

Cockroaches, Masha and the Bear, Ben 10, etc. It may vary from time to time. Her favourite

characters are Oggy and Ben Ten. Her mother said, Sometimes, my child pretends to be Ben 10

and imitates his powers. She also tries to talk like the character Oggy. It's quite amusing to see

her playacting. She also copied catchphrases from those cartoons. She is fond of getting things

with pictures of her favourite cartoon character. A’s mother said: There was an incident recently

where my child insisted on getting an Oggy pencil box, but it was out of stock. So, I bought her

a Ben 10 pencil box instead. She already has some toys related to Oggy and the Cockroaches,
CARTOONS AND CHILDREN IN KERALA 38

which she cherishes a lot. She likes to go out and play. She pretends to play Ben Ten with her

friends. Her mother does not think that all cartoons shown nowadays are indecent and contain

obsceneness that children should not be exposed to. If she comes across anything inappropriate,

make sure to prevent her from watching it. She has a good relationship with her mother and

father. She is more attached to her mother. With her siblings, she shares a good bond. Her

teachers are really fond of her. At school, she is friendly with everyone but very close with

three of her friends. Her mother says, no, my child doesn't show any withdrawn behaviour. He

likes to be connected. she displays slightly aggressive or angry behaviour. Her favourite

cartoons were found to be oggy and the cockroaches and ben 10.

The main plot of "Oggy and the Cockroaches" revolves around the daily life and

comedic interactions between Oggy, a cat, and three mischievous and troublesome cockroaches

named Joey, Dee Dee, and Marky. The show is characterized by its slapstick humour and visual

gags, with minimal dialogue and a focus on physical comedy. Oggy is depicted as a lazy and

easy-going cat who enjoys a peaceful and comfortable life in his home. However, his

tranquillity is constantly disrupted by the cockroaches, who are always coming up with

inventive and often outrageous schemes to annoy Oggy and cause chaos. The cockroaches'

antics lead to a series of comedic situations where Oggy tries to maintain order and regain

control of his home. Throughout the episodes, Oggy and the cockroaches engage in a playful

and sometimes adversarial relationship. Oggy employs various tactics to counter the

cockroaches' pranks and attempts to outsmart them, but the cockroaches also manage to outwit

him from time to time. Despite their constant conflicts, there are instances of unexpected

cooperation and camaraderie between Oggy and the cockroaches, highlighting the complexity

of their interactions.

Oggy is the main protagonist of the show, depicted as a blue cat. He is known for his

laid-back and easy-going personality. he is extremely lazy, likes to sits idly and watch tv for
CARTOONS AND CHILDREN IN KERALA 39

the whole day Oggy enjoys a peaceful and comfortable life, often engaging in activities like

cooking, gardening, and relaxing. He's kind-hearted and prefers a calm environment. When

faced with the mischievous cockroaches, Oggy's reactions range from frustration to

determination, as he tries to maintain order in his home. He's creative in countering the

cockroaches' pranks and occasionally forms unexpected alliances with them.

Joey, Dee Dee, and Marky (The Cockroaches) are the main antagonists of the series.

They are characterized by their mischievous, cunning, and chaotic nature. Joey is the leader,

often coming up with elaborate schemes. Dee Dee is the most childlike and curious of the trio,

while Marky is more laid-back and often goes along with Joey's plans. Despite their

troublesome behaviour, they occasionally display a sense of camaraderie and even help Oggy

in certain situations. Their non-verbal communication and ability to adapt to various challenges

contribute to their comedic and dynamic personalities.

The main plot of "Ben 10" revolves around Ben Tennyson, a 10-year-old boy who goes

on a summer road trip with his cousin Gwen and their grandfather Max. During a stop at a

roadside diner, Ben discovers a mysterious device known as the Omnitrix, which attaches itself

to his wrist. The Omnitrix allows Ben to transform into a wide variety of alien species, each

with its own unique abilities. With his newfound powers, Ben takes on the role of a superhero,

using his alien forms to combat various threats and villains, both human and extraterrestrial.

Throughout the series, Ben and his companions travel to different locations, encountering

different alien species, other Omnitrix users, and various challenges. As they journey together,

they uncover the secrets of the Omnitrix and its origins. While the overarching plot focuses on

Ben's adventures and his battles against villains who seek to misuse the power of the Omnitrix,

the show also delves into character development and the relationships between Ben, Gwen, and

Max. As Ben faces increasingly powerful foes, he learns to be more responsible and to use his

powers for the greater good.

CARTOONS AND CHILDREN IN KERALA 40

Ben Tennyson, the charismatic protagonist of "Ben 10," is a spirited and adventurous

young boy driven by curiosity and a thirst for excitement. His initial recklessness and impulsive

nature stem from his eager embrace of the Omnitrix’ s alien-transforming powers. However,

beneath his playful and humour-laden approach to challenges lies a courageous soul unafraid

to confront powerful foes. As the series unfolds, Ben's character matures, influenced by the

wisdom gained from his escapades. His growth is marked by a shift toward strategic thinking,

responsibility, and empathy, while his protective instincts and willingness to sacrifice for loved

ones remain unwavering. This blend of youthful enthusiasm, evolving wisdom, and a strong

moral compass makes Ben a relatable and endearing character, resonating with audiences as he

navigates the intricate journey of heroism and self-discovery.

Gwen Tennyson, a pivotal figure in the "Ben 10" series, embodies a multifaceted

personality. Possessing intelligence and resourcefulness, Gwen's strong-willed and determined

nature is balanced by her role as the team's voice of reason, offering a moral compass and

ethical perspective. Her caring and empathetic demeanour is evident in her interactions, while

her growth is punctuated by developing confidence and a gradual acceptance of her exceptional

abilities, making Gwen a relatable and inspiring character known for her unwavering loyalty

and impactful presence within the series.

When asked about who she would identify herself with between Oggy and the

cockroaches, she chose Oggy. She said, I love Oggy. I choose Oggy because he is my favourite

character. He does nothing but sit there and watch TV all the day. She identifies her sister with

Oggy too. She identifies her parents as roaches because they irritate her and won't let her watch

TV. When it comes to her classmates, some she identifies as oggy and some as cockroaches

because some of them are her best friends and others seem to irritate her. Between Oggy and

cockroaches, he would help Oggy when they both were in trouble, and she could only help one.

Between Ben Ten and Gwen, she identified herself as Ben Ten because Ben Ten has more
CARTOONS AND CHILDREN IN KERALA 41

power and Gwen does not. She likes to be friends with both but wanted to be friends with Ben

Ten first. If these two characters were in trouble, she would help Ben Ten, saying Ben Ten is

her favourite character and if she could help him, he would help many others. She likes to share

her toys with both, but Benten would be her first priority. She thinks Ben's job is a police officer

or detective, and Gwen's might be an assistant officer.

Case B

The second participant's case B is a twelve-year-old boy belonging to a middle-class

family. His family consists of his father, mother, and younger brother. He is studying in 7th

grade, and his brother is in UKG. His father (43), a BBA graduate, is now doing business. and

his mother was working as a teacher in his school. After the second child, she quit her job, and

now he is a home baker. The family resides in the urban part of the district of Trivandrum.

He really likes to watch cartoons, but his mother sets a maximum limit of one hour for

his cartoon watching. because she believes that it is important to strike a balance between

screen time and other activities to ensure a healthy lifestyle. Regarding his language abilities,

he is fluent in Malayalam and has a good understanding of English. He enjoys watching

cartoons on YouTube, specifically on the Kids YouTube channel. It provides a wide range of

age-appropriate content that he can explore. In addition to cartoons, he also watches moral

stories on YouTube, which helps instil positive values and lessons. While he primarily watches

English cartoons, he occasionally watches dubbed versions too. His mother says, it’s interesting

to see him exposed to different languages and cultures through cartoons. He has also shown

an interest in Japanese cartoons, although I'm not certain about the specific shows he has

watched. To ensure responsible viewing, his mother supervises his TV time. The television is

placed in our hall, which allows everyone in the family to see what he is watching. This way,

she can monitor the content and ensure that it aligns with his age and values. Among the various
CARTOONS AND CHILDREN IN KERALA 42

cartoons he watches, Masha and the Bear is his absolute favourite. It's the show he consistently

prefers. Additionally, he enjoys watching popular shows like Peppa Pig and Chhota Bheem.

Masha is his favourite character; as his mother says, Masha holds a special place in his heart.

He really likes her character and finds her endearing. Interestingly, when he sees Muslim

children wearing a hijab, he associates them with Masha. It's heartwarming to witness his

connection between the cartoon character and real-life observations. During his earlier years,

around the age of 3 to 4, he used to imitate a particular character from a cartoon. However, as

he has grown older, this tendency to imitate has diminished. His mother says he absorbs certain

words and phrases from the cartoons he watches and occasionally incorporates them into his

vocabulary. His mother says that these cartoons have influenced him to explore new words and

expressions. He has a genuine love for the cartoons he watches, and this extends to his interest

in purchasing related goods. For example, he owns a backpack featuring Chhota Bheem, which

brings him a lot of joy and allows him to feel connected to his favourite characters. His mother

says, despite enjoying cartoons, he actually prefers outdoor games to watching TV. He has a

vibrant social life with many friends in our apartment complex. Engaging in outdoor activities

and spending time with friends is important for his physical and social development.

Occasionally, he may exhibit behaviour influenced by the cartoons he watches. For example,

he might become adamant about wanting something, like porridge, because he saw Masha

eating it. Said his mother, and she added that she always takes the opportunity to explain the

difference between cartoons and reality, helping him understand that not everything in cartoons

translates directly to real life. While there are instances where it seems like he confuses cartoons

with reality, she makes sure to consistently emphasise the distinction between the two. It's

crucial for him to understand that cartoons are fictional and should not be taken as a

representation of real-life situations. About the appropriateness of the content, she said she

remembers some cartoons from her own childhood, such as Pokémon, that were not that good,
CARTOONS AND CHILDREN IN KERALA 43

and she finds the shows that her child watches to be suitable and appropriate for his age. She

always tries to ensure that the content aligns with their family values and provides positive

messages. About the relationship with his mother, his mother said, my child can be quite

naughty at times, and we do have instances where we end up having arguments or fights

especially when he backfires when I scold him. As a parent, it's my responsibility to guide and

discipline my child when necessary. While I do scold him when his behaviour calls for it, I also

make sure to approach it with love and understanding, teaching him the difference between

right and wrong. His relationship with his father is also good. but he is more likely to spend

more time with his mother. Conflicts between him and his brother are not a frequent occurrence.

