Animating Gender: “Unpacking the Influence of

Cartoons on Gender Stereotypes”

Samireddy Mourya Ashish

ADM.NO: 21JE0813, Branch: ECE

IIT (ISM) DHANBAD

Gender studies Assignment

DATE: 15-03-2024

LENGTH: 4670 Words

INDEX:

(1) Introduction 3

(2) Literature Review 5

(3) Methodology 7

(4) Data Analysis 7

(i) Chhota Bheem 7

(ii) Doraemon 11
(iii) Power Rangers Samurai 15

(5) Conclusion 16

(6) References 17
ABSTRACT

In this article we critically analyse the influence of cartoons on Gender stereotyping.

Cartoons often reinforce the gender stereotypes by portraying the characters in roles and
behaviours that follow the social expectations of femininity and masculinity. These include a
male character which is shown brave, strong and courageous while the female characters are
portrayed as gentle, kinder, passive and in need of rescue. Cartoons can influence the
perceptions of young children who are in their formative stage and developing their
understanding of the world. Children tend to imitate others and exhibit behavioural patterns
similar to what they encounter in their daily lives. This happens as they cannot link the
negative outcomes of imitation at their age. Parents and peers play major role in shaping a
child’s mind. The former carry gender stereotypes through society, culture and tradition while
the latter are mostly influenced by the characters in the television. Cartoons are the majority
shows children spend time with. This article unfolds the gender stereotypes injected into
children by taking popular cartoons like Chhota Bheem, Doraemon and Power Rangers as
references. Also, the influence of television characters on children is supported by few
scientific studies which are provided as evidence in this article.

Keywords: Gender stereotypes, Cartoon Programs, Children, Masculinity, Femininity,

Gender roles and traits

1. INTRODUCTION

Gender Identity is a complex concept to understand since it is the social

construction or expectations of the society which are expected to be followed by an
individual based on their sex. This complexity of gender cannot be understood by
children at their young age and is highly possible to develop gender stereotypes.
Gender stereotypes are the preconceptions of the characteristics or attributes of men
and women. It is the overgeneralization of the roles and traits of an individual based
on their gender. The belief that men are stronger and courageous while women on the
other hand are believed to be weak and in the need of help of a man. Gender
stereotyping has harmful impacts on the behaviour and development of an individual
as there builds stress upon not meeting the expectations of the society resulting in the
constant struggle of oneself to express their emotions.

Repeatedly, sex and gender play pivotal roles in perpetuating unequal positions of
males and females within society. Broadly, sex signifies the inherent and
physiological distinctions between males and females, while gender encompasses the
learned societal, cultural, customary, and emotional responses toward males and
females. These factors contribute significantly to the disparities observed in the
opportunities, treatment, and expectations faced by individuals based on their sex or
gender. This article aims to explore how various gender stereotypes are perpetuated
under the guise of "children's entertainment" through cartoons and suggests strategies
for addressing these issues. It seeks to investigate the ways in which cartoons
contribute to the reinforcement of gender norms and roles. The characters in the
cartoons are admired often by children and taken as their role models. The common
discussion of children with their friends involves the acts and roles played by their
respective favourite characters and discuss the masculine or feminine portrayals of
these cartoon characters influencing others to develop these ideas of masculinity and
femininity.

According to the survey conducted by Jaya Bharathy S (2020) via questionnaires

nearly 80% of the children watch cartoons daily and 73% of these young minds agree
that cartoons are the most important form of entertainment for children. More than
half, around 52%, of children spend over 3 hours daily watching television cartoons.
A notable portion, 43% of children, attempt to perform stunts seen in cartoons, while
57% imitate their favourite characters. These results confirm the impact of cartoons
on children. Cartoons are considered as harmless entertainment for children compared
to other movies and television series, but it’s vital to recognise their subtle impact on
young minds and personalities. Children are exposed to cartoons at a very early age
before even they go to school that shape their worldview. These days many gender-
sensitive cartoons are made but there’s still a significant need to tackle gender
inequality in this medium. The findings of the research conducted by Beenish Zaheen
(2020) concluded that when it comes to attributes like athletic, intelligent,
knowledgeable, driven, and independent, female characters in cartoons are often
depicted in traditionally masculine ways. This portrayal can encourage girls to find
inspiration from behaviours and traits typically associated with masculinity.
 Conversely, male characters rarely exhibit feminine characteristics or behaviours. In
rare cases, female characters might display masculine traits, but they are also
portrayed with feminine qualities, distinguishing them from male characters.

