Values and emotions in children’s audiovisual fictional narratives

Abstract

The aim of this study is to identify which values and emotions are transmitted in the favorite fictional TV programs of children aged between 8 and 12, according to their particular type of structure. Based on the analysis of media consumption reported by participants and their parents, as well as the ratings of children's fictional programs, two fictional programs were selected for this age group (Doraemon and Code Lyoko, with a narrative and non-narrative structure, respectively), and a content analysis of 86 episodes was conducted and validated by inter-rater agreement. The results show that a wide range of ethical and competence-based values are conveyed by both programs, although greater emphasis is placed on life-skill values, with aesthetic and transcendental values hardly being represented at all. While more complex emotions and some basic emotions (surprise, anger, happiness and fear) were found to be present in Code Lyoko, sadness was present to a greater extent in Doraemon. The results reveal that the level of empathy represented by the characters in both series is low, although it is slightly higher in Code Lyoko. The relevance of the study lies in the fact that it provides a useful method for measuring the appropriateness of media content in relation to the psychological characteristics of children, and contributes to establishing a solid basis for media literacy programs from early childhood. El objetivo de este trabajo fue identificar los valores y emociones que se transmiten en los programas televisivos preferidos de niños y niñas de 8 a 12 años, de acuerdo al tipo de estructura. Sobre la base del análisis del consumo mediático referido por los participantes y sus progenitores, así como los índices de audiencia de los programas de ficción infantil, se seleccionaron dos series de ficción televisiva para este grupo de edad («Doraemon» y «Código Lyoko», de estructura narrativa y no-narrativa respectivamente), y se llevó a cabo un análisis de contenido de 86 episodios que fue validado por acuerdo inter-jueces. Los resultados muestran que en ambos programas se exhiben una amplia gama de valores éticos y competenciales, sobre todo valores vitales, mientras que los valores estéticos y trascendentales apenas son representados. Por otra parte, en «Código Lyoko» tienen mayor presencia las emociones complejas y algunas emociones básicas (asombro, ira, alegría y miedo), sin embargo la tristeza aparece en mayor medida en «Doraemon». Destaca que el nivel de empatía representada en los personajes es bajo en ambas series, aunque ligeramente más elevado en «Código Lyoko». La relevancia del estudio radica en el hecho de proveer un procedimiento útil para medir la idoneidad de los contenidos mediáticos respecto a las características psicológicas de la infancia, y contribuir a fundamentar con base sólida los programas de competencia mediática desde las primeras edades.

Habilidad narrativa e identificación de valores y contravalores en dibujos animados por alumnado de Educación Primaria

“…Upon visualising the non-narrative structure, most students perceive more countervalues than they should (the percentage of students with positive residual is greater in the non-narrative structure as opposed to the narrative) and vice-versa, fewer countervalues than they should upon viewing the narrative structure (the percentage of students with negative residual is greater in the narrative structure as opposed to the non-narrative). This matches with certain works of research that observe, via content analysis, that there is a greater presence of countervalues and values in non-narrative structures (Aierbe & Oregui, 2016;Oregui, 2017). However, reception studies reveal that much fewer countervalues and values are identified in nonnarrative structures, as opposed to the narrative, and fewer countervalues than values in general (Oregui, 2017).…”

“…The values were categorised as: vital (e.g., playing), production (e.g., acquiring things), ethical (e.g., justice), socio-emotional (e.g., friendship), intellectual (e.g., desire to know or discover), aesthetic (e.g., beauty) and personal (e.g., self-esteem). The opposite of these means were categorised as countervalues (Aierbe & Oregui, 2016;Donoso, 1992;Oregui, 2017;Rokeach, 1973).…”

“…Firstly, the episodes were selected (Aierbe & Oregui, 2016). This selection was essentially based on two criteria: 1) having high audience share (or screen share above 11 points) with the ages targeted by the study (8-12 ages) and 2) belonging to different structure types (one non-narrative and the other narrative).…”

“…According to Aierbe & Oregui (2016), structural characteristics (non-narrative or narrative) and content characteristics (greater or lesser number and type of val-ues/countervalues and emotions shown) in children's fiction programmes like cartoons can facilitate or prevent minors from delving into the message and discerning the consequences and motives behind the characters' thoughts, emotions and actions. To this end, when analysing the media competency of boys and girls, a structural and content analysis of fictional programmes preferred by children takes on special relevance.…”

“…A quasi-experimental research work, conducted over several phases, considering the type of structure of the cartoons in relation to the narrative skills and perception of values/countervalues by Primary Education students (Aierbe & Oregui, 2016;Bermejo, Aierbe, Oregui & Bartau, 2018;Oregui, 2017) revealed interesting results. The initial phase, analysis of value/countervalue content, from Rokeach's (1973) framework, showed that the 86 episodes of Code Lyoko (non-narrative structure) and Doraemon (narrative structure) provided a wide range of ethical and skill values, especially life values, while aesthetic and transcendental values are scarcely represented (Aierbe & Oregui, 2016). Code Lyoko has a greater variety of values/countervalues.…”