Ilkogretim Online - Elementary Education Online, 2021; Vol 20 (Issue 5): pp.

8744-8757
http://ilkogretim-online.org
doi: 10.17051/ilkonline.2021.05.967

Understanding The History Of Caricature &

Cartoon In Western And Indian Countries
KARNA DIKSHIT PURI Department of Fine Arts, Graphic Era Hill University,
Dehradun, Uttarakhand, India 248002

ABSTRACT

Children are one of the fastest-growing audiences in digital media, and OTT
service providers are scrambling to get their attention by offering exclusive
content. In addition, the media giant Netflix claims that as many as 83 million
households throughout the globe view children's and family-oriented
programming on its site. This article from the Indian Express' upcoming
December 2019 issue examines the evolution of caricature and the cartoon in
Western and Indian cultures. Short animated cartoons as well as longer movies
and internet series dominate India's media and entertainment sector. To be clear,
this article does not treat caricature as its own genre, but rather as a prism through
which to evaluate comics in light of the greater visual art tradition of Europe. By
2020, it is expected that digital media consumption will have increased by 25%,
while the animation industry will have grown by 21%. This multi-method
research provides important insight into the nature of children's television
Additionally exposed are children's watching habits, including their favorite
shows and platforms.

Keywords: Media Literacy, Cartoon Programs, Children, Indian, Caricature.

INTRODUCTION

The term "cartoon" was originally used to describe the thick paper used to draw
cartoons in 1670. The term "cartoon" was first used to describe political cartoons
and caricatures in 1843, and later in 1916, it was used to animated cartoons. The
Italian term carton, which we now translate as "carton," originally referred to the
thick paper or pasteboard that painters used to sketch and plan out their larger
works. The first paintings were made on cave walls, rocks, and other surfaces. In
the 1700s, however, Italy saw a surge in the popularity of political cartoons and
caricatures the monthly British magazine Punch, formerly known as The London
Charivari, is credited with popularizing the term "cartoon." As befitting a
publication dedicated to satire and comedy, the term "cartoon" was often used to
editorial drawings and amusing images. Small-scale experiments with shadow
puppets, stop-motion, etc., laid the groundwork for modern animation.

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Cartoon shows' viewership has skyrocketed in recent decades. Cartooning has
gone a long way from its early days as caricatures and drawings to the present day
with the advent of animated cartoons. Animated comics and humor cartoons are
what most people think of when they hear the term "cartoon" nowadays Children's
television and cinema shorts that include anthropomorphized animals,
superheroes, the exploits of kid protagonists, or similar themes are sometimes
referred to as "cartoon shows" or "programmed” Anime is a relatively new term
for animated television series or cartoon programs, often running between fifteen
and twenty minutes. Cartoons in the anime genre often last no more than five
minutes. Network programming needs might lead to their being categorized in
certain ways. As a result, the same show could air in different timeslots or formats.

The Children and the Media research by Mike Jempson, the Press Wise Trust,
states that Nickelodeon, Cartoon Network, The Disney Channel, and Fox Kids'
Network are the four most watched children's television networks worldwide. In
less than 10 years, they rose to power. Based on a number of different sources,
they started developing TV channels and formats whose only purpose was to show
animated shows.

In the 1990s, shows with more adult material than conventional cartoons were
popular, reaching an audience beyond kids for the first time Some examples of
these cartoons include The Simpsons, The Ren & Stimpy Show, Rocko's Modern
Life, Beavis & Butthead, King of the Hill, Duck man, South Park, and Family Guy.
Originally intended for younger viewers, Re Boot is now aimed at those aged 12
and up leading to a more serious tone and content. The development of CGI has
brought even more attention to animation. The animation business was
completely transformed. For the first time, audiences could experience tales and
characters that seemed really real.

REVIEW OF LITERATURE

Abigail Walsh et.al (2019) conducted a content study of gender roles in

children's television aimed towards preschoolers. Each of 34 currently airing
series had three episodes included in the study's sample. The study's authors
analyzed the proportions of male and female protagonists, as well as the ratio of
male to female protagonists. In addition, they compared the frequency with which
female and male characters engaged in behaviors traditionally associated with
either sex, such as conversing, communication (suggestions or support),
aggressiveness, and stereotypically feminine or male physical appearances. The
results suggest that many negative gender stereotypes are reinforced through
children's media. Some tendencies, however, were less likely to occur in shows
that featured mostly female characters. Furthermore, content evaluations of
shows intended at older children suggest that gender-stereotypical portrayals are
more prevalent in shows aimed at preschoolers.
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Michael Paul Masters (2020) To see if the accentuation of paedomorphic traits
has persisted across a wider range of characters after Gould's study, the author
here analyzes the craniofacial changes in a large sample of 230 human cartoon
characters drawn from multiple North American programs spanning 84 years
(1932-2016). Regression analyses were performed to see whether craniofacial
ratios altered over time, and digital calipers were used to measure and compute
eye/head, eye/face, and face/head height ratios for each person in the sample. The
year when the movie or TV show initially aired served as the character's time
marker. To avoid any possible bias in the selection process, a research assistant
randomly assigned each participant to each goal.