They generally have a strong bond and love each other deeply. They usually find ways to

resolve conflicts and maintain a positive relationship. He has developed a special attachment

to his teachers at school. The teachers have become his favourites. He has a nice relationship

with his friends. Even his mother keeps in touch with their families too. He is not withdrawn,

his mother says, nothing like that, it’s a relief to observe my child's healthy friendships and

active involvement in extracurricular clubs. Their ability to collaborate and bond with peers

tells me that they're not demonstrating any withdrawn behaviours. He sometimes displays

stubborn behaviour, but his mother has learned effective strategies to handle these situations.

She added that, while it's important for children to have some autonomy and make choices,

there are times when I need to step in and set boundaries. I believe it's crucial to strike a

balance between allowing him to express his desires and guiding him towards making

appropriate choices. His favourite cartoon was found to be Masha and the bear.

"Masha and the Bear" is a popular Russian animated children's television series created

by Oleg Kuzovkov. The show premiered in 2009 and has gained a wide international audience

due to its engaging stories and charming characters. The series is primarily targeted at

preschool-aged children and is known for its humour, life lessons, and heartwarming moments.
CARTOONS AND CHILDREN IN KERALA 44

The show revolves around the adventures of a curious and energetic little girl named Masha

and her unlikely friendship with a kind-hearted bear. The bear, who lives in a cozy cabin in the

forest, is originally portrayed as a solitary and serious character. However, Masha's arrival turns

his peaceful life upside down as she constantly involves him in various mischievous escapades.

The general plot of "Masha and the Bear" typically involves Masha finding herself in humorous

and sometimes challenging situations, often due to her curiosity and impulsive nature. The

bear, although initially reluctant, becomes Masha's protector and guide, helping her navigate

through her adventures while also learning important lessons himself. Throughout the series,

Masha and the Bear encounter other animal characters, such as a wise old dog, a mischievous

hare, a diligent penguin, and others. Each episode focuses on a different storyline, teaching

children valuable life lessons such as friendship, kindness, patience, and problem-solving.

Masha's vivid imagination often leads her to create fantastical scenarios and play

elaborate games. She can turn even the simplest of tasks into exciting adventures. Masha speaks

in a childlike manner, often mixing words and using simple language. Her innocent and sincere

way of speaking adds to her charm. Masha's fearlessness sometimes leads her to venture into

situations that would intimidate others. Her curiosity knows no bounds, and she's always eager

to try new things. While her solutions can be unconventional, Masha's creative thinking often

helps her overcome challenges and puzzles.

The Bear often takes on a fatherly role for Masha, guiding her and ensuring her well-

being. Despite his initial reluctance, he cares deeply for Masha and is always ready to help her.

The Bear's attempts to maintain a quiet and peaceful life are often disrupted by Masha's

exuberance. His reactions, ranging from exasperation to fond exasperation, contribute to the

show's humour. The Bear's wide range of skills, from cooking to playing musical instruments,

showcase his resourcefulness and his ability to adapt to various situations. The Bear's
CARTOONS AND CHILDREN IN KERALA 45

relationship with Masha evolves over time, from moments of frustration to genuine affection.

Their shared experiences strengthen their unique bond.

The Black Bear's presence introduces an element of rivalry and competition, especially

with the Bear. He often tries to outdo the Bear in various activities to prove his dominance.

While initially portrayed as a competitor, the Black Bear's character later reveals a more

complex side. He has moments of camaraderie and cooperation with the Bear and Masha. The

Black Bear's brashness and self-confidence provide a sharp contrast to the Bear's gentle and

patient nature. This dynamic adds a layer of depth to the interactions between characters.

When asked about who he would identify himself with between the bear and the black

bear, he chose the bear, said he is good and always helps Masha, and added that the black bear

will always trouble her. He identified his brother as a bear too. Saying he was always there

with him and that he was his best companion. Also, he identified his parents as bears, saying

they are also good and not like the black bear. Then he said his friends are bears, but there is a

boy like the black bear who troubles him and his friends. He added that the boy even looks like

the black bear, black and fat. His mother interrupted and tried to correct him. Then both are in

trouble, and he would definitely help the bear. Between Masha and the bear, he would identify

himself with Masha because she is his favourite character, and he said that she loves going to

new places. He too loves to explore new places, but his Amma won't let him go. He likes to be

friends with both because both are good. If he could help only one when they are both in

trouble, he would help Masha because she is always his favourite. He will share his toys with

Masha first because he loves her. He thinks the job of the bear must be done by someone who

builds houses, and Masha will be a traveller.

CARTOONS AND CHILDREN IN KERALA 46

Case C

The third participant, Case C, is an eleven-year-old girl belonging to a middle-class

family. Her family consists of her mother and her maternal grandparents. She is a single child;

her parents got divorced when she was 6. She is now in the 6th grade, and her mother (37)

works as a teacher at the same school where she studies. The family resides in the rural part of

Trivandrum.

Case C loves watching cartoons; there is no time limit for her, and if given permission,

she would watch TV continuously for the entire day. Malayalam is her native language, and

she also understands Hindi. She is quite proficient in English because it is used at her school.

She enjoys watching cartoons on TV and YouTube. While she primarily watches animated

cartoons, she also watches some non-animated programmes on YouTube. She is open to

watching cartoons in Malayalam, English, and any other language if she finds them interesting.

Due to her mother's work load, she can't always supervise her. But whenever she is at home,

she makes sure to supervise her and set restrictions on her TV viewing. She watches a variety

of cartoons, including Motu Patlu, Mayakkannan, and Chota Bheem, roll number 21. Mr. Bean

and many others—those names are not family to her mother. Her favourite character is Patlu

from Motu Patlu, and she loves Lena from Mayakkannan. During her childhood, she had some

initial difficulties with speech. Her mother said watching cartoons has had positive influence

on her ability to speak, she initially imitated words and mannerisms from various cartoons like

Dora Buji and Mayakkannan on Kochu TV. She seems to understand multiple languages, but

she's not able to speak all of them fluently. She can comprehend those languages but struggles

to express herself in them. She likes to buy items such as name slips and bags that feature her

favourite cartoon characters; she tends to prefer the items over others. She prefers playing

outdoors, especially when she has company to play with. Her mother has not noticed that she
CARTOONS AND CHILDREN IN KERALA 47

pretends to play anything related to watching cartoons. There are some cartoons that her mother

finds acceptable, but not all of them. Some cartoons lack moral values or contain vulgar

content, and she prefers that her child avoid those. About the relationship with her parents, her

mother said, Overall, we have a positive relationship, although there are times when she

displays stubbornness, which can be challenging for me to handle. Nevertheless, I find ways to

manage it. Since me and her father are separated, she is not that connected to her father; he

will just visit her occasionally, maybe once every 3 months or whatever. She holds a great deal

of affection for her teachers and shows a lot of love towards them. She is generally friendly

with most of her friends, but there are some children she cannot tolerate. She sometimes goes

to her mother and shares instances of certain children behaving in certain ways, expressing her

unwillingness to be friends with them. She is not withdrawn, her mother says, my daughter is

quite outgoing and enjoys playing with her friends at the park. She's quick to share and take

turns, which assures me that she's not displaying any withdrawn behaviours. she displays

anger at times, especially when things don’t go according to her wishes. The child identified

her favourite cartoon to be motu Patlu and maya Kannan.

."Motu Patlu" is an Indian animated series that centres on the comedic exploits of two

main characters, Motu and Patlu, in the fictional city of Furfuri Nagar. Motu, a lovable but

food-loving man, often stumbles into chaotic situations due to his big appetite, while his clever

and quick-witted friend Patlu works diligently to extricate them from these predicaments.

Motu's obsession with samosas frequently lands them in trouble, and their adventures involve

encounters with the local mafia led by don Jon. Amidst the laughter and slapstick humour, the

show underscore’s themes of friendship, teamwork, problem-solving, and making ethical

choices. As the duo navigates through various challenges, their interactions with a colourful

cast of characters contribute to the show's delightful blend of entertainment and life lessons.
CARTOONS AND CHILDREN IN KERALA 48

Motu's love for samosas is a running gag throughout the series. His eyes light up at the mention

of samosas, and he often goes to great lengths to get his hands on them, even if it means getting

into hilarious predicaments. When Motu consumes Moti Choors (a special kind of sweet), he

gains incredible strength and becomes nearly invincible for a short period. This strength is the

source of many action-packed sequences and comedic moments. Motu’s childlike enthusiasm

and curiosity often lead him into adventures and mishaps. He has a boundless energy and is

always eager to explore new things, which sometimes gets him into trouble. Motu has several

catchphrases that have become popular among fans of the show, such as "Motu Patlu, dono ek

hi hai" and "Dr. Jhatka, have a little heart."

Patlu's intelligence and quick thinking are his defining traits. He often comes up with

innovative solutions to problems, using his knowledge and logical reasoning to navigate

challenges. Patlu is an avid reader and a well of information on various subjects. He often

quotes facts, stories, and ideas from the books he has read, which proves useful in various

situations. Patlu often plays the role of the peacemaker between Motu and other characters. He

tries to mitigate the consequences of Motu's actions and helps resolve conflicts. Patlu's

resourcefulness shines through when he collaborates with Dr. Jhatka to create gadgets and

devices to assist them in their adventures.

John the Don is a cunning and ambitious character, often seen as a local gangster in the

fictional city of Furfuri Nagar. Sporting his signature sharp suit and distinctive hairstyle, John

is known for his crafty nature and continuous attempts to exploit situations for his own gain.

His intelligence and manipulation skills make him a formidable antagonist, as he devises

elaborate schemes to outwit the main characters, Motu and Patlu. Despite facing repeated

failures, John's persistence in pursuing wealth and power remains unwavering. His comedic

villainy adds a light-hearted element to the show, often leading to humorous interactions and

exaggerated plans that contribute to the entertaining dynamic of "Motu Patlu."

CARTOONS AND CHILDREN IN KERALA 49

"Maya Kannan" is an animated television series that aired on the Kochu TV channel.

However, I do not have specific details about the plot of "Maya Kannan," except that the show

features the life of a young girl who has a cat with her, which is actually a mischievous and

adventurous young boy named Mayakkanan with many magical powers. Mayakannan is very

fond of ice cream, but it will reduce his magical powers. Mayakkanan helps Leena and her

friends when they are in trouble.

