Summary of Key Points
This article discusses the changing relationship between animation and children, challenging the stereotype that animation is solely for kids. It begins by pointing out that animation has surpassed live-action films and television in its influence today, yet the appeal of traditional children's content to younger audiences has diminished. The article then explores the ambiguity in defining "children's animation" and analyzes how this concept reflects different stages of childhood through historical and psychological perspectives. It compares two distinct approaches to children's storytelling: the more popular Grimm's Fairy Tales and the more artistic Andersen's Fairy Tales, before concluding that modern media is contributing to the notion of a "disappearing childhood," blurring the lines between adults and children.
#### 1. Is Animation No Longer Just for Kids? The Increasing Ambiguity in Defining "Children's Animation"
In the past, animation was considered a medium for children, but nowadays, adult audiences are just as fascinated by shows like *Zootopia* and *Nezha* as children are. The reason for this is the very loose definition of "children's animation":
- Main characters don't necessarily have to be children: For example, *Boonie Bears* features bears as protagonists, but its stories are unrelated to childhood; *Toy Story*, though about toys, draws from children's fantasies about them, thus still being considered children's content.
- Family-friendly animations can vary in intent: Some are designed for both children and adults (like *Dora the Explorer*), while others are aimed at adults but with themes that children can relate to (such as *Zootopia*, which becomes a comedy when the animals are portrayed as humans).
- Age-obliterating techniques: Animations often use small animals or robots (like Judy the Rabbit and Wall-E) to hide the target audience's age; they may also feature multiple protagonists (like *The Croods*) to appeal to different age groups.
#### 2. Is "Childhood" a Concept That Only Exists in Modern Times?
You might be surprised to learn that the concept of childhood didn't exist in ancient times:
- Ancient children were considered almost adults: In the past, children would start working at a young age and were not seen as separate from adults. It was only during the Renaissance and Enlightenment that children began to be viewed as a group requiring special care.
- Children's literature is also a recent development: The world's first children's book was published in 1744 in Britain, and later there was a "golden age of children's literature" (with works like *The Chronicles of Narnia*, which preceded *Harry Potter*).
- Psychology influences animation censorship: Swiss psychologist Jean Piaget proposed that children's cognitive abilities vary by age, so animations need to be simplified for preschoolers (like *Teletubbies*) and can include more relatable themes for schoolchildren (like *Dora the Explorer*, which uses everyday situations).
#### 3. How Are Children's Animations Categorized, and What Are Their Characteristics?
Children's animations can generally be divided into three categories based on age and cognitive level:
- Preschool animation: For 3-6-year-olds, with short, educational stories (e.g., *Peppa Pig* in the UK and *Dora the Explorer* in the US).
- Child-oriented animation: For 6-12-year-olds, closely reflecting children's lives (e.g., *Dora the Explorer* uses everyday scenarios to teach lessons; *Crayon Shin-chan* was originally an adult manga but has been adapted for children with fewer adult jokes).
- Teen/Preteen animation: For 12-18-year-olds, focusing on self-identity and how others see them (e.g., *Nezha* explores themes of personal agency and *Demon Slayer* deals with sibling relationships; these animations appeal to adults as well due to their relatable themes of adolescence).
#### 4. Two Approaches to Children's Storytelling: The Lively "Grimm" Versus the Profound "Andersen"
There are two main creative approaches in children's animation:
- The Grimm's Fairy Tales style (popular approach): Clear good vs. evil, with happy endings (e.g., *Snow White*). However, early Grimm's stories contained more violent content, which was later toned down for children.
- The Andersen's Fairy Tales style (artistic approach): More realistic and reflective, dealing with themes like poverty (*Little Match Girl*) or loneliness in childhood (*Dragon Cat*). These animations aim to help children understand the world rather than simply protecting them.
#### 5. Are Modern Media Contributing to the Disappearance of Childhood?
Children today are different from those in our youth:
- Adult culture has become less serious: Traditional media (books, newspapers) required more critical thinking, creating a knowledge gap between adults and children. Now, with short videos and smartphones, information is fragmented, and adults often consume child-friendly content.
- Children are exposed to the adult world earlier: Parents used to worry about the violence in *Tom and Jerry*, but now children can access more adult material online, making it harder to protect them.
- The internet blurs age boundaries: Online interactions make it hard to determine the age of users, as everyone uses the same memes.
Paulozmann's idea that "childhood is disappearing" might be an exaggeration, but one thing is certain: The childhood of future generations will be very different from ours.
#### Conclusion
Animation is no longer exclusive to children, and the definition of "childhood" is evolving. What will future children be like? Perhaps we shouldn't worry too much; instead, we should learn to coexist with these changes. After all, who doesn't have some childish hobbies?