Shahidur Rahman Arafat (2019) studied the effects of children's television

cartoon viewing on their parents. A total of 82 parents participated in the survey;
25 were male and 57 were female. There was a wide range of ages and occupations
represented, from stay-at-home moms to university professors to successful
company owners. This study traces 51 parents' cumulative observations of their
children. Almost 95.12% of respondents said that their kids or siblings regularly
watched cartoons. The vast majority of them spent more than an hour per day
watching animated shows. In the absence of such activities, many kids squander
more than three hours every day. The majority of kids like watching Motu Patlu.
Nut-Boltu has the fewest fans among young people. The vast majority of
respondents agreed that cartoons are a fun and simple way to engage kids. Sixty-
eight percent of kids, whose parents let them watch cartoons, acted like their
favorite characters.

Kiran Vinod Bhatia et.al (2017) believes that audiences may be both active and
passive, and that this dialectic of (in)action can help us comprehend the function
of media education in the era of religious plurality in the Indian democracy. Bhatia
and Shelat argue that critical media literacy (CML) may be used as an intervention
to challenge the exclusive nature of students' religious and political upbringing in
the classroom by exposing them to many perspectives and narratives.

Deepika Rajawat (2017) investigated how watching cartoons could affect

toddlers' emotional and social development. All 45 of us, including kids of all ages,
can't imagine life without some kind of electronic media. For several reasons,
television viewing occupies a significant portion of children's everyday lives.
Previous studies have shown that the first few years of a child's life are crucial to
the formation of their brain. The mind is severely changed when a youngster
spends the majority of his or her formative years glued to the television,
particularly cartoons. Occasionally violent or aggressive stuff is portrayed in
cartoons in such a subtle way that the youngster doesn't realize it's cartoon
violence or aggression. Moreover, there is material in these programs that is
inappropriate for younger viewers.

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CARTOON PROGRAMMES IN INDIA: TELEVISION AND DIGITAL

Roshni Chakrabarty claims that when Indian material was unavailable, a greater
audience flocked to foreign children's programming. There were a few of Indian-
specific shows, but they weren't remembered for long. Mickey Mouse, Tom and
Jerry, Doraemon, Shinchan, etc., were always big hits with Indian audiences thanks
to their Hindi dubs. As far back as 1928 with Mickey Mouse and as far forward as
1940 with Tom and Jerry. The recent hit anime series Doraemon was originally a
manga series that debuted in Japan in 1969. In 1973, it premiered as a television
series. In India, the landmark year of 1974 was the year when the animated film
'Ek Anek Aur Ekta' was released. People remember the seven-minute show
because of the images and music. First shown on Door darshan on June 17, 1990,
'Ghayab Aya' was the first Indian animated television series (figure1).

Figure 1: First Indian Animation Shows

At the time, Door darshan (DD) was India's sole television network, therefore it
was the only place to see classic animated shows like Duck Tales, The Jungle Book,
Tale Spin, and many more. A few years later, Cartoon Network India claimed the
title of first 24-hour cartoon network in the country. Hungama, POGO, Disney,
Nickelodeon, and Toon Disney are just some of the children-oriented television
networks that have emerged in the years afterwards. Game shows, sitcoms,
instructional programs, and more were all on display. More and more Indian
animation works have been released in recent years, demonstrating the industry's
growth and success. Currently, the most popular programs are based on superhero
myths and Indian folktales. Some instances include- Roll No. 21: Chhota Bheema,
Little Krishna, Mighty Raju Tenali Raman and the Police Chorr, Motu Patlu, Kumbh
Karan, and Howzzattt!

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Figure 2: Recent Indian Cartoons

Children in India under the age of 15 have a wide range of programming options
from Indian broadcasters. According to the market research, the primary channels
providing children's programming are shown in Figure 2.

Table 1: T.V. Channels for children

Producers in India's media industry have gone regional by creating original

animated series like Roll No. 21 Chhota Bheem, Motu Patlu, Inspector Chingham
Pakdam, and many more. Rudra Little Singham and Pakdai Mighty Raju Chhota
Birbal and Tenali Raman's Remarkable Journey Powerful Bheem Andy-Pirki,
Bahubali, and a slew of others. from the IMEI 2019 study shows how broadcasters
are adjusting the programming on children's channels to take advantage of the
popularity of locally produced content.

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Figure 3: Share of domestic content on T.V.

