Haeberle 1 Laura Haeberle Professor Santangelo Pop Culture Goes to School 8 December 2011 Whos Teaching Who?

: An Analysis of Elementary Teacher Portrayals in Animated Television In most forms of popular media, characters are used are a means of delivering a specific message. This concept strongly applies to animated television, a genre that defies physics and human physicality, thus opening wide the range of paradoxical possibility (Meskill 43). It has the ability to go beyond the physical and moral limitations of live-action television. Moreover, shows such as The Simpsons or South Park can address issues of violence, sexuality, and power without the restraints of certain moral and legal restrictions (Rennie, 197). This presents a wide range of opportunities for producers, who use simplistic visual representations to highlight important themes. This imagery is easier to comprehend for certain demographics, specifically young children. Children are highly susceptible to the socializing effects of television, especially those shows on childrens television channels and animated programs (Robinson and Anderson, 287). Animated television revolving around elementary schools is one of the most influential types of childrens television, as it typically targets younger viewers and proves to be exceedingly relatable. These shows address the challenges, fears, and interests associated with children of various stages of development. The depiction of teachers in various television shows is one of

Haeberle 2 the most common methods of reflecting and, consequently, shaping society. In shows targeted at younger age groups, such as preschoolers, teachers are an extension of curriculum and used as a tool to create positive perceptions of school. Shows that target older populations, specifically middle childhood, shift the perspective. These programs portray teachers as having a few select character traits, forming the basis of their teaching, personality, and effectiveness. This is a limited viewpoint, but enables children to start recognizing their teachers as people. At the most advanced level targeted for the oldest audience (middle childhood and beyond), teachers become more three-dimensional, allowing audiences to understand teachers as fully formed individuals, with issues unrelated to the classroom. Pop culture adjusts teacher portrayals as the age of the targeted audience increases, corresponding to the development of children. This attention to the viewers individual wants and needs is extremely advantageous, encouraging children to become independent thinkers, evaluating their place in the world and their perspective on education. To create brilliant thinkers, animated television must first provide a solid foundation of school. In programs intended for preschoolers, teachers in school display many idealistic qualities. Teachers are mostly female, implying a motherly connection and feminine compassion. They are empathetic and understanding, often with a youthful approach to teaching. For example, on Nick Jr.s show Little Bill, Miss. Murray is the main characters kindergarten teacher. NickJr.com describes her as, gentle and patient with a good-natured approach that provides a positive adult role model for viewers. In the episode Rolling Along, Miss. Murray encourages Little Bill to keep trying on a difficult gymnastics routine. In another episode, Stage Trick, Miss. Murray guides Little Bill through a bout of stage fright, giving him tips and reassurance. Overall, she is positive and supportive, representing the values of elementary

Haeberle 3 schools. She, like other teachers in this sub-category, is involved in student progress, centering mostly on interactions with the main characters. In popular animated television shows aimed at preschool audiences, such as Cailou, Franklin, or Little Bill, the depiction of teachers furthers the idea of schools being conducive for learning. This positive representation works well for the typical milestones for children of this age, specifically those advancing to Kindergarten. A childs exposure to television influences their conceptions of reality, standards, or judgment, attitudes, thoughts, and behavior (Robinson and Anderson 288). Because of their young age, these children are still forming ideas of school, mostly from pop culture and their environment. When pop culture produces a positive outlook on schools, easing a childs fears, there is a greater appreciation and excitement for schooling to begin. Additionally, Liking for school predict[s] greater classroom participation, which in turn predict[s] higher achievement (Berk 639). Favorable opinions towards school from an early age provide a great head start to a successful schooling experience. While the portrayal of teachers in preschool-targeted programming is positive, it is also one-dimensional. Television programs provide little context for these teachers outside the classroom. In a sense, they become part of the scenery of the school, transmitting moral messages and the safe image that preschools and elementary schools try to uphold. Some may argue that children dont recognize the multiple sides of teachers, especially those outside of the classroom. Even in the episode of Little Bill entitled Miss. Murrays Wedding, the kindergarten teacher still exudes the same perfectly composed, kindhearted attitude at her wedding that she would in the classroom. In essence, she is still an extension of the school system and implicit curriculum, even when outside the school setting. However, this onedimensional portrayal is actually beneficial to children at this stage in development. Preschool