Leen is a young girl. She is lazy, and most of the time she acts against what her parents

tell her. But still, she loves her family very much. Mayakannan is a very lovable and empathetic

character who always helps his friends.

She likes to identify herself with Patlu because he is brilliant; she added that he is even

more intelligent than Motu. She identifies her mother as Jhon. and says, If Motu was there, I

would have chosen Motu. Amma looks like Motu. She identifies most of her friends with Jhon,

as most of them are really troublesome fellows. She would help Patlu when John and Patlu

were in trouble, saying she didn’t like John. Between Mayakkanan and Leena, she identifies

herself with Mayakkanan because he is powerful and he loves ice cream just like her. She

would like to be friends with both, but she really wants a friend like Mayakkannan, so she will

choose Mayakkannan first. When they are both in trouble, she will help Mayakkanan because

she likes him more. She will share her toys with Leena, saying, Mayakkannan doesn’t need

any toys. He has magical powers. She thinks Mayakkanan is a magician by profession, and

Leena would be a baker.

Case D

The fourth participant, case D, is a 10-year-old boy belonging to the lower middle class.

His family consists of his father, mother, elder sister, and paternal grandparent. He is studying
CARTOONS AND CHILDREN IN KERALA 50

in 5th grade and his sister in 8th grade. Her father (40) completed 10th grade and now is a

driver, and her mother (35) completed 12th grade and now is a homemaker. His grandfather

(83) was also a driver, and his grandmother (72) is a homemaker. The family resides in the

rural part of Trivandrum, Kerala.

Case D likes to watch cartoons very much. His screen time for watching cartoons is

around 2 hours which gives him a good balance between entertainment and other important

activities. He watches cartoons on both TV and kids' YouTube channels. He speaks Malayalam,

and he could understand English. He watches cartoons in English as well as dubbed versions

in Malayalam and Hindi. He watches TV under his mother’s supervision. His usual cartoon

choices include "Chhota Bheem," "Oggy and the Cockroaches," and "Lissy and the

Lemmings." According to his mother, his favourite character is Chhota Bheem because he

watches that show frequently, and she has observed that he is particularly fond of laddu, often

associating it with the character's source of energy. He even tries to grab laddus from sweet

shops when they go to a sweet shop. Watching cartoons has helped him acquire knowledge in

Hindi and English, and his speaking skills have also improved. His mother said he specifically

asks for products like water bottles, bags, and even clothes featuring images of his favourite

cartoon characters. I once searched the entire street for a Mr. Bean box but couldn't find it.

He prefers to play outside with his friends rather than watch cartoons. Sometimes, he pretends

to be stronger like Chhota Bheem and attempts to do random things, such as lifting heavy

objects. Occasionally, he blames his teddy bear to cover up his own actions, just like Mr. Bean

does. His mother hasn't observed or felt any indecency in the cartoons he watches. He has a

positive relationship with his mother, but he is more attached to his father. When his father

comes home, he will take him for a drive; he really likes that. About his relationship with his

sister, his mother said, in our presence, our children sometimes fight, but overall, they care for

each other. He has a good relationship with his teachers and friends. He is really friendly with
CARTOONS AND CHILDREN IN KERALA 51

his friends and neighbours. So far, there haven't been any major issues or concerning

behaviours. Some occasional displays of violence are present, but they are manageable. His

favourite cartoon was identified to be chotta bheem.

"Chhota Bheem" is an Indian animated television series that follows the adventures of

a young boy named Bheem in the fictional kingdom of Dholakpur. The show is known for its

blend of action, adventure, and cultural elements. The general plot of "Chhota Bheem" revolves

around Bheem and his friends as they face various challenges, often involving villains and

mythical creatures, while striving to protect Dholakpur and its residents. Bheem, the

protagonist, is a strong and courageous boy with exceptional physical strength. Along with his

friends Raju, Chutki, Kalia, Dholu, and Bholu, Bheem embarks on quests, missions, and

adventures that require them to use their skills, teamwork, and intelligence to overcome

obstacles and solve problems. The group's camaraderie and Bheem's strength are often central

to their success in facing the challenges that arise. The show's plot often draws inspiration from

Indian mythology, folklore, and cultural traditions. Bheem and his friends encounter various

mythological figures, supernatural creatures, and historical references as they navigate through

their adventures. The series incorporates traditional clothing, festivals, and moral values,

contributing to its educational and cultural significance. Throughout the series, "Chhota

Bheem" emphasizes virtues such as friendship, loyalty, bravery, and honesty. Bheem's

determination to do what is right and his willingness to help others serve as guiding principles

for the characters. The show's episodes typically revolve around the characters' efforts to thwart

the plans of villains, protect Dholakpur, and ensure the well-being of its inhabitants.

Chhota Bheem is known for his immense appetite and love for laddoos (a type of

sweet). His appetite is often a source of his strength in the show. He has a strong sense of

responsibility and is always willing to go to great lengths to help those in need. Bheem's
CARTOONS AND CHILDREN IN KERALA 52

physical strength is almost superhuman, and he often uses it to perform heroic feats and protect

his friends and the people of Dholakpur. He beats and fights with his enemies. Despite his

extraordinary abilities, Bheem remains down-to-earth and values humility and kindness. He is

a role model for the other children in Dholakpur, and they often look up to him for guidance

and inspiration.

Kalia is one of the main antagonists of the series. He is depicted as a boastful, loud, and

often mischievous boy who is envious of Bheem's strength and popularity. Kalia is often

accompanied by his two sidekicks, Dholu and Bholu, who add to the comedic elements of the

show. While Kalia can be a rival to Bheem, there are instances where he and Bheem put their

differences aside to work together against a common threat. Kalia’s jealousy of Bheem is a

recurring theme, and this sometimes leads to humorous situations as he tries to outdo Bheem.

Beneath his tough exterior, Kalia has moments of vulnerability and can display acts of kindness

and bravery. Over the course of the series, Kalia's character evolves, and he develops a more

complex personality beyond just being a rival.

Chutki is known for her culinary skills and often helps her friends by cooking delicious

meals and treats. She is caring and nurturing, often playing the role of the "mother figure"

within the group by taking care of her friends. Chutki's intelligence and resourcefulness are

crucial in solving problems and overcoming challenges. Her friendship with Bheem is strong,

and she is one of his closest confidants, providing him with emotional support and advice.

Chutki's presence balances the group dynamics, adding a sense of empathy and practicality to

their adventures.

When asked between Chotta Bheem and Kalia, he identifies himself with Chotta Bheem

because he is so powerful and adds that he doesn’t like Kalia because he is fat. He identifies

his siter with Kalia, saying she fights with him, and adds that he is the one who always wins.
CARTOONS AND CHILDREN IN KERALA 53

He identifies his mother with Kali, saying she irritates him sometimes but other times he likes

her. He identifies his father with Chotta Bheem because he plays with him, gets him gifts, and

takes him for drives every day. He identifies his friends with Chotta Bheem because he really

likes them all. When Chotta Bheem and Kalia are in trouble, he will help Chotta Bheem because

Bheem is strong and he really likes him. Between Chotta Bheem and Chudki, he identifies

himself as Chotta Bheem, saying he is not a girl. He likes to be friends with Chotta Bheem and

not with Chudki because he doesn’t want to be friends with girls. When these two were in

trouble, he would help Chotta Bheem, saying, so that we will be friends, I will also get powers

like him, and we will fight all the evils out and save the world. He likes to play with his toys

with Chotta Bheem because he is his friend. About their jobs, he says, Chhota Bheem is a small

boy, but when she grows up, she will become a police officer, and Chutki will become a teacher.

Case E

The fifth participant, Case E, is a 7-year-old boy belonging to a middle-class family.

His family consists of his mother, younger brother, grandmother, aunt, and his grandfather,

who is working abroad. His father and mother were separated when his mother was carrying

his brother. They are not yet legally divorced. He is studying in the 2nd standard, and his

brother (6) is studying in the 1st standard. His mother (26) got married at an early age; she is

now 12 and is currently pursuing her degree in English as a distant education. She is an actress

by profession. His aunt (23) is also an actress; she graduated. His grandmother (48) is a

homemaker, and his grandfather (56) is doing business in Dubai. His father is a businessman.

The family resides in the urban part of the district of Kollam, Kerala.

Case E is very much into watching cartoons. Most of the time after school, he comes

and sits in front of the TV; someday it even extends to midnight or 1 o'clock. He doesn't watch

any cartoons on YouTube, and he speaks Malayalam well. He doesn't know any other language.
CARTOONS AND CHILDREN IN KERALA 54

He watches cartoons in every language: English, Hindi, and Malayalam. He even watches those

languages that his family doesn't even know which one is. His mother couldn’t supervise his

cartoon watching as he was always in front of it. He watches anything that is entertaining for

him: Motu Patlu, Happy Kid, Oggy and the Cockroaches, Galaxy Squad, Peppa Pig, Maya

Kannan, etc. According to his mother, his favourite characters are Quill, Oggy, and Yoko. She

is not sure about it, but these are the names that he often says to his mother, so she thought

these might be his favourite characters. He doesn’t imitate characters, but he copies some words

and sounds from those characters. He doesn’t learn language from it, but somehow he manages

to understand the content. He asks for guns (toys) like those in Galaxy Squad; he also asks for

bags and water bottles with cartoon characters pictures. His mother says he likes to go out and

play, but as there are no friends of his age, I won't let him go out. When something doesn’t go

according to his wishes or someone irritates him, he will beat them and say, Oggy does the

same when he gets angry. His mother does not feel like today's cartoon has any indecent or

obscene content in it. She says they are entertaining. Most of the time, his mother will be away

with work, so she couldn’t find him pretending to play like those characters in cartoons.

Concerning his attachment to his mother, his mother says, We are not that attached because I

am always away with my work. He is always fighting with his brother. His mother finds it hard

to handle. She could manage it because her sister and mother were there. His relationships with

teachers and students are good and positive. At school, he is very obedient. He shows no

withdrawn behaviour, but he hurt his mother mentally and emotionally, saying he hurt his

father and even physically hurting his mother and aunt. His favourite cartoon, as identified by

himself, is Guardians of the Galaxy.

