WHAT ARE THE CAUSES OF AGGRESSION IN YOUTHS AND WHAT COULD BE DONE TO STOP IT?
Aggression is a common term used to describe a cluster of behaviors directed to hurt the other (Geen, 1998). The multiple definitions of aggression differ in their scope and focus. For example, defining aggression as any behavior that hurts the other is too broad in scope. It includes behaviors that cause unintentional harm, such as driving accidents, and even ell-intended behaviors such as medical surgeries that go wrong. Other definitions that are narrower in scope are more widely used. Such definitions describe aggression as any form of behavior intended to hurt the other (Baron & Richardson, 1994) or as the behavior of an individual intended to hurt another individual (Berkowitz, 1993; Eron, Walder, & Lefkowitz, 1971). As previously mentioned, the definitions vary not only in their scope but also in their focus. For example, the first definition presented above focuses on the overt behavioral expression, while the second and third definitions include covert elements, such as intent. Aggressive behavior is usually categorized and classified along two dimensions: One relates to the origins of aggression, its goals, the way it is experienced, and the context of its outburst. This dimension refers to questions such as, Who are those who use aggression? What is on their mind? And How do they feel? The second dimension refers to the way in which aggression is expressed, that is, How is it done?
Children have been entertained by animated films and television shows for over 80 years. The first true animated star was the 1920s icon, Felix the Cat. Within the next 10 years, characters developed by the Disney Brothers' Cartoon Studios, such as Mickey Mouse, Donald Duck, and Pluto had become international celebrities and their movies were generating millions of dollars. In fact, Disney's first full feature length film, Snow White and the Seven Dwarfs, is still one of the top ten grossing films of all time, when adjusted for inflation (Box Office Mojo.com, 2004). By the 1950s, the violence-laden cartoon, Popeye the Sailor, was drawing a large television audience. Following the success of Popeye, studios such as Hanna–Barbera began to produce The Flinstones and other made-for-TV animated series (see Kirsh, 2006 for a more detailed review of the history of violence in the media). Currently, animated film classics and new television series can be seen on cable/satellite channels, such as Boomerang, Cartoon Network, and The Disney Channel. Moreover, feature films staring animated characters are still box office juggernauts. For instance, in 2004, Shrek 2 generated nearly $900 billion in international box office receipts and billions more in home DVD sales (Box Office Mojo.com, 2004).
Violence in cartoons is an integral part of cartoon content. In fact, frequency of violence in cartoons is higher than in live-action dramas or comedies (Potter & Warren, 1998). As a consequence, youth are more likely to view media-depicted violence during Saturday morning cartoons than during prime-time television hours (8:00–11:00 P.M.; Gerbner, Gross, Morgan, & Signorelli, 1994). However, there are qualitative differences between the acts of violence depicted during live-action dramas and those depicted in cartoons. Cartoon violence meant for a youthful audience (as opposed to animated films for adults, such as Heavy Metal) tend to involve minor acts of violence: realistically portrayed death is rarely shown and graphic acts of violence are seldom televised. Additionally, cartoons sanitize the outcomes of violence, in that it is unusual to see the victims suffering in a life-like manner. In contrast, live-action dramas airing during prime-time regularly involve major acts of violence (e.g., rape and murder), and the pain and suffering of the victim is often highlighted (Potter & Warren, 1998).
Although many violent cartoons meant for youthful consumption contain comedic elements (e.g., Woody Woodpecker, Scooby Doo), some of these cartoons just portray the violence. For instance, Samurai Jack, X-Men Evolution, and Batman: The Animated Series depict animated violence, with little to no comedic elements. Moreover, for these types of animated shows, violence is found at the beginning and end of disputes. Presence or absence of comedy during violence is an important consideration when evaluating the effects of viewing cartoons on youth, for there is both theory and research to support the contention that comedic elements may camouflage and trivialize depictions of violence (King, 2000 and Potter and Warren, 1998).
References
Baron, R. B., & Richardson, D. (1994). Human aggression. New York: Plenum.
Berkowitz, L. (1993). Pain and aggression: Some findings and implications. Motivation and Emotion, 17, 277-293.
Box Office Mojo, 2004 Box Office Mojo (2004). Retrieved March 25, 2011, from http://www.boxofficemojo.com.
Eron, L. D., Walder, L. O., & Lefkowitz, M. M. (1971). The learning of aggression in children. Boston: Little, Brown
Geen, R. G. (1998). Processes and personal variables in affective aggression. In R. G. Geen & E. Donnerstein (Eds.), Human aggression: Theories, research and implications for social policy (p. 15). San Diego, CA: Academic Press.
Potter and Warren, 1998 W.J. Potter and R. Warren, Humor as a camouflage of televised violence, Journal of Communication 48 (1998), pp. 40–57.
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