2. LITERATURE RIVIEW

Albert Bandura’s Social Learning Theory (1977) suggests that people tend to learn
new behaviours by observing others. In the context of cartoons, children might
emulate gendered behaviours and attitudes observed in characters. Gerbner’s
Cultivation Theory (1969) implies that viewer’s perception of reality can be changed
by prolong exposure to television and supports the argument that prolonged exposure
of children to gender stereotypes in cartoons influence their gender norms and
expectations. Juliana Garabedian (2015) points out that from years 1937 to 1959, the
princess characters developed by Disney were Snow White, Cinderella, and Aurora.
This period was the time when gender stereotypes of women being weak and that they
were ineligible to manage the office work and confined to only household chores.
Hence these characters were portrayed as naive and dependent on a prince for their
survival. Both “Cinderella” and “Snow White” place a significant emphasis on the
beauty and kind hearted nature of the female leads. These reinforce the beauty
standards of women and children exposed to these shows develop similar ideologies
of beauty standards for female and objectify them.

A quantitative content analysis conducted by Masilamani and Sriram (2017) by

programming the content of 10 national television channels and one regional channel
including popular kids’ channels like Cartoon Network, Pogo, Nick, Disney Junior,
Disney XD etc. The results of the study showed that the gender representation ratios
of programmes from the developed countries USA and Japan were shocking similar to
that of India suggesting all these nations with cartoon channels which are biased to the
male protagonist. The results also show that there are 12 out of 17 cartoon shows with
titles with male character names and only 1 show with female character name. Ruchi
Kher Jaggi (2017) based on television ratings sampled 135 cartoon shows from year
2001 to 2014 with a total of 1057 cartoon characters. The results showed that the
percentage of male characters were far greater than the female characters considering
the primary characters of the show. The state of male to female characters ratio for
secondary characters was even worse than the primary characters. Male protagonist
characters were portrayed brave, enthusiastic, extrovertive, athletic and independent
while the female characters were shown as dependent, non-athletic, shy, sensitive and
emotional according to the result.

Kristen Harrison (2004) conducted a survey to find the relationship between

media exposure and children’s gender related perceptions have showed positive
relation between the gender stereotypes developed by children and their respective
stereotypical shows on television channels they watched. The children who were
made to watch gender stereotypical programme were positive for developing male
stereotypical opinions then those children who watched counter-stereotypical
programmes. The article by Shumaila Ahmed & Juliana Abdul Wahab (2014) argue
the same that children tend to support the characters and roles in a cartoon show
which match with their gender and when these characters perform acts which are
stereotypical they imitate the character developing conditional masculinity. Also, the
research showed that 70% of the female characters in the popular cartoon on cartoon
network were portrayed sexual and attractive while a majority of male characters
constituting 90% of them were shown strong and brave.

Marianne G. Taylor (2009) conducted an interesting study by considering children

from two different age groups, at the age of 5-6 and children 10- years old. Children
who were at the younger age identified human gender and animal species as similar.
While the children who are 10- years old considered gender and species as different
categories. The study was conducted by taking physical properties and behavioural
properties as parameters in comparing the answers from children in categorizing
species and gender. Younger children tried to relate the physical and behavioural
properties both for animal species as well as human gender. They considered that the
behaviours of a certain gender were inherent to the title. This shows that accepting
gender as a social construct is complicated for younger children. Undoubtedly
children learn characteristics or traits of particular gender from a very young age. The
traditional way of representing gender stereotypical male and female characters badly
influence the children to develop gender essentialism. Children consider the
 differences in behaviours and characters as inherent qualities of a particular gender
and develop the perception of gendering.