"Guardians of the Galaxy" is an animated television series based on the popular Marvel

Comics superhero team of the same name. The show follows the intergalactic adventures of a

group of unlikely heroes as they come together to protect the universe from various threats.
CARTOONS AND CHILDREN IN KERALA 55

The core members of the Guardians of the Galaxy team include Star-Lord (Peter Quill),

Gamora, Drax the Destroyer, Rocket Raccoon, and Groot. Each member brings their unique

skills, personalities, and backstories to the group. The Guardians of the Galaxy embark on a

series of action-packed adventures across the cosmos. They encounter alien species, explore

distant planets, and engage in battles against powerful adversaries, including cosmic threats,

intergalactic criminals, and supervillains. The show explores the dynamics between the team

members, highlighting their contrasting personalities and individual quirks. Their interactions

often lead to comedic moments, camaraderie, and moments of personal growth as they learn to

work together despite their differences. "Guardians of the Galaxy" emphasizes the importance

of friendship, cooperation, and teamwork. The characters, despite their initial differences, come

to rely on each other's strengths and form a tight-knit bond that helps them overcome

challenges. The series incorporates elements of science fiction, fantasy, and superhero action.

It introduces viewers to cosmic phenomena, advanced technology, and cosmic beings while

showcasing the Guardians' super heroic feats. Like the Marvel films and comics, the animated

series balances action with humour. The Guardians' witty banter, humorous interactions, and

comedic situations provide a light-hearted tone amidst the high-stakes adventures. Alongside

the action and humour, "Guardians of the Galaxy" often imparts moral lessons and values, such

as the importance of sacrifice, redemption, and standing up for what's right.

Peter Quill was abducted from Earth as a child in the late 1980s by the Ravagers, a

group of space pirates led by Yondu Udonta. He grew up as a Ravager and became a skilled

pilot and thief. Quill is known for his pop culture references, often making jokes and references

from the 1980s and 1990s. He uses humour as a coping mechanism and tends to maintain a

carefree attitude even in dangerous situations. Quill's relationship with Gamora is a central

aspect of his character development. Their initial tension and eventual romantic connection add
CARTOONS AND CHILDREN IN KERALA 56

depth to his personality. His interactions with Rocket, Groot, and other Guardians reveal his

leadership qualities and sense of camaraderie.

Gamora is the adopted daughter of Thanos, the Mad Titan. She was raised by him after

he slaughtered her entire species. She was trained to be a skilled assassin and is often referred

to as "The Deadliest Woman in the Galaxy." Gamora's past trauma has left her emotionally

guarded and initially focused solely on survival. She struggles with her identity and sense of

morality due to her upbringing by Thanos. Through her interactions with the Guardians,

particularly her relationship with Quill, Gamora experiences personal growth and begins to

distance herself from her dark past. Her journey towards redemption and forming close bonds

with her teammates is a significant part of her character arc.

Ronan is a high-ranking member of the Kree Empire and a radical zealot. He despises

the Xandarians and seeks to bring about their destruction by harnessing the power of the Power

Stone. Ronan is depicted as a religious fanatic, driven by a single-minded desire for power and

vengeance. He has a deep hatred for the Xandarians and views himself as a righteous crusader.

Ronan's quest to use the Power Stone to exact his revenge and establish his dominance over

the galaxy puts him on a collision course with the Guardians. His relentless pursuit of power

makes him a formidable adversary.

Between Quill and Ronan, he identifies himself as Quill, and he beats every bad person.

He identifies his brother with Ronan, saying, So that I can beat him. He identifies his father as

Quill and his mother as Ronan because she scolds him. About his friends, he says, There is a

guy named Nikhil in my class. He is Ronan, and I and my friends are Quill. We will beat him.

When Quill and Ronan are in trouble, he will help Quill because Ronan is bad; he is the one

who killed Groot. Between Quill and Gamora, he identifies himself with Quill, saying Quill is

handsome and Qamora is green. He will become friends with Quill, as he has the ability to beat
CARTOONS AND CHILDREN IN KERALA 57

many people. He will help Quill when they are both in trouble, as he is the hero. He likes to

share toys with quills only; he doesn’t like Gamora. He thinks Quill’s profession is to be a

fighter, and Gamora is an actress doing negative roles because she is green.

Research question: Do cartoons have an effect on the social behaviour of children in Kerala?

Table 4.2

Thematic analysis

Objective Code themes

does cartoon watching cause Case A cartoon watching can

violence in the behaviour of According to mother, influence children's

children? to what extend? “My child occasionally behaviour, particularly in

shows aggressive behaviour, terms of aggressive

which I suspect could be tendencies. it is evident as

influenced by the action- children occasionally exhibit

packed cartoons they watch. imitative aggressive actions,

These shows often depict often emulating characters'

intense conflicts and powers and confrontations

confrontations, possibly depicted in action-packed

impacting how my child cartoons. This emulation can

responds to certain manifest as attempts to lift

situations. I'm actively heavy objects, play-fighting,

working on balancing their and expressing anger or

media exposure with stubbornness. While some

CARTOONS AND CHILDREN IN KERALA 58

discussions about healthy parent’s express concerns

ways to manage emotions about the potential impact on

and encouraging positive behaviour, others

interactions.” acknowledge these displays

“, she even pretends to have as manageable within limits.

aliens’ powers like ben 10 The influence of cartoons

and screams and act out extends to verbal expressions

fights. We're keeping an eye of desires and interactions

on her activities; I don’t think with family members, were

its worrisome violence.” emotions border on

Case B aggression.

According to the mother,

“My child doesn’t show any

extreme aggression but can

sometimes display anger and

stubborn behaviour, but as a

parent, I have learned

effective strategies to handle

these situations. While it's

important for children to

have some autonomy and

make choices, there are times

when I need to step in and set

boundaries. I believe it's

crucial to strike a balance

CARTOONS AND CHILDREN IN KERALA 59

between allowing him to

express his desires and

guiding him towards making

appropriate choices.

“Occasionally, he may

exhibit behaviour influenced

by the cartoons he watches.

For example, he might

become adamant about

wanting something, like

porridge, because he saw

Masha eating it and if he

didn’t get it, he shows

anger.”

“My child can be quite

naughty at times, and we do

have instances where we end

up having arguments or

fights, especially when he

backfires at me when I scold

him”

case C

according to mother,
CARTOONS AND CHILDREN IN KERALA 60

“Yah, she shows anger at

times especially when things

don’t go according to her

wish. she even shouts at me

but after sometimes she

comes back to me and say

sorry.”

Case D

According to mother

“Up to this point, there

haven't been any significant

concerns or alarming

behaviours to address. While

my child occasionally

exhibits instances of

violence, I find them to be

within manageable limits.”

“Sometimes, my son engages

in imaginative play where he

emulates the strength and

actions of Chhota Bheem. It's

fascinating to watch him

attempt feats like lifting

heavy objects and play-

fighting, inspired by the

CARTOONS AND CHILDREN IN KERALA 61

character's heroic

qualities.”

Case E

According to mother

“, he shows aggression

whenever I go out to work. he

won’t let me go out, he will

show his anger on my siter,

his aunt. he will fight with me

and my sister. also, when he

gets angry, he emotionally

and mentally hurt us by

saying he want to go with his

father, we are separated

now.”

“He always plays war and

fight at home. he asks for

guns (toys)like those in

Galaxy squad to play fight.”

“When something doesn’t go

according to his wishes or

someone irritates him, he

will beat them and say, Oggy

CARTOONS AND CHILDREN IN KERALA 62

does the same when he gets

angry.”

Does cartoon watching affect Case A There is a clear "Language

language accusation? to what According to mother Acquisition through Cartoon

extend? “She usually speaks Watching" emerges as

Malayalam at home, but she parents share their

is quite good at English, as observations of how their

English was used at school”. children's language skills

“She watches cartoons in have been influenced by their

Malayalam, English, and cartoon preferences. The

occasionally Hindi” cases collectively emphasize

“She copied catchphrases the diverse linguistic

from those cartoons. It's exposure children receive

amusing to hear her use from watching cartoons in

those phrases in everyday multiple languages. Parents

conversations, and I can tell note their children's ability to

that these cartoons have effortlessly switch between

added a playful twist to her languages, showcasing a

language skills.” practical application of the

Case B: vocabulary and expressions

According to mother they've picked up from their

“Regarding his language favourite shows. The

abilities, he is fluent in children's imitation of

Malayalam and has a good catchphrases and

understanding of English. incorporation of cartoon-

CARTOONS AND CHILDREN IN KERALA 63

It's remarkable to see how derived words into their daily

well he communicates in conversations underscore the

both languages, allowing dynamic role of cartoons in

him to connect with a diverse fostering language

range of people and acquisition. These accounts

understand different collectively highlight how

perspectives”. cartoon watching not only

introduces children to

“He primarily watches different languages but also

English cartoons; he contributes to the expansion

occasionally watches dubbed of their linguistic capabilities

versions too. It's interesting and overall communication

to see him exposed to skills.

different languages and

cultures through cartoons.

He has also shown an

interest in Japanese

cartoons, although I'm not

certain about the specific

shows he has watched.”

“He absorbs certain words

and phrases from the

cartoons he watches and

occasionally incorporates

them into his vocabulary. I've

CARTOONS AND CHILDREN IN KERALA 64

noticed how these cartoons

have sparked his curiosity

for language, as he eagerly

experiments with new words

he picks up from his favourite

shows.”

Case C:

According to mother

“Malayalam is her native

language, and she also

understands Hindi. She is

quite proficient in English

because it is used at her

school.”

“She is open to watching

cartoons in Malayalam,

English, and any other

language if she finds them

interesting.”

“During her childhood, she

had some initial difficulties

with speech. Watching

cartoons has had a positive

influence on her ability to

CARTOONS AND CHILDREN IN KERALA 65

speak, as she initially

imitated words and

mannerisms from various

cartoons like Dora Buji and

Mayakkannan on Kochu TV.

She seems to understand

multiple languages, but she's

not able to speak all of them

fluently.”

Case D:

According to mother

“He speaks Malayalam, and

he could understand

English”.

“He watches cartoons in

English as well as dubbed

versions in Malayalam and

Hindi.”

“Watching cartoons has

helped him acquire

knowledge in Hindi and

English, and his speaking

skills have also improved. It's

rewarding to witness how his

interest in cartoons has

CARTOONS AND CHILDREN IN KERALA 66

inadvertently expanded his

language repertoire and

given him confidence in

using these languages.”