Haeberle 4 and young elementary school childrens incomplete grasp of televised information and inability to critically evaluate it increases the chance that they will believe and imitate what they see (Berk 628). Children need clear morals and encouraging representations of school, as they are not yet capable of critically analyzing the lives and choices of more three-dimensional teachers. The excessively optimistic attitude emanating from these shows clearly facilitates favorable ideas in the childrens minds. Moreover, the intense visual dynamic of animated television makes entrance into a cartoon world easy (Meskill 45). This type of perspective enables children to begin school confidently, with a sense of having already experienced otherwise frightening new school experiences through the actions of their favorite television characters. Furthermore, the lessons that these television teachers emphasize, such as good social behaviors and healthy self-esteem, are indispensable to children in an unfamiliar social environment, just beginning to work on friendships and interactions. In a sense, children who watch these preschool-targeted shows are ahead of their peers in their knowledge of social skills and expectations for classrooms. As the targeted audience shifts, the extent of teacher development advances. Animated television shows aimed at middle childhood start to incorporate specific, original personality traits to educators. For example, in the show Hey Arnold, the 4th grade teacher is Mr. Simmons, an affectionate teacher that works to establish a sense of community in the classroom. In the animated show Arthur, Mr. Ratburn is a third grade teacher, who has high expectations for his class, and an overall strict, but fair mentality. The pattern repeats in many other childrens programs; in The Fairly Odd Parents, the teacher is villainous, in The Magic School Bus, the teacher is eccentric, in Peanuts, the teachers are uninvolved. While these shows all take place in elementary school, each focuses the character development of the teachers around different core

Haeberle 5 traits. The multiple representations are beneficial to children, who can vicariously experience a wide range of teacher personalities and styles. Teachers start to exhibit flaws and distinctions from the school system, becoming less of the scenery and more of a background character. Although the show does not revolve around them, each plays a significant role in the lives of their students. Children are able to connect these pop culture representations to their own experiences with teachers, seeing how the material fits in with their life. Children in the middle childhood stage can especially benefit from recognizing the diversity of teachers in pop culture. In terms of development, school-age children are working on an increasing awareness that others have viewpoints different from their own (Berk 607). Childrens assessments of unfamiliar mindsets help them understand their place in the world. This understanding of various perspectives allows children to better interpret others emotions and intentions and take them into account in peer dialogues (607). In essence, their greater understanding of the variety of teachers translates to their comprehension of the variety of people and ways of thinking. This type of analysis allows children to improve their social skills and have a greater capacity for both empathy and sympathy. The advantages of this degree of understanding support the notion that children are more intelligent and observant than people often assume. Some may insist that when children watch animated television with negative portrayals of teachers, they interpret that all teachers evil authorities without respect or concern for students. One might go on to say that conflicting representations of teachers makes social behaviors and perceptions unclear for children. In the article, Older Characters in Childrens Animated Television Programs: A Content Analysis of Their Portrayal, Robinson and Anderson assert that, The real danger of portraying older characters in negative ways, on a medium that specifically targets children, is that this is how

Haeberle 6 children will believe older people really are and how they really behave (297). However, Robinson and Andersons research study found that in childrens animated television, characters were described as having 59% positive and 41% negative personality traits (294). Clearly, there is a fair representation for all types of teachers. This is appropriate because children will experience all sorts of teachers, and its dangerous to depict just one type of teacher in pop culture. Furthermore, by age 4, children realize that TV is symbolicthey consider all human actors real and all cartoon characters unreal (Berk 628). Children have a basic understanding of how accurate cartoon portrayals are, and do not expect some of the ridiculous antics or extreme personality characteristics displayed in television. In the Hey Arnold episode New Teacher, one student refers to Mr. Simmons as a touchy feely geek, implying that the characters and audience remain critical of his saccharine nature. For those who think society must protect the innocence of children, fostering only positive examples, it should be noted that, As a culture, we have transformed the realm of childhood into a sacred sanctuary, where any significant intrusion is apt to generate fierce moral panic (Rennie 198). Moreover, Were children ever truly as innocent as moral crusaders would like them to be now? (198). Teachers and parents should not shelter children from the realities of teachers and people in general; the line between good guys and bad guys isnt always clear. This more thorough portrayal of teaching leads into the fact that educators are people too. In shows like The Simpsons and South Park, intended for more adult viewers, teachers become three-dimensional, focused characters with lives outside the classroom. Producers explore personal lives of educators and the impact that various traits and issues have on their teaching. In non-idealistic classroom setups, the school environment becomes more realistic, and