3. METHODOLOGY

The popular cartoon channels Pogo, Nickelodeon and Disney Junior were selected
for the analysis. Shows with the highest rating from each of the channels were
selected as follows:
• Pogo - Chhota Bheem
• Disney Junior – Doraemon
• Nickelodeon – Power Rangers Samurai

The episodes from the above cartoon shows were sampled randomly to critically analyse
the Gender stereotypes portrayed through the setting and characters of the shows.

4. DATA ANALYSIS
4.1. CHHOTA BHEEM

Chhota Bheem is an Indian animated television series streamed on Pogo. The show is
highly popular among the children of broader age range. The show primarily revolves around
‘Bheem’, the main protagonist of the series and his daily adventures encountered in saving
Dholakpur (the village where Bheem and all his friends live) from the evil beings. He is
portrayed as highly masculine with broad shoulders and fair complexion. Every problem
occurred in Dholakpur is shown to be solved by only Bheem with his bravery and wisdom.
He can be considered the epitome of masculine characteristics. He is shown to tackle all the
problems without burdening anyone in his village. Even the king of the village relies on
Bheem for solving problems. This develops the sense of responsibility of a man in young
boys watching their favourite character, Bheem. Boys can easily relate themselves to the
character of Bheem due to the similarity in ages.

Gender Stereotypes based on physical appearances: The primary female

characters shown in the series are Chutki, Indumati, Tuntun Mausi and a witch.
Chutki is the female friend of Bheem who is often portrayed as the character who
 supports Bheem. Indumati is the daughter of King Indraverma with a fair complexion
portrayed as the symbol of beauty. She is shown to possess romantic interests for
Bheem especially during the times when he saves her from danger. This impacts
children to have stereotype that man always rescues those in need and women always
rely on man when they are in need. The two female characters Chutki and Indumati
are shown lean and weak lacking physical strength. Young girls who watch these
characters learn and imitate their acts and try to relater their physical appearance with
these characters.

Figure 1Image of Bheem in the middle, Chutki at the right and Indumati on left side

Figure 2 Image of evil witch shown with spots on face

Also, the evil witch who causes trouble to the villagers is portrayed with physical
appearance of spots on her face to showcase the ugly face purposefully for an evil female
character. Hence projecting a stereotype that female with fair complexion is good and kind
whereas those with the absence of these traits are evil in nature. Chutki always plays the role
of providing Laddu to Bheem whenever he lacks strength. She always showed to carry extra
laddus for Bheem to support him whenever he needs them. Tuntun Mausi, mother of Chutki
is often showed either making laddus or doing household chores.

Figure 3 Image showing Chutki making Laddus for Bheem

The discrimination in physical appearance doesn’t end here in the show. Kaalia, the
competitor of Bheem, possesses large body with huge tummy. Dolu and Bholu are the side
characters in the team of Kaalia who are short and weak supporting Kaalia due to his
dominant nature. Dolu and Bholu often shown with having cunning ideas and schemes which
they suggest to Kaalia. This clearly shows discrimination of their character for not having
traditional masculine body. Kaalia though is shown to have large body, he gets defeated by
Bheem who is way more masculine than Kaalia. And whenever Bheem wins Kaalia, Chutki is
shown with red cheeks and attracted to Bheem which is setting the expectations of female
from a male at a young age in children.