Case E:

According to mother

“He watches cartoons in

every language: English,

Hindi, and Malayalam. He

even watches those

languages that we don't even

know which one is.”

“He doesn’t seemingly learn

any language from it, but

somehow, he manages to

understand the content.

While he may not actively use

the language from cartoons

in his speech, I'm intrigued

by his ability to grasp the

meaning and context of what

he watches, showcasing a

unique form of

comprehension and

engagement”
CARTOONS AND CHILDREN IN KERALA 67

Does cartoon watching affect Case A While screen time limits are

socializing of children? to According to mother, set by parents to strike a

what extend? “No, my child doesn't show balance between

any withdrawn behaviour. entertainment and other

He likes to be connected.” essential activities, the

“I have kept the time limit, so observed interactions

that he can socialise with between children and their

people around” peers, parents, and teachers

“She has a good relationship reveal intriguing patterns. It

with her me and her father. becomes evident that

She is more attached to her parental guidance and the

me” child's inherent tendencies

“He shares a warm significantly shape how

relationship with his sister” cartoons influence their

“Her teachers are really fond social behaviours. Instances

of her.” of positive relationships,

“At school, she is friendly cooperation, and sharing

with everyone but very close among peers indicate that

with three of her friends” controlled exposure to

“She likes to go out and cartoons can contribute to

play.” developing essential social

Case B skills. Moreover, the

According to mother, preference for outdoor play

and real-life interactions over

extended screen time

CARTOONS AND CHILDREN IN KERALA 68

“Nothing like that, it’s a suggests that moderate media

relief to observe my child's consumption can facilitate

healthy friendships and healthy engagement with the

active involvement in surrounding world,

extracurricular clubs. Their underscoring the

ability to collaborate and multifaceted relationship

bond with peers tells me that between cartoon watching

they're not demonstrating and social development.

any withdrawn behaviours.

“We have set a maximum

limit of one hour for cartoon-

watching. We believe it's

important to strike a balance

between screen time and

other activities to ensure a

healthy lifestyle. By setting

this limit, we encourage him

to engage in a variety of

activities and socializing

beyond just watching

cartoons.”

“My child can be quite

naughty at times, and we do

have instances where we end

CARTOONS AND CHILDREN IN KERALA 69

up having arguments or

fights especially when he

backfires when I scold him.

As a parent, it's my

responsibility to guide and

discipline my child when

necessary. While I do scold

him when his behaviour calls

for it, I also make sure to

approach it with love and

understanding, teaching him

the difference between right

and wrong so we share a

good bond. His relationship

with his father is also good.

but he is more likely to spend

more time with me.”

“: Conflicts between him and

his brother are not a frequent

occurrence. They generally

have a strong bond and love

each other deeply. They

usually find ways to resolve

conflicts and maintain a

positive relationship.”
CARTOONS AND CHILDREN IN KERALA 70

“The teachers have become

his favourites.”

“He has a nice relationship

with his friends. Even I keep

in touch with their families

too.”

“Despite enjoying cartoons,

he actually prefers outdoor

games to watching TV. He

has a vibrant social life with

many friends in our

apartment complex.

Engaging in outdoor

activities and spending time

with friends is important for

his physical and social

development.”

Case C

According to mother,

“My daughter is quite

outgoing and enjoys playing

with her friends at the park.

She's quick to share and take

CARTOONS AND CHILDREN IN KERALA 71

turns, which assures me that

she's not displaying any

withdrawn behaviours.

“Overall, we have a positive

relationship, although there

are times when she displays

stubbornness, which can be

challenging for me to handle.

Nevertheless, I find ways to

manage it. Since me and her

father are separated, she is

not that connected to her

father; he will just visit her

occasionally, maybe once

every 3 months or whatever.”

“She holds a great deal of

affection for her teachers

and shows a lot of love

towards them.”

“She is generally friendly

with most of her friends, but

there are some children she

cannot tolerate. She

sometimes comes to me and

CARTOONS AND CHILDREN IN KERALA 72

shares instances of certain

children behaving in certain

ways, expressing her

unwillingness to be friends

with them.”

“She prefers playing

outdoors, especially when

she has company to play

with.”

Case D

According to mother,

“He is very friendly with his

friends at school and

neighbourhood.”

“My child's daily screen time

for watching cartoons is

usually around 2 hours. I've

found that this duration

strikes a good balance

between entertainment and

other important activities. By

limiting his screen time, I aim

to encourage him to explore

various interests, spend time

CARTOONS AND CHILDREN IN KERALA 73

outdoors, and engage in

creative play, fostering a

holistic and healthy

development.”

“He has a positive

relationship with me, but he

is more attached to his father.

When his father comes home,

he will take him for a drive;

he really likes that.”

“In our presence, our

children sometimes fight, but

overall, they care for each

other.”

“He has a good relationship

with his teachers”

“He has a good relationship

with his friends. He is really

friendly”

“He prefers to play outside

with his friends rather than

watch cartoons.”

Case E
CARTOONS AND CHILDREN IN KERALA 74

According to mother,

“If he has someone to play

with, he would prefer that

over cartoon watching”

“His relationships with

teachers are good and

positive. At school, he is very

obedient.”

“His relationships with his

friends are good and

positive”

“He likes to go out and play,

but as there are no friends of

his age, I won't let him go

out.”

Does cartoon watching Case A children tend to align

affects morals and judgement According to the child themselves and their loved

of children? to what extend? “I love Oggy. I choose Oggy ones with the protagonist

because he is my favourite characters from the cartoons

character. He does nothing they watch, often without

but sit there and watch TV all considering their character

the day.” traits. They display a

preference for assisting and

CARTOONS AND CHILDREN IN KERALA 75

“My sister is oggy. she won’t supporting these protagonists

irritate me. I love her.” during challenging

“Amma is cockroach situations. For example, even

because she sometimes like when the protagonist may

most of the times irritates me have negative qualities,

and won't let me watch TV.” children still identify with

“My classmates .... Some of and admire them. This

them are Oggy and some are suggests that cartoon

Cockroaches some of them watching could influence

are my best friends some children's morals and

irritates me so they are judgment by shaping their

cockroach.” perceptions of characters and

“I will help Oggy, when he is their behaviours.

in trouble. Because he is my Additionally, the tendency to

favourite.” associate disliked individuals

with antagonist characters

Case B further indicates that

According to the child cartoons may play a role in

“I will choose the bear. shaping children's social

Because he is good and dynamics and judgments.

always helps Masha. Black This shows the potential

bear will always trouble impact of cartoon content on

Marsha” children's moral reasoning

and interpersonal judgments.

CARTOONS AND CHILDREN IN KERALA 76

“He is bear. he is always

there with me he is my best

companion”

“They are also bear. they are

Good and not like black

beer.my parents are the ones

who always take care of me”

“My friends are bear. but

there is a boy like the black

bear. he always troubles me

and my friends. He even

looks like the black bear, fat

and black”

“I would definitely help the

bear”

Case C

According to the child

“I like to be Patlu because he

is brilliant, she is even more

intelligent than motu”

“Amma is John. If Motu was

there, I would have chosen

Motu. amma looks like

Motu.”
CARTOONS AND CHILDREN IN KERALA 77

“Most of them are john. they

are Really troublesome

fellows”

Case D

According to the child

“I am Chhota Bheem. he Is

very powerful. And of course,

I don't like Kadia he is fat”

“She Is Kalia. She always

fights with me but I am the

one who always wins.”

“My mother is Kaliya. She

also irritates me. she won't

let me do what I want to do.

But sometimes she is really

friendly. my father is chotta

bheem because he plays with

him, gets him gifts, and takes

him for drives every day.”

“They are Chhota Bheem I

like my friends”

“I would Help Chhota

Bheem. he is very Strong and

I really like him”

CARTOONS AND CHILDREN IN KERALA 78

Case E

According to the child

“I will be quill. because he is

the one who beats every bad

people.”

“He will be Ronan. so that I

can beat him. “

“My father is quill and

mother Ronan. amma always

scolds me.”

“There is a guy named Nikhil

in my class. he is Ronan and

me and my friends are quill.

we will beat him. “

“I will save quill if quill and

roman are in trouble. Ronan

is bad he killed Groot.”

Does watching cartoons Case A cartoon watching among

contribute to the According to the child children does not appear to

development of gender “I am Ben 10 because Ben 10 have a significant effect on

stereotypes in children? have more power and she reinforcing stereotypical

don't have any powers” gender ideas. Children's

strong identification with

CARTOONS AND CHILDREN IN KERALA 79

“I like to be friends with both hero characters regardless of

but I would like to be friend gender, equal preference for

with Ben 10 first.” friendships, and willingness

“I would definitely help to help characters of either

ben10 and because he is my gender demonstrate a lack of

favourite character if I could adherence to traditional

help him, he would help gender norms. Furthermore,

many others.” the assignment of job roles

“I’ll share with both. but of based on character traits

course, Ben 10 is my first rather than gender-related

priority” expectations reinforces the

“ben’s Jobs is like saving absence of stereotypical

people. Police or detective” influences. Children's non-

“She might be an assistant of gendered self-identification

detective.” further underscores their

open and inclusive

Case B perspective. Overall, the data

According to the child suggests that cartoon

“Among these two I will watching may contribute to a

choose Masha because she is more balanced and non-

my favourite, she loves going stereotypical understanding

to new places I too love of gender roles, reflecting a

exploring new places but potentially positive impact

Amma won't let me go on children's perceptions and

Alone” attitudes.
CARTOONS AND CHILDREN IN KERALA 80

“I like to be friends with

both”

“If I could help only one then

I will help Masha Masha is

always my favourite”

I will share my toys with

Masha first. I really love

her”

“Bear must be fighter or

someone who build houses”

“Masha is a traveller”

Case C

According to the child

“I would like to be maya

Kannan. he is powerful”

“I would like to be friends

with both but I want a friend

like Maya Kannan.”

“I would help maya Kannan

then he will help me too.”

“I think maya Kannan is a

magician”
CARTOONS AND CHILDREN IN KERALA 81

“She will be a baker. She

loves to bake cakes”

case E

According to the child

“I am quill. he is handsome.

she is green.”

“. quill will be my friend. he

has the ability to beat many

people.”

“Definitely I will help quill.

quill is the hero.”

“I will share with quill. I

don’t like Gamora”

“Quill, he will be fighter”

“She will be an actress.