Haeberle 7 a mockery of the flaws of the school system ensues. The targeted audience, which now includes those beyond middle childhood, can further appreciate the whole image represented. Specifically in The Simpsons, parents and children can relate to the ubiquitous theme of the wise yet innocent child who exposes and thwarts the evils of the System (Meskill 46). The avenue for parent-child dialogue opens, as families watch together and bond over cross-generational comedy. The Simpsons has been on the air for 22 years because of its timeless messages, seen through the hilarious and accurate portrayal of its characters. In particular, The Simpsons takes liberties with conventional ideas about proper teacher behavior (Dalton and Linder 105). The main fourth grade teacher, Mrs. Krabapple, is the central focus of many episodes, revolving around her disappointing love life, mid-life loneliness, and disenchantment from education (Meskill 41). Viewers get a personal side to an otherwise sadistic teacher, recognizing the reasons behind her cruelty. This sadistic side is mitigated by a tough teacher guise that, on the surface, speaks of her wish for her students to do well and be held to high standards (41). Middle childhood audiences realize that there are outside forces that influence teacher behavior and attitude in the classroom; there may be reasons why an otherwise easygoing teacher suddenly assigned five hours of homework. This advanced level of understanding helps children recognize the motives and emotional lives of teachers, making it easier to connect with them as people. As students in middle childhood age, studentteacher relationships become more important than ever before; students begin seeking out the advice and insight of teachers as they realize the wealth of knowledge that these educators offer. Friendship between students and teachers becomes a viable option, since children gradually recognize that teachers are real people whove dealt with similar adolescent issues. Teachers come down from a pedestal and the fear of authority begins to dissolve.

Haeberle 8 In commenting on education in The Simpsons, teachers also become victims of the school systems themselves, forced to comply with mandated curriculum. Their necessary actions are seen as cruel, making them the target of distaste or ridicule by the student body. The episode How the Test Was Won illustrates the lack of teacher autonomy, through a critique on standardized testing. The teachers simply follow standards, teaching to the test for fear of accountability. This is an extension of the pressure of school systems to deliver grades, in order to maintain funding. The teacher representation showcases the legitimate fears and frustrations of teachers and schools, and the high expectations that trickle down to the students. The educational hierarchy, coupled with the discordance of teacher values with those of the school district, creates the familiar satire. It is a look into the degradation of the school system, through a program that The Simpsons affectionately refers to as No Child Left Alone. Children audiences see behind the educational curtain, recognizing the true source of educational issues, and realizing how little blame must be put on their teachers. It is a drastic difference from the television of middle childhood, where Miss. Frizzle and Mr. Simmons had complete autonomy over their classroom. This representation allows for a more understanding environment in the classroom, and perhaps a new sense of sympathy. However, this sympathy does not translate to all figures in the school environment. In The Simpsons episode I am Furious (Yellow), there is a conflict over socio-economic cultures old and new (Meskill 39). A cartoonist comes into school for career day and dismisses Principal Skinners values of hard work, ethics, and their rewards (39). Throughout the presentation, Skinner attempts to bring the focus back to his traditional beliefs, as the cartoonist honestly admits that his casual, almost work-free lifestyle generated success. Skinners frustration is a representation of school systems desire to uphold conventional values and lifestyles, against

Haeberle 9 societys desire to get rich without effort. Unlike the victimized teachers, the principal is a supporter of classic school values, though he is now at the mercy of the cartoonists command of the auditorium. Principal Skinner is just as helpless as the teachers under the school system, only the tables have turned; Skinner is a symbol of authority (just as school systems are to teachers) and hes shown to have little control at all over the younger generations. The children in the Springfield auditorium embrace the cartoonists message, just as real children audiences embrace the shows rejection of traditional values. The Simpsons display of modern issues forces children to think, always working to come up with new ideas to improve the same-old system of education. They feel empowered by speakers who insist that there can be changes to the typical ways of doing things, keeping them on the lookout for improvements and establishing a critical attitude towards society. The Simpsons highlights critical issues in education, bring[ing] to light things that might otherwise be too uncomfortable to acknowledge (Meskill 42). Some portrayals may make audiences squirm, but it forces viewers to recognize the flaws of the school system. While there is a negative bias, the less-than-perfect depiction will incite audiences to bring about change. Children can relate to the issues presented, undergoing the strain of conflicting school values or standardized testing. An upfront presentation in an easily absorbed animated format allows children to develop a sense of metacognition, and evaluate where they fit into the school system. The imperfections of teachers and schools make the system more relatable, and forces children to think critically. Independent thinking enables children to be well-rounded learners, constantly questioning their environment and the quality of their education. Furthermore, The Simpsons, and shows like it, have become a platform to discuss important issues in society that typically go unrecognized in non-academic settings.