Figure 4 Image of Kaalia and twins Dolu, Bholu

 Gender Stereotypes of fashion and cultural norms: A single episode of Chhota Bheem,
‘Tuntun Mausi Bani Fashionista’, can change the perspective of viewer on modern fashion
clothes and costumes. In this episode upon accidentally receiving a woman’s magazine for
beauty Tuntun Mausi gets fascinated about the costumes and starts to follow the trending
fashion from the next day by adorning herself with gold ornaments. Then she gets robbed by
two thieves and falls on the ground only to be rescued by the hero of the show, Bheem. The
next day she wears a pencil skirt and sells Laddus in a cart on the street. The symbol of
beauty with culture, Chutki questions her mom what type of dress she was wearing in an
unpleasant tone. It is evident from her expressions that Chutki doesn’t like her mom’s new
dress. This sets the dressing customs and norms in the minds of young children who idolize
Chutki’s character. In Indian society, women often face external pressure and societal
expectations regarding their clothing choices. This pressure can come from parents, relatives,
peers, media and cultural norms.

On the same day it is shown that many people in the village, especially men, buy laddus
from Tuntun Mausi leaving her with a great profit. This depicts the vulgar scenario of
Objectification and Sexualization of women based on their attire. The appearance of a women
is being used to attract customers rather than her own ability reducing her to object of desire.
Women are judged harshly for their clothing choices compared to men. The portrayal of
women in roles where their appearance is emphasized over the skills or qualifications can
perpetuate harmful stereotypes and reinforce the idea that women’s value is primarily based
on their physical attributes rather than their contributions.

Figure 5 Image of Tuntun Mausi showing her profit due to her new costume and Chutki expressing discomfort of her
mother's dress

Later in the episode, after facing many problems due to her new costumes one by one,
Tuntun Mausi realises the comfort in traditional clothes and throws out all the fashion
costumes she bought. Though this episode projects the traditional values of the region, when
young viewers are exposed to the content displaying objectification of women it may lead
children to view it as a normal and acceptable behaviour. For young girls, seeing women
being objectified in media can negatively impact their self-esteem and body image. They may
internalize the message that their worth is tied to their appearance, leading to feelings of
inadequacy or dissatisfaction with their bodies.

4.2. DORAEMON

Doraemon is a Japanese animated series running from a very long time on Indian
Television. It is the story of a young boy Nobita, who is always lazy and irresponsible yet
kind hearted. He does not have typical masculine features such as muscular body, wisdom
and is often bullied by his friends Gian and Sunio and depicted as a cry-baby. This reinforces
viewers the necessity of masculine features even at childhood. A futuristic cat robot named
Doraemon time travels from twenty second century to help this weak and hopeless kid
whenever he gets into the trouble and aids him by providing him with appropriate gadgets
which have unusual and sophisticated functionalities.

Figure 6 Images of Nobita scolded by his mother and sensei (teacher)

Young children who relate themselves with Nobita for various reasons such as similarity in
physical appearance, academic performance and sports, desire for a robot like Doraemon to
complete their work. Nobita is shown scolded by his mother and teacher every time
throughout the show. Hence the show constructs the socially accepted behaviour from a
young kid that is to be strong and passionate. Episodes often end with Nobita realising his
mistake of utilizing gadgets. Reinforcement theory (1957) This gives the message to viewers
that gadgets don’t help, hence one needs to possess innate strength and intelligence. In
Chhota Bheem the gender stereotype was positively reinforced by portraying main character
with masculine features while in Doraemon it is through negative reinforcement by
portraying a troublesome kid and his daily problem.

Nobita's mother in Doraemon is depicted primarily as a homemaker, regularly occupied

with domestic tasks such as cleaning, laundry, cooking, and grocery shopping. Despite her
dedication to these responsibilities, her character lacks exploration beyond her role within the
household. Her primary concern revolves around Nobita's academic progress, often
expressing frustration or disappointment towards him, which may stem from societal
pressures on parental expectations and academic achievement. Throughout the narrative, her
interactions with her husband appear transactional, reflecting traditional gender roles and
dynamics. She is consistently portrayed within the household setting, emphasizing her role as
a caregiver and provider of domestic stability.