The animation business has undergone radical change as a result of technological

enhancements. Animated cartoons have been winning honors and acclaim all
around the globe since the advent of CGI to the present day. The evolution of
animated cartoons spans the transition from VHS to DVD to Blu-ray and from black
and white to color television. Children's programming on Indian television has
benefited greatly from the increased demand for animated shows. Disney, Viacom
18, Turner, and Sun T.V. are the most popular channels in India for kids. There are
now 24 children's channels, the research says, which should lead to a surge in
interest in homegrown programming. In 2019, India will debut "D.D. Kids," a
public broadcasting network aimed specifically towards children. The 2019 Indian
Media and Entertainment Report also sheds light on the fact that, despite the
meteoric rise of over-the-top (OTT) applications, kid-friendly television viewing
is on the rise in India.

INCREASING CONSUMPTION OF CARTOONS BY INDIAN CHILDREN IN THE

DIGITAL AGE

A new kind of media consumption has emerged with the ever-growing mobile
internet and smartphone use. Increasing content consumption on digital
platforms by Indian youngsters is seen in the IMEI report of 2018. Furthermore, it
highlights the expansion of over-the-top (OTT) VoD services in India. In recent
years, we have witnessed the rise of over-the-top (OTT) video giants like Netflix
and Amazon Prime. Hotstar and Sony Liv are just two of the streaming services
that have added kid-friendly premium content and channels. Children's media is
abundant on the internet, with heavy use recorded on sites like YouTube,
Facebook, Voot, HOOQ, and others.

In 2018, Amazon Prime began streaming Cartoon Network programming via a

partnership with Turner India, while Netflix began airing its first original
animated children's series, "Mighty Little Bheem," in India through a partnership
with Green Gold Animation. With its own unique programming, Alt Balaji is also a
player in the children's entertainment market. The consumption pattern also
shows how much attention is being paid to locally produced material. YouTube's
popularity is on the rise, especially among kids between the ages of 8 and 11.

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Vloggers are becoming an increasingly significant part of this. Table 2 provides a
general overview of the cartoons and other kid-friendly material that may be
found on YouTube. The kind of videos that kids like watching on YouTube change
as they become older.

Table 2: Top Subscribed Animation Channels on YouTube

According to the data, YouTube was the first platform to provide a wide variety of
children's programs, but both Netflix and Amazon Prime Video have recently
added kid-friendly areas. In India, over-the-top (OTT) providers like Hungama
Digital and Viacom18's Voot have launched kid-friendly services like ChuChu TV.
The most up-to-date over-the-top (OTT) apps provide not just entertainment but
also educational materials for kids. Voot Kids, for instance, has not just
programming from the Nickelodeon TV channel, which is owned and operated by
Viacom18, but also e-books, audiobooks, and quizzes.

As production methods have become more advanced and distribution channels

have expanded, with on-demand streaming services and mobile based delivery
complementing conventional television programming, the market and audience
for animated content have gained significant ground in the digital era. The usage
of CGI and other modern animation methods is on the rise in India, according to
the FICCI-KPMG Indian Media and Entertainment Industry (IMEI) Report 2018.
The use of visuals like this in children's television is a common tactic for keeping
viewers interested. The 2016 key collaborations for children's digital content are
summarized in Table 3.

Table 3: Kids’ content in digital space- 2016

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The expansion of children's animated television shows has been credited with
helping the Indian media and entertainment sector thrive. There are several
mediums for viewing the animation. Animation of all lengths, from shorts to
features, is becoming more common on the internet. Therefore, the consumption
is rising daily. One of the reasons for this is the increasing number of digital
players. Through 2020, projections show that both digital media consumption and
the animation business will expand at CAGRs of 25% and 21%, respectively.

THE ROLE OF CARTOONS IN MEDIATED COMMUNICATION

When examining how children become media literate, it is crucial to consider how
the medium itself transforms into a form of communication. explains that the first
step is to determine who is accountable for making the media. Examining the
presenter's favorite reading for clues to their underlying principles in media
communication is crucial. Understanding the media's intended audience and how
each viewer's unique life experiences and worldview shape their perception of the
content is crucial. This research is related to Wilbur Schramm's model of
communication (1954) thanks to Silverblatt's analysis of media literacy. He said
that talking to someone is a two-way street where each party has a chance to
provide and hear information.

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Figure 4: Schramm-Osgood model of communication

The value of knowledge is limited until it can be articulated and shared with
others. Encoding is crucial because it transforms thoughts into content and so
kicks off the communication process. The Schramm Communication Model
provides a time-tested method for understanding and analyzing the
conversational exchange. It may be used to analyze how two individuals exchange
and process information, ideas, and attitudes. This concept is also known as the
Encode-Decode concept of Communication or the Osgood and Schramm Model of
Communication since they adopted it from the work of another theorist, Osgood,
in the year 15. Therefore, encoding and decoding are the two most crucial
components of communication, without which no data can be sent between
parties.