Haeberle 10 South Parks brings critical issues to light through its portrayal of the limitations of teachers and schools. The educators of South Park Elementary are ridiculously ineffective, demonstrating the flaws of the education system and teacher training. The show openly mocks the elementary teachers, and their most valuable, insightful moments take place outside of the classroom. Mr. Garrison, a third grade teacher, experiences the greatest personal growth throughout a plotline involving a sex change operation. In the episode Fourth Grade, his temporary teacher replacement asks him for teaching advice. When asked how students learn, Mr. Garrison replies, Hell if I know! His incompetence is portrayed in a humorous manner, proving the ridiculousness of the current education system. Viewers recognize the need for reforms in education, and that teachers have personal and professional limitations. The inadequacy of formal schooling requires the main characters to learn in nontraditional ways. Many would argue that the person who teaches the boys the most practical and meaningful lessons is Chef, the school lunchroom advisor (Dalton and Linder, 117). The uselessness of teachers implores audiences to go outside the classroom for significant life lessons, delving into the harsh realities of society. South Park unapologetically diminishes the supreme importance of schooling in childhood education (Rennie 195). While this creates negative connotations for schools, audiences learn to think for themselves, going beyond what authority tells them. The teachers personalities and actions are exaggerated, but it makes the morals and values explicitly clear. With these blatant exaggerations, some may argue that South Park mocks important issues, making its messages meaningless or unfounded. However, discarding the show as mere juvenile potty humor would be a mistakewe must recognize South Parks critique of childhood learning as an exceptionally valuable addition to teaching and learning in a media landscape

Haeberle 11 (Rennie 206). The show uses extremes as an effective method of inciting audiences and garnering attention. Moreover, South Park episodes demonstrate little political consistency (Rennie 197). The show explores relevant school topics, such as student-teacher relationships, gender identity of teachers, and teacher pedagogy, without having a constant bias. This lack of bias further challenges viewers to understand and personally interpret the material presented. South Parks targeted audience mostly consists of young adults, at an age where they can comprehend and appreciate most of the references made. Yet, due to the increasing availability of the media, children often end up watching and enjoying the show. The appeal of the show is unmistakable; South Park follows a group of young boys who say things theyre not allowed to, do things theyre not allowed to, and still succeed as beloved heroes at the end of the day. This, coupled with the socially taboo nature of the show, cause children to continue watching, against all of their parents demands and restrictions. And is that really so harmful? The show explores adult themes in an offensive manner, but the vast majority of children in Western societies continue to be shelteredas much as possiblefrom experience (Rennie 198). Parents are some of the gatekeepers to knowledge, and the forbidden fruit status of South Park only serves to increase its appeal. Children find great satisfaction in disobeying parents and going against the rules of society, a phenomenon Ive dealt with directly. During a recent babysitting experience, a nine-year-old boy I was watching exclaimed, Suck my balls! His brother laughed and the two giggled at the inappropriate phrase, uttered right in front of the babysitter. The appeal of the phrase, most likely stemming from South Parks Cartman, stemmed from how socially wrong it was to say it. When society places more restrictions on what children can view, they are subconsciously acknowledging the importance and impact of such shows. In an interview with my 11-year-old sister, she said that

Haeberle 12 South Park is great, mostly because of how ridiculous the characters, voices, and phrases are. Every time she watches, staying up far beyond her bed time, shes rebelling against the authority of our parents. Its a feeling of secret power over adults and restrictions, and she loves it. That type of mentality stems from societys disapproval of potty humor or grotesque imagery. Preventing children from accessing shows such as South Park may protect them from ideas and images that may be difficult to understand, but parents and teachers need to know that children will eventually access these materials on their own (Rennie 206). While there should be some restrictions placed on what is age-appropriate, it should be noted that children are fully surrounded by popular culture, and its critical to have venues to these discuss issues openly. Society must consider the age requirements and ratings associated with shows like South Park. Parents and adults should limit their negative bias on such television shows, as there is always the opportunity to watch these inappropriate shows together with their children. Watching risqu shows together enables parents to hold some control over what their children are learning, addressing issues that come up. If children are bound to learn the adult material presented, its better to learn these lessons under the guidance of adults, rather than from peers, the internet, or any other uncontrolled form of pop culture. Children are more developed than most think, and want to work to understand the world around them Furthermore, the advanced concepts presented can be beneficial to children. The overwhelming preponderance of adult themes on South Park is a trick for garnering attention and can serve to persuade children to focus on issues of some importance (Rennie 206). Children are unknowingly forming opinions about various topics, understanding the general attitude of society. The characters on the show are relatable, and their struggles reflect common fears and desires of young children. Exposure to the wide range of issues and characters allows children to