Doing negative roles. she is

green, no?”

Research question: Do these shows alter the viewers perspective of reality?

Table no : 4.3

Thematic analysis

Objectives Code Themes

CARTOONS AND CHILDREN IN KERALA 82

Does cartoon affect the Case A Children's engagement with

perception of reality of According to mother, cartoons reveals a fascinating

children “Sometimes, my child interplay between the realms

pretends to be Ben 10 and of fantasy and reality. As

imitates his powers. She also they immerse themselves in

tries to talk like the character imaginative play, children

Oggy. It's quite amusing to adopt the personas and

see her playacting.” abilities of their beloved

“There was an incident characters, effectively

recently where my child blurring the boundaries

insisted on getting an Oggy between the fictional

pencil box, but it was out of universe and their own. This

stock. So, I bought her a Ben imitation not only

10 pencil box instead. She demonstrates a deep

already has some toys related connection but also

to Oggy and the underscores how these

Cockroaches, which she characters become an

cherishes a lot.” integral part of their

Case B cognitive and emotional

According to mother, development. Moreover, the

“Masha holds a special desire for products adorned

place in his heart. He really with character images

likes her character and finds showcases a tangible

her endearing. Interestingly, manifestation of this

when he sees Muslim attachment, acting as a

CARTOONS AND CHILDREN IN KERALA 83

children wearing a hijab, he bridge that extends the

associates them with influence of cartoons into

Masha.” their everyday lives. As

“During his earlier years, children imitate specific

around the age of 3 to 4, he actions or employ character-

used to imitate a particular related excuses, it becomes

character from a cartoon. evident that these

However, as he has grown interactions with fictional

older, this tendency to imitate worlds hold sway over their

has reduced.” desires, behaviour, and

“He has a genuine love for responses, hinting at a

the cartoons he watches, and complex interrelationship

this extends to his interest in between media exposure and

purchasing related goods. the shaping of their

For example, he owns a perceptions of reality.

backpack featuring Chhota

Bheem, which brings him a

lot of joy and allows him to

feel connected to his

favourite characters.”

“Occasionally, he may

exhibit behaviour influenced

by the cartoons he watches.

For example, he might

become adamant about

CARTOONS AND CHILDREN IN KERALA 84

wanting something, like

porridge, because he saw

Masha eating it.”

Case C

According to mother,

“Yes, she likes items such as

name slips and bags that

feature her favourite cartoon

characters. She tends to

prefer these items over

others.”

Case D

According to mother,

“I have observed that he

really likes Chhota Bheem

and is particularly fond of

laddu, often associating it

with the character's source of

energy. He even tries to grab

laddus from sweet shops.”

“Sometimes, he pretends to

be stronger like Chhota

Bheem and attempts to do

CARTOONS AND CHILDREN IN KERALA 85

random things such as lifting

heavy objects.”

“He specifically asks for

products like water bottles,

bags, and even clothes

featuring images of his

favourite cartoon

characters. I once searched

the entire street for a Mr.

Bean box but couldn't find

it.”

“Occasionally, my child

blames his teddy bear to

cover up his own actions.”

Case E

According to mother,

“He always plays war and

fight at home”

“Yes, he asks for guns

(toys)like those in Galaxy

squad he also ask for bags

and water bottles with

cartoon characters picture.”

CARTOONS AND CHILDREN IN KERALA 86

“Yes, sometime when we fail

to or don't give him

something before then he will

beat and say oggy does this”

Theme 1: Violence

Cartoon watching can influence children's behaviour, particularly in terms of aggressive

tendencies. it is evident as children occasionally exhibit imitative aggressive actions, often

emulating characters' powers and confrontations depicted in action-packed cartoons.

Sub theme1: Imitative aggressive action

Children's exposure to action-packed cartoons can lead to the imitation of aggressive

actions portrayed by characters. This imitation is evident through behaviours such as attempts

to replicate characters' powers, confrontations, and physical feats. Mother of Case A, “, she

even pretends to have aliens’ powers like ben 10 and screams and act out fights. We're keeping

an eye on her activities; I don’t think its worrisome violence.” For instance, children may be

observed trying to lift heavy objects or engaging in play-fighting, mirroring the actions of their

favourite characters. Mother of case D, “Sometimes, my son engages in imaginative play where

he emulates the strength and actions of Chhota Bheem. It's fascinating to watch him attempt

feats like lifting heavy objects and play-fighting, inspired by the character's heroic qualities.”

This phenomenon highlights the strong connection between visual stimuli and behaviour, as

children internalize and imitate what they see on screen.

CARTOONS AND CHILDREN IN KERALA 87

Sub theme 2: Emotional expression and communication

According to case C” s mother, “yah, she shows anger at times especially when things

don’t go according to her wish. she even shouts at me but after sometimes she comes back to

me and say sorry.” Cartoon-induced behaviour also extends to children's emotional expression

and communication. This corroborates with the study named ‘Impact of Cartoon Programs on

Children’s Language and Behaviour’ (2017), it was found that heavy viewers (children) of

cartoon programs, show more aggression and violent behaviour while they are playing with

their siblings and peers. The emotions depicted in cartoons, which sometimes border on

aggression, can influence how children express their desires and interact with family members.

Children may use aggressive language or gestures when communicating their needs or feelings,

reflecting the influence of the media they consume. This is much more evident in case E, his

mother says, ““, he shows aggression whenever I go out to work. he won’t let me go out, he

will show his anger on my siter, his aunt. he will fight with me and my sister. also, when he gets

angry, he emotionally and mentally hurt us by saying he want to go with his father, we are

separated now.” here the separation from the father seems to contribute to the child's emotional

turmoil but it is manifested as aggressive behaviour, which may act as a way to cope with these

feelings. This suggests that cartoons not only shape physical behaviour but also play a role in

shaping emotional responses and communication styles.

Sub theme 3: Parental concern

Parents' perspectives on the influence of cartoons vary widely. Some express concerns

about the potential long-term impact of aggressive cartoon content on their children's

behaviour. They worry that imitative aggressive actions could lead to negative outcomes or

undesirable behaviours case A ‘s mother say, “My child occasionally shows aggressive

behaviour, which I suspect could be influenced by the action-packed cartoons they watch. These
CARTOONS AND CHILDREN IN KERALA 88

shows often depict intense conflicts and confrontations, possibly impacting how my child

responds to certain situations. I'm actively working on balancing their media exposure with

discussions about healthy ways to manage emotions and encouraging positive interactions.”

On the other hand, some parents view these displays of behaviour as manageable within

certain limits. They may believe that with proper guidance and boundaries, children can

distinguish between fiction and reality, mitigating the potential negative effects. According to

case A” s mother, “My child occasionally shows aggressive behaviour, which I suspect could

be influenced by the action-packed cartoons they watch. These shows often depict intense

conflicts and confrontations, possibly impacting how my child responds to certain situations.

I'm actively working on balancing their media exposure with discussions about healthy ways

to manage emotions and encouraging positive interactions.”

Theme 2: Language acquisition

There is a clear "Language Acquisition through Cartoon Watching" emerges as parents

share their observations of how their children's language skills have been influenced by their

cartoon preferences.

Sub theme 1: Multilingual Exposure

Parents’ observations reveal that children exposed to different languages through

cartoons effortlessly switch between languages. This suggests that children’s cognitive

flexibility enables them to navigate between linguistic systems, showcasing a practical

application of vocabulary and expressions acquired from cartoons. mother of case B, “he

primarily watches English cartoons, he occasionally watches dubbed versions too. It's

interesting to see him exposed to different languages and cultures through cartoons. He has

also shown an interest in Japanese cartoons, although I'm not certain about the specific shows

he has watched.” This exposure not only offers a linguistic experience but also provides
CARTOONS AND CHILDREN IN KERALA 89

glimpses into various cultures depicted in these cartoons. This theme highlights how cartoons

serve as an effective tool for multilingual learning, emphasizing the potential benefits of early

exposure to diverse languages. Mother of case E, “He watches cartoons in every language:

English, Hindi, and Malayalam. He even watches those languages that we don't even know

which one is.” Additionally, their curiosity extends to languages unfamiliar to their caregivers,

reflecting an adventurous spirit in exploring diverse linguistic and cultural narratives.

Sub theme 2: Catchphrase Imitation

By mimicking catchphrases, children demonstrate their ability to retain and reproduce

language patterns they encounter in the media. This imitation not only serves as a testament to

the influence of cartoons but also reflects the power of repetition in language acquisition.

Mother of case A, “She copied catchphrases from those cartoons. It's amusing to hear her use

those phrases in everyday conversations, and I can tell that these cartoons have added a playful

twist to her language skills.” It shows that cartoons provide children with memorable language

models that they can readily incorporate into their speech. Mother of case C, “During her

childhood, she had some initial difficulties with speech. Watching cartoons has had a positive

influence on her ability to speak, as she initially imitated words and mannerisms from various

cartoons like Dora Buji and Mayakkannan on Kochu TV. She seems to understand multiple

languages, but she's not able to speak all of them fluently.” This points to the potential for

cartoons to act as a language acquisition tool, aiding her in developing speech skills through

imitation and exposure.

Sub theme 3: Linguistic Expansion

Cartoons contribute to children’s vocabulary enrichment. Through exposure to multiple

languages and expressions, children acquire a broader range of words and phrases. Mother

of case B, “He absorbs certain words and phrases from the cartoons he watches and
CARTOONS AND CHILDREN IN KERALA 90

occasionally incorporates them into his vocabulary. I've noticed how these cartoons have

sparked his curiosity for language, as he eagerly experiments with new words he picks up from

his favourite shows. “This expansion goes beyond rote memorization; it enables children to

understand context, usage, and nuances associated with different languages. Mother of case E,

“He doesn’t seemingly learn any language from it, but somehow, he manages to understand

the content. While he may not actively use the language from cartoons in his speech, I'm

intrigued by his ability to grasp the meaning and context of what he watches, showcasing a

unique form of comprehension and engagement” As a result, cartoons facilitate a deeper and

more holistic language acquisition process, enhancing children’s ability to communicate

effectively. This corroborates with the study named ‘Impact of Cartoon Programs on Children’s

Language and Behaviour’ (2017), it was found that the rate of language acquisition is quite

high and they are becoming rude due to heavy-watching of cartoons.