Figure 7 Shizuka portrayed as loving flowers in the title song

Shizuka is the only female friend of Nobita and cares for him unlike Gian and Sunio. Her
character is filled with several feminine stereotypes. She is portrayed to be mature, kind and
symbol of beauty. Though she is good at academics, in the movies of Doraemon, she is
always shown to be in danger and is in need of help. Nobita being neither athletic nor
intelligent saves Shizuka with the help of his friend Doraemon’s gadgets. The stereotype of
dependence of woman on man is depicted even if the man lacks abilities. She is shown to
attend piano and painting classes and only she bakes cookies for his friends whenever they
meet. She is shown as the romantic interest for many boys in the class including Nobita.
Nobita always tries to impress Shizuka with the gadgets.

In the Episode ‘Nobita’s Bride’, Nobita travels to future to know the identity of his wife
and finds it to be Shizuka leaving him with joy and ecstasy for marrying his childhood crush.
Though Shizuka is projected as a smart and intellectual woman in her childhood, in this
episode she does all the household chores and stays at home preparing cake for her family.
On the other side Nobita who was irresponsible and dull in the past works at an office.
The depiction of Nobita working in an office while Shizuka stays at home doing household
chores perpetuates traditional gender stereotypes about roles and responsibilities within the
family. This scenario reinforces the idea that men should be the primary breadwinners and
pursue careers outside the home, while women are expected to prioritize domestic duties and
caregiving roles. This portrayal reflects outdated notions of gender roles where men are
valued for their professional achievements and economic contributions, while women are
confined to the private sphere of the home and are primarily responsible for maintaining the
household and caring for the family. This portrayal overlooks the diverse roles and
contributions that individuals can make within a family unit. It fails to acknowledge the
importance of shared responsibilities and mutual support in creating a balanced and equitable
household dynamic.

Figure 8 Image of future Shizuka preparing dessert in the episode ’Nobita’s Bride’
In the episode ‘Substitution rope’, Shizuka tells Nobita that she envies boys who can play
baseball, climb trees and stand on the top of the trees to see the scenery. From childhood she
wants to climb the trees but she couldn’t do that due to the social constraints. Later in the
episode Shizuka and Nobita use Exchange rope (Doraemon’s gadget) to swap their bodies.
After having body of a male, Shizuka is shown to succeed climbing the tree. It perpetuates
the stereotype that physical strength and capabilities are inherently associated with
masculinity, while femininity is seen as weaker or less capable. It suggests that a woman can
only achieve a traditionally masculine task, such as climbing a tree, if she possesses a male
body, implying that women are inherently inferior or unable to perform certain physical
activities without adopting male traits.

Though Nobita is a class five young boy, his behaviour does not relate to his age. There
several instances in the show where Nobita is shown pulling Shizuka’s skirt, watching her
bathe secretly and also fitting cameras in her room. He is portrayed as a flirt and pervert in
these scenes which is abnormal for a boy that age. This content grossly has a negative impact
on the young children with their malleable minds. When children watch such scenes in
cartoons, they internalize everything that they see and believe that to be true. They follow this
in their life which affects their psychological and mental development. This objectification of
women sends a wrong message to the young viewers.

4.3. POWER RANGERS SAMURAI

 Power Rangers Samurai" is an American television series and a part of the long-running
Power Rangers franchise. It aired from 2011 to 2012. The show follows a group of young
warriors known as the Samurai Rangers who use their martial arts skills and special powers
to fight against evil forces threatening the Earth. Throughout the series, the Samurai Rangers
face challenges, both in battle and in their personal lives, as they strive to master their powers
and uphold their responsibilities as protectors of the world. The show also explores the
Rangers' relationships with each other and their mentors as they learn valuable lessons about
friendship, loyalty, and perseverance.

Colour coding and costume design: In the show the five Samurai Rangers consist of three
male rangers and two female rangers. The costume design of all the rangers looks similar but
what differentiates them is their colour. Jayden Shiba, the Red Samurai Ranger is a male
character. The female characters Mia Watanabe and Emily are Pink and Yellow Samurai
Rangers respectively. These colours of the Rangers' costumes align with the traditional
gender norms. For instance, the Pink Ranger is typically female, while the Red Ranger is
usually male. This color-coding reinforces gender stereotypes by associating certain colours
with specific genders. Female Rangers' outfits feature more stylized elements or feminine
touches such as skirts or curves. This can reinforce the idea that female characters need to be
visually distinguished and adhere to traditional notions of femininity.