Haeberle 13 make judgments on society, and further establish their own place in it. Children quickly realize that the world is not a perfect place, but open dialogue on imperfections and concerns can help children recognize solutions. These episodes are quick burst of insight, made for consumption at 30 minutes, harnessing the same power in childrens education that outside learning did for the boys of South Park. The three-dimensional aspect of teachers on both The Simpsons and South Park makes educators more relatable, and makes them excellent vehicles for commentary on society. As children and adult viewers recognize the imperfections of teachers in and outside of the classroom, they begin to comprehend the flaws of a system thats produced incompetent, frustrated teachers. Although three-dimensional characters in positive roles could also be refreshing and beneficial, they are not helpful for a very young age group. A teachers personal life would seem unnecessary in shows targeted for a preschool aged audience; the goal of such shows is to incite excitement for school, rather than teachers. Furthermore, children can connect more easily to characters of their same age, and would have little ability or desire to connect to the lives of teachers. This trouble establishing a connection could decrease viewership of a potential show. Children want to see themselves as the main characters and protagonists in television shows. At a preschool age, children have barely established their own identity, let alone that of others. Children need different degrees of teacher portrayals at different points in their life, to supplement their learning and development. They may not understand the subtleties of three-dimensional characters, and the benefits of such a representation would go underappreciated. In essence, children need to think independently about the issues plaguing society. Animated television is an ideal medium, and shows focused on elementary schools address

Haeberle 14 children at a young, impressionable age. Yet, children need different representations at different points in their life to stimulate their analysis of the world around them. In shows targeted at preschool children, teachers are displayed as positive messengers of the values of education. Young viewers become less fearful of schools, and their optimistic attitudes aid in their transition to school and, consequently, their abilities. Children need to become comfortable in the classroom in order to maximize the amount of learning that takes place. In shows targeted at middle childhood, teachers are seen as beings with specific characteristics. This also coincides with child development, as children audiences are learning to consider the opinions of the people around them, thus increasing their social abilities. Greater social skills also foster greater academic success, and ensure that children can lead happy, healthy lives. In shows targeted beyond middle childhood, there is a more thorough representation of teacher s and the difficulties they face. Children watching these shows begin to form independent opinions on the issues that these adult shows present. In addition, they begin to understand a more holistic view of teacher, seeing them as more than a mere component of the school setting. This increased awareness minimizes childrens distaste of educator authority and autonomy, and allows for student-teacher positive relationships. Children realize that teachers are not to blame for some of the stubborn educational issues, and are more willing to listen to their messages. At the sensitive age right before or during adolescence, adult guidance is critical, and children are able to recognize the value of teachers. This overall positive attitude of teachers emphasizes the importance of educators, who remain supportive of students in their social, intellectual, and emotional development (Meskill 39), through all of the challenges and frustrations in education. These representations of teachers forces children to consider their place in the world around them. Pop culture and animated television producers correspond the

Haeberle 15 portrayal of teachers in animated television with the developmental needs of viewers, perhaps without fully intending to or realizing. Nevertheless, the portrayals encourage a constantly questioning environment in the classroom. As Mr. Simmons insists, Students should never stop asking, Why? Why? Why? All through your life you should never stop questioning. Because that is how you learn. Similarly, animated shows encourage viewers to challenge the world they interact with, and are able to further develop. Teacher representations in animated television enable children to establish a more comprehensive view on education, creating active learners and intellectually-engaged members of society.

Haeberle 16 Works Cited Berk, Laura E. Child Development. 8th ed. Boston: Pearson Education, 2009. 607-39. Print. Dalton, Mary M., and Laura R. Linder. Teacher TV: Sixty Years of Teachers on Television. New York: Peter Lang Publishing, 2008. 105-17. Print. Haeberle, Sarah. Personal interview. 2 Dec. 2011. "Meet the Characters on Little Bill." Nick Jr.. Nickelodeon, n.d. Web. 4 Dec. 2011. <http://www.nickjr.com/little-bill/about-little-bill/little-bill-characters.html>. Meskill, Carla. "Through the Screen, Into the School: Education, Subversion, Ourselves in The Simpsons." Discourse: Studies in the Cultural Politics of Education 28.1 Mar. (2007): 37-48. Print. Rennie, James. ""You Know, I Learned Something Today." Taking South Park Seriously. Ed. Jeffrey A. Weinstock. Albany: SUNY Press, 2008. 195-208. Print. Robinson, Tom, and Caitlin Anderson. "Older Characters in Children's Animated Television Programs: A Content Analysis of Their Portrayal." Journal of Broadcasting & Electronic Media 50.2 June (2006): 287-304. Print. Primary Sources Arthur Cailou Fairly Odd Parents Franklin Hey Arnold Invader Zim Little Bill The Magic School Bus Peanuts Recess The Simpsons South Park