Sub theme 4: Communication Enhancement:

Watching cartoons extend beyond language acquisition. It suggests that cartoons aid in

improving children’s overall communication skills. By engaging with diverse content, children

learn to express themselves in creative ways and adapt their language use based on different

contexts. Mother of case D, “Watching cartoons has helped him acquire knowledge in Hindi

and English, and his speaking skills have also improved. It's rewarding to witness how his

interest in cartoons has inadvertently expanded his language repertoire and given him

confidence in using these languages.” This sub-theme emphasizes the role of cartoons in

fostering well-rounded communication skills that extend beyond vocabulary acquisition. This

corroborate with the study named ‘Impact of Cartoon Programs on Children’s Language and

Behaviour’ (2017), it was found that the rate of language acquisition is quite high and they are

becoming rude due to heavy-watching of cartoons.

CARTOONS AND CHILDREN IN KERALA 91

Theme 3: Socialization

Sub theme 1: Outdoor Play and Real-life Interactions:

The preference for outdoor play and real-life interactions over excessive screen time

forms a significant sub-theme. This choice reflects a conscious decision by children to engage

in activities that involve direct social interaction. All cases, A, B, C, D and E likes to go out

and play. mother of case C, “She prefers playing outdoors, especially when she has company

to play with.” This contradict with the findings of the study ‘Effects of Cartoon Channels on

the Behaviour of School Going Children A Survey Study’ (2018) which revealed that cartoon

serials have a high influence on school-going children because they are watching cartoons most

of the time. As a result, they spend very less time doing other activities like playing outside

with peers. Outdoor play and face-to-face engagement allow children to practice social skills

in authentic contexts, building interpersonal relationships, conflict resolution abilities, and

emotional understanding. This sub-theme highlights the importance of a holistic approach to

socialization that extends beyond virtual environments. Case E likes to play out, but his mother

won’t let him to go out and play. she says, “he likes to go out and play, but as there are no

friends of his age, I won't let him go out.”

Subtheme 2: Multifaceted Relationship with Socialization:

Cartoons serve as a dynamic and multifaceted medium that influences various aspects

of how children socialize. Mother of case C, “She is generally friendly with most of her friends,

but there are some children she cannot tolerate. She sometimes comes to me and shares

instances of certain children behaving in certain ways, expressing her unwillingness to be

friends with them.” This sub-theme emphasizes that media consumption is not isolated from

the broader process of socialization but instead interacts with it, contributing to children's

understanding of social norms, relationships, and behaviours. Mother of case B, “The teachers
CARTOONS AND CHILDREN IN KERALA 92

have become his favourites. He has a nice relationship with his friends. Even I keep in touch

with their families too.”

Theme 4: morals and judgement

By shaping children's perceptions of characters and their behaviours, cartoons can

indirectly impact how children evaluate right and wrong. children's admiration for protagonists,

despite negative qualities, indicates a possible shift in their moral reasoning. This corroborates

with the study named ‘The Effect of Cartoons on Children’ (2016) children are mostly attracted

by cartoons and these cartoons directly or indirectly shape their Behaviour. The study revealed

that there is a positive effect of the cartoon on children, such as they help in language, moral

and mental development of children. media content plays a role in moulding children's moral

compass and influencing their ethical judgment.

Sub theme 1: Identification with Protagonist Characters:

Children tend to align themselves and their loved ones with the protagonist characters

from the cartoons they watch. even when the protagonist may have negative qualities, children

still identify with and admire them. This suggests that cartoon watching could influence

children's morals and judgment by shaping their perceptions of characters and their behaviours.

Case A, “I love Oggy. I choose Oggy because he is my favourite character. He does nothing

but sit there and watch TV all the day.” This tendency showcases children's emotional

investment in the characters' journeys and challenges. Children often see these protagonists as

role models, which could potentially influence their moral and judgmental perceptions. Case

C, “I like to be Patlu because he is brilliant, she is even more intelligent than motu” This sub-

theme suggests that media consumption affects how children form connections with fictional

characters and how they draw parallels between their lives and the characters' experiences.
CARTOONS AND CHILDREN IN KERALA 93

Sub theme 2: Preference for Assisting and Supporting Protagonists:

The cases, A, B, C, D and E tend to assist and support protagonists, even when they

possess negative qualities, reveals children's unwavering loyalty to these characters. Most This

preference highlights how children prioritize the protagonists' success and well-being,

regardless of their flaws. Case D, “I would Help Chhota Bheem. he is very Strong and I really

like him” It suggests that children may focus on the characters' positive attributes and growth

potential, possibly indicating a willingness to give second chances and believe in the potential

for positive change. Case E, “I will save quill if quill and Ronan are in trouble. Ronan is bad

he killed Groot.”

Sub theme 3: Association with Antagonist Characters:

There tendency to associate disliked individuals or those who irritate the children with

antagonist characters. This observation suggests that children's perceptions of people they may

not like are influenced by their exposure to antagonist characters in cartoons. Case D, “she Is

Kalia. She always fights with me but I am the one who always wins and my mother is also

Kaliya. She also irritates me. she won't let me do what I want to do. But sometimes she is really

friendly. my father is chotta bheem because he plays with him, gets him gifts, and takes him for

drives every day.” “He identified his mother and sister as kaliya because they irritate him. case

E, “there is a guy named Nikhil in my class. he is Ronan and me and my friends are quill. we

will beat him. This sub-theme implies that media representation of negative characters can

contribute to children's understanding of social dynamics, possibly impacting their interactions

and judgments of others.

Theme 5: Stereotypes

Cartoon watching among children does not appear to have a significant effect on

reinforcing stereotypical gender ideas.

CARTOONS AND CHILDREN IN KERALA 94

Subtheme 1. Identification with Hero Characters Regardless of Gender

All the cases identify with hero characters irrespective of their gender but case D says,

I am Chhota Bheem. I don't want to be I am not a girl. all the others showed no gender-based

comments. The observation that children strongly connect with heroic figures demonstrates

their ability to transcend traditional gender roles. Case C, “I would like to be maya Kannan. he

is powerful”. This sub-theme implies that media consumption can influence children's

perception of character traits as opposed to being solely defined by gender, indicating a

departure from gender-based stereotypes.

Sub theme 2. Equal Preference for Friendships and Help Regardless of Gender

The sub-theme of equal preference for friendships and willingness to help characters of

either gender underscores children's equitable view of relationships. Case C, “I would like to

be friends with both but I want a friend like Maya Kannan.” This observation suggests that

children prioritize qualities and interactions over gender when forming social connections.

Case B, “I like to be friends with both. If I could help only one then I will help Masha Masha

is always my favourite” It suggests that media content may emphasize shared human

experiences and interactions, leading to the rejection of stereotypical expectations. only case D

said he don’t want to be friends with girls.

Sub theme 3. Non-Gendered Assignment of Job Roles Based on Traits

This sub-theme focuses on the assignment of job roles based on character traits rather

than gender-related expectations. Case B, “Bear must be fighter or someone who build houses”

“Masha is a traveller” Case E, “Quill, he will be fighter and she

(Gamora)will be an actress. Doing negative roles. she is green, no?” The observation that

children associate specific roles with traits rather than considering traditional gender norms

indicates a shift in understanding roles as a reflection of capabilities rather than gender. This
CARTOONS AND CHILDREN IN KERALA 95

sub-theme showcases how media can promote a more inclusive and non-stereotypical

perspective on occupations.

Theme: blurring of fantasy and reality

Children's engagement with cartoons reveals a fascinating interplay between the realms

of fantasy and reality. As they immerse themselves in imaginative play, children adopt the

personas and abilities of their beloved characters, effectively blurring the boundaries between

the fictional universe and their own.

Subtheme 1: Imaginative Play and Persona Adoption

This sub-theme highlights how children engage in imaginative play and adopt the

personas and abilities of their favourite cartoon characters. Expect case C, all the cases show

pretend play. mother of case A, “Sometimes, my child pretends to be Ben 10 and imitates his

powers. She also tries to talk like the character Oggy. It's quite amusing to see her playacting.”

mother of case B, “Masha holds a special place in his heart. He really likes her character and

finds her endearing. Interestingly, when he sees Muslim children wearing a hijab, he associates

them with Masha.” This immersion blurs the distinction between fictional worlds and real-life

experiences. It implies that children's imaginative play is a means of integrating the fantastical

qualities of characters into their own self-expression, fostering creativity and cognitive growth.

Sub theme 2: Tangible Manifestation through Products

All the cases A, B, C, D and E the desire for products adorned with character images.

Mother of case B, “He has a genuine love for the cartoons he watches, and this extends to his

interest in purchasing related goods. For example, he owns a backpack featuring Chhota

Bheem, which brings him a lot of joy and allows him to feel connected to his favourite

characters.” The preference for such products serves as a tangible manifestation of the

attachment children feel towards these characters. Mother of case D, “He specifically asks for
CARTOONS AND CHILDREN IN KERALA 96

products like water bottles, bags, and even clothes featuring images of his favourite cartoon

characters. I once searched the entire street for a Mr. Bean box but couldn't find it.”

These products become a bridge between the fantasy world of cartoons and the

children's daily lives, further blurring the boundaries between fantasy and reality.

Sub theme 3: Influence on Behaviour and Desires

The sub-theme of children imitating specific actions or using character-related excuses

highlights how interactions with fictional worlds influence their behaviour and desires. Mother

of case B, “Occasionally, he may exhibit behaviour influenced by the cartoons he watches. For

example, he might become adamant about wanting something, like porridge, because he saw

Masha eating it.” This suggests that children integrate elements from the fantasy realm into

their own actions, showcasing the extent to which cartoons shape their everyday conduct and

decision-making processes.
CARTOONS AND CHILDREN IN KERALA 97

CHAPTER V

SUMMARY AND CONCLUSION

Summary

The aim of this research is to investigate the influence of cartoons on the social

behaviour of children in Kerala, India, with a focus on understanding how exposure to diverse

cartoon content relates to the manifestation of social behaviours such as violence, gender

stereotype endorsement, moral judgment, language acquisition, and social interaction, while

considering cultural and regional factors unique to the Kerala context.

The influence of cartoons on children spans various themes, each revealing intricate

dynamics between media consumption and developmental aspects. In the theme of "Violence,"

the subthemes highlight that children's exposure to action-packed cartoons can lead to the

imitation of aggressive actions portrayed by characters. This suggests a strong link between

visual stimuli and behaviour, as children replicate character powers and confrontations.