Figure 9 Image depicting costume and colours of Power Ranger Samurais

Assigned roles: The Yellow Ranger Emily Stewart is portrayed as the youngest and most
innocent character. She is depicted as having more nurturing or supportive roles within the
team, while male Rangers are often shown as leaders or warriors. This can reinforce
stereotypes about men being more assertive and women being more passive or caring. The
first in command is the Red Ranger which is a male character and the yellow Ranger which is
a female character is the last in command. This reflects a stereotype that positions men as the
default or natural leaders in positions of authority or power. This stereotype perpetuates the
belief that leadership qualities are inherently masculine traits and that men are more suited to
leadership roles than women. For both boys and girls, exposure to the stereotype that
leadership is male-dominated can limit their career aspirations. Boys may be more likely to
pursue leadership positions, while girls may perceive leadership roles as less attainable or
desirable. This can contribute to a lack of gender diversity in leadership across various
sectors and industries.

5. CONCLUISON:

Cartoons serve as powerful agents in constructing and perpetuating gender stereotypes, a

phenomenon deeply rooted in social and cultural contexts. Drawing from various gender
theories, including Social Learning Theory by Albert Bandura, Cultivation Theory by George
Gerbner, and Feminist Theory, we can understand the intricate ways in which cartoons shape
children's perceptions of gender roles and expectations. Analysing popular cartoons like
Chhota Bheem, Doraemon, and Power Rangers Samurai through a gender theoretical lens
unveils the intricate layers of gender representation and reinforcement embedded within these
narratives. These cartoons often align with traditional gender norms, portraying male
characters as embodying traits associated with hegemonic masculinity, such as bravery,
strength, and assertiveness, while female characters are relegated to passive, nurturing roles,
reflecting ideals of femininity.

Feminist Theory sheds light on the unequal power dynamics depicted in these cartoons,
where male characters often occupy positions of authority and leadership, while female
characters are marginalized and confined to supporting roles. This mirrors broader societal
structures where men hold disproportionate power and privilege, perpetuating gender
inequality. Moreover, the objectification of female characters, exemplified through instances
of voyeurism and inappropriate behaviour, underscores the patriarchal gaze pervasive in
children's media. By objectifying women and reducing them to mere objects of desire,
cartoons reinforce harmful attitudes towards women and contribute to the normalization of
gender-based violence and discrimination.

Color-coded costumes and hierarchical team structures in Power Rangers Samurai further
exemplify how gender norms are perpetuated through visual cues and social roles. These
cartoons reinforce traditional notions of gender, where masculinity is associated with
leadership and strength, while femininity is equated with passivity and nurturing. From a
Social Learning perspective, children observe and internalize gendered behaviours and
attitudes depicted in cartoons, shaping their own understanding of gender roles and
expectations. This process of observational learning, coupled with prolonged exposure to
gender stereotypes in media, contributes to the cultivation of gendered beliefs and behaviours
among children. In order to challenge and disrupt these harmful stereotypes, it is imperative
to promote more diverse and inclusive representations of gender in children's media. By
offering alternative narratives that challenge traditional gender norms and celebrate gender
diversity, cartoons have the potential to become catalysts for social change and
empowerment.

In conclusion, cartoons play a pivotal role in shaping children's perceptions of gender,

often reinforcing traditional stereotypes and perpetuating gender inequality. By critically
examining these representations through the lens of gender theory, we can better understand
the underlying mechanisms at play and work towards creating a more equitable and inclusive
media landscape for future generations.

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11) Episode ‘Tuntun Mausi Bani Fashionista’

12) Episodes ‘Nobita’s Bride’, ‘Substitution rope’