Moreover, cartoons influence emotional expression and communication patterns, potentially

leading to the adoption of aggressive language and gestures in interactions with peers and

family members. Parents exhibit differing viewpoints regarding the impact of aggressive

cartoon content, with some expressing concerns about potential negative effects, while others

believe proper guidance can help children differentiate between fiction and reality.

In the theme of "Language Acquisition," cartoons play a multifaceted role. Children's

exposure to diverse languages effortlessly enables them to switch between languages,

showcasing cognitive flexibility and cultural awareness. Replicating catchphrases from

cartoons aids in language pattern reproduction, enhancing speech skills and creative language

use. Cartoons contribute to vocabulary enrichment, expanding children's word range and
CARTOONS AND CHILDREN IN KERALA 98

understanding of context and nuance. Additionally, cartoons foster communication skills,

promoting effective expression and adaptability in different contexts.

The theme of "Socialization" emphasizes children's preference for outdoor play and

face-to-face interactions, promoting authentic social skill development. Cartoons play a pivotal

role in shaping social interactions, influencing norms, relationships, and interactions with peers

and educators. This interplay showcases the interconnectedness between media consumption

and broader social dynamics, underscoring the significance of a balanced approach.

"Morals and Judgment" reveal that children's identification with protagonist characters

goes beyond their negative qualities, suggesting an influence on moral perceptions. The

preference for supporting and assisting protagonists showcases a willingness to prioritize

positive change, while the association of disliked individuals with antagonist characters

demonstrates an impact on social judgments and interactions.

In the theme of "Stereotypes," the subthemes underscore a departure from traditional

gender norms. Children identify with hero characters regardless of gender, reflecting a shift in

perception based on character traits. Equal preferences for friendships and assistance

irrespective of gender indicate an equitable approach to relationships. The non-gendered

assignment of job roles showcases an inclusive perspective, diverging from traditional

occupational stereotypes.

Finally, the theme of "Blurring of Fantasy and Reality" demonstrates how children's

imaginative play blurs the lines between fiction and reality as they adopt personas and abilities

from their favourite characters. Tangible products featuring character images bridge the gap

between fantasy and reality, manifesting children's attachment. This attachment influences

behaviour and desires as children integrate elements from fictional worlds into their daily lives.
CARTOONS AND CHILDREN IN KERALA 99

Major findings and conclusion

• Children imitate aggressive actions from action-packed cartoons, reflecting a link

between visual stimuli and behaviour.

• Cartoons influence emotional expression and communication, leading to instances of

aggressive language and gestures.

• Varied parental perspectives on the impact of aggressive cartoon content on children's

behaviour.

• Children effortlessly switch between languages exposed in cartoons, showcasing

cognitive flexibility and cultural awareness.

• Catchphrase imitation demonstrates the influential role of repetition in language

acquisition.

• Cartoons contribute to vocabulary enrichment and creative language use, though

concerns arise about excessive consumption's potential negative effects.

• Children show a preference for face-to-face interactions and outdoor play over

excessive screen time.

• Cartoons play a multifaceted role in shaping socialization, impacting interactions with

peers and fostering positive teacher-student relationships.

• Children align themselves with protagonist characters, even with negative qualities,

influencing moral perceptions and emotional connections.

• Tendency to support protagonists indicates loyalty and a willingness to prioritize

positive change.

• Association with antagonist characters suggests potential influence on children's

perceptions of people and social judgments.

• Strong identification with heroic characters regardless of gender challenges traditional

gender stereotypes.
CARTOONS AND CHILDREN IN KERALA 100

• Equal preference for forming friendships and assisting characters regardless of gender

showcases unbiased relationship approach.

• Non-gendered assignment of job roles based on traits highlights an inclusive

perspective influenced by media content.

• Imaginative play involves adopting personas and abilities of favourite cartoon

characters, blurring lines between fiction and reality.

• Children's desire for products featuring character images bridges the gap between the

fantasy world and daily life.

• The influence of fictional worlds is evident in children's actions and decision-making

processes.

Conclusion

This research offers a comprehensive investigation into the influence of cartoons on the

social behaviour of children within the unique socio-cultural milieu of Kerala, India.

Through a meticulous thematic analysis, the study reveals the intricate interplay between

media consumption and developmental aspects. The "Violence" theme underscores a

discernible link between exposure to action-oriented cartoons and the emulation of

aggressive behaviours, highlighting the potency of visual stimuli in shaping conduct.

Likewise, the "Language Acquisition" theme delineates the multifaceted role of cartoons in

augmenting cognitive flexibility, linguistic proficiency, and adept communicative skills.

Moreover, the investigation into "Socialization" underscores the pivotal role of cartoons in

influencing social norms and interactions, while the exploration of "Morals and Judgment"

illuminates the nuanced impact of protagonist and antagonist characters on moral

perspectives. Concurrently, the "Stereotypes" theme accentuates a departure from

conventional gender norms, indicative of evolving perceptions and a progressive approach

to relationships. Lastly, the "Blurring of Fantasy and Reality" theme elucidates the seamless
CARTOONS AND CHILDREN IN KERALA 101

integration of cartoon elements into daily existence, prompting a merger of fiction and

reality. Collectively, these findings underscore the intricate dynamics at play and provide a

platform for nuanced discourse and targeted interventions to optimize children's media

exposure for balanced socio-behavioural development in the Kerala context.

Implication of the study

The implications drawn from this research offer valuable insights into the dynamic

interplay between cartoon media and children's social behavior. By delving into various

dimensions of parental guidance, media literacy, balanced screen time, moral development, and

beyond, this study provides a comprehensive framework for guiding counseling psychologists,

educators, policymakers, and parents in their efforts to foster healthy socio-emotional growth

in children within an increasingly digital landscape.

The study reveals that parents play a pivotal role in mediating the impact of cartoons

on children's behavior. Counseling psychologists can use these findings to empower parents

with effective strategies for managing cartoon consumption, promoting open communication,

and fostering critical media literacy skills among children. The research outcomes advocate for

the development of comprehensive policies that address the potential impact of cartoon content

on children's social behavior. Counseling psychologists can contribute their expertise to inform

the design and implementation of evidence-based guidelines for media content suitable for

children. The findings highlight the importance of media literacy education within counseling

interventions. By equipping children with the skills to critically analyze and engage with

cartoon content, counseling psychologists can empower them to make informed choices and

navigate the media landscape more responsibly. Given the preference for face-to-face

interactions and outdoor play over excessive screen time, counseling psychologists can
CARTOONS AND CHILDREN IN KERALA 102

collaborate with educators and parents to encourage a healthy balance between media

consumption and real-world engagement. The research suggests that children align themselves

with both positive and negative characters, influencing their moral perceptions. Counseling

psychologists can utilize this understanding to design interventions that facilitate ethical

decision-making and moral reasoning among children.

Limitations of the study

• The sample size could have been bigger.

• The study's approach to examining most of the objectives through parental perspectives

might introduce subjectivity and potential bias into the data, as parents may interpret

and report differently.

• The research primarily focuses on children's favourite cartoons in general, without

delving into specific episodes or content within those cartoons.

Suggestions for future research

• The research could benefit from an expanded sample size, encompassing a more diverse

range of participants to enhance the study's generalizability and representation.

• To mitigate subjectivity and bias, it is advisable to incorporate a variety of data sources,

such as direct observations, self-reporting, insights from educators, and perspectives

from peers, ensuring a well-rounded understanding of the subject.

CARTOONS AND CHILDREN IN KERALA 103

• Conducting content analysis on specific episodes or segments of cartoons would

provide valuable insights into the impact of different content elements on children's

social behaviour.

• A longitudinal approach, tracking both media consumption and changes in behaviour

over an extended period, could offer valuable insights into the long-term effects of

cartoon exposure on social behaviour.

• To gain a deeper understanding of the cultural and regional influences, a cross-cultural

analysis comparing effects within different regions or cultures in Kerala, or even with

other cultural contexts, could provide valuable context-specific insights.

• Employing a mixed-methods approach that combines both qualitative and quantitative

research methods would offer a comprehensive understanding of the interplay between

cartoons and children's social behaviour, providing rich contextual insights through

methods like focus groups or interviews, while also quantifying trends and relationships

through data analysis.

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 APPENDICES

Appendix One (Questions that were asked to the parents, through the questionnaires)

Full Name: (the interviewees decide if they want to give their names or not, the researcher will

not include their names in the research in any case.)

Age of child:

Does the child have siblings:

What languages do your child speak?

Approximately how many hours does your child spend watching cartoons on the television on

a daily basis?

Approximately how many hours does your child spend watching YouTube cartoons on a daily

basis? In what language do your children watch cartoons?

Do you supervise your child while they watch cartoons?

Which cartoons does your child watch?

Does your child have favourite characters?

Do you notice your child imitating the characters they watch?

If your child watches watch a cartoon in a different language than their native, do you notice

them using or acquiring that language?

Does your child ask you to buy things with their characters pictures on them?

Does your child prefer staying indoors or going out to play?

When your child is playing with other children do you notice them playing as characters from

the cartoons they watch?

Does your child use character as excuses to the things they do for example “but (name of

character) can go to bed late”?

Do you think that the cartoons shown nowadays are indecent and contain obsceneness that

children should not be exposed to?

How would you describe your child's relationship with you? (Negative, positive, neutral)

How would you describe your child's relationship with their siblings? (Negative, positive,

neutral)

How would you describe your child's relationship with their teachers? (Negative, positive,

neutral)

How would you describe your child's relationship with their classmates? (Negative, positive,

neutral)

Does your child show withdrawn behaviour?

Does your child show violent behaviour?

Appendix Two: (Experiment with children during which the children were shown

different characters, from different cartoons, genders, races. Good characters and bad

characters.)

The children will be asked several questions such as

Showing them the good and bad character

Which of these two do you identify with? Why?

Which of these two do you identify your siblings with? Why?

Which of these two do you identify your parents with? Why?

Which of these two do you identify your classmates with? Why?

If these two were in trouble which one, would you help? Why?

Showing them a character of their gender and a character of a different gender

Do you see yourself on the screen? Which one? Why?

Which of these two would you be friends with? Why?

Which of these two would you help, if you could only help one? Why?

Which of these two would you share your toys with? Why?

What do you think is the job of this character (boy)

What do you think is the job of this character (girl)