Figure 5: Cartoons as mediated communication

The whole message, from beginning to finish, is up to interpretation. When taken

in this way, just the message is understood. It seems that the sender and receiver
paradigm of communication is broken in this approach. It's not the typical format.
Cartoons are seen as a kind of mediated communication in this research The
media producer acts as the message's originator or sender, encoding the
information as a children's cartoon show and disseminating it through broadcast
television and digital platforms to the programme's intended viewers.

FUNCTIONS OF CARTOONS

Best learning sources, such as books, instructors, or cartoon shows, play an

essential influence in children's comprehension and knowledge of many topics.
Sharmin of Michigan University (2015) found that children were more interested
in animated television shows than in more conventional forms of schooling and

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instruction because of the shows' bright colors, engaging characters, and engaging
plots. These are the conditions in which a young learner is more likely to retain
what they are taught than they would be in a traditional classroom. Kids these
days are often on the go, yet they may be seen watching their favorite cartoons on
their phones, tablets, computers, and any number of other digital devices. The
influence of television cartoons is, therefore, undeniable. By the time a kid reaches
the age of 12, he or she will have seen 18,000 hours of cartoons, This suggests that
cartoons are one of the key variables that shape the human brain, leading to a fixed
pattern of thought and behavior.

Figure 6: Functions of cartoons

• Cognitive
Influence Memory, attention, logic, reasoning, and the ability to interpret visual
and aural information are all examples of cognitive abilities. Gavriel Salomon
claims that various types of media attract and foster unique patterns of thought
18 Furthermore, Salomon's studies show that targeted learning interventions may
improve students' IQ. Based on extensive experimental and observational
observations, Piaget's Metatheory of Cognitive Development argues that higher
levels of reasoning capacity and moral development set humans apart from other
species. According to Piaget, it is pointless to try to teach a kid a skill that is beyond
their current developmental stage since what they learn is directly related to their
stage of development. Children are unable to grasp things at a certain level unless
they have reached that level by spontaneous discovery Children have the capacity
for multitasking that enables them to think more abstractly and logically as they
become older.
• Emotional Influence
Emotions, "are affective experiences that accompany generalized inner
adjustment and mental and psychological stirred up states in the individual, and
that manifest themselves in his behavior." Personal and social development cannot
be separated from an individual's emotional maturation. A person who has
achieved emotional stability has a prosperous, stress-free existence. He has a
healthy sense of self-confidence and contentment. As a result, a person's
emotional development is crucial to the growth of his or her personality. Anger,
fear, jealousy, curiosity, envy, pleasure, sadness, tenderness, etc. are all frequent
feelings in youngsters. Preschoolers are able to recognize and distinguish between
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fundamental emotions like happy, sorrow, and fear shown by television
characters, study shows that youngsters may apply the emotional skills they
acquire in books to their everyday lives. Children's emotional empathy is
developed for their favorite cartoon character, as shown in research.
• Behavioral Influence
Behaviors are the ways in which people behave in response to their inner
experiences and external stimuli. Meaningful and intrinsically linked to how we
feel and what we believe underlies all behavior. 20 We call a youngster "well
behaved" when they follow directions, share their toys, and show good manners
overall. When we see someone acting erratically—yelling, stomping, punching,
behaving aggressively with others, throwing items, etc.—we get a new
understanding. They come off as brazen and rude to us. A child's behavior has
significance, just as an adult's does, since it is an outward manifestation of the
emotion being felt at the moment.

THE EXPERIMENT OF CARICATURE

Both caricature and comics, which have traditionally been considered minor arts,
have a propensity to grow in popularity. Scott McCloud's definition of "comics”
may be applied to a wide variety of visual works. And if caricature is roughly the
art of sketching humorous figures and facial expressions, then what is it? From the
most rudimentary to the most modern of artists, history is full with them. for a
comprehensive overview. for a scathing reply. Equating such malleable concepts
may be difficult. For this anthology, I suggest the following perspective. Contrary
to popular belief, caricature is not a signature feature of comics. However, it might
serve as a conceptual portal, allowing us to see comics' position in the larger
context of art history. To begin, I'd like to propose that is the greatest expert
monograph on caricature and comics, although I doubt anybody has ever thought
to classify this comprehensive art history/aesthetic theory volume in such
restricted terms.

• England and France: Public Faces

England falls to caricature, and then France. Both the Englishman William Hogarth
(1697–1764) and the Frenchman Honore Daumier (1808–1879) are considered
geniuses in their respective fields. Twice it gets off to a vicious political start before
becoming more subtle and social. Two Englishmen who excel in piling insult onto
insult are James Gilray (1757-1815) and Thomas Rowlandson (1756-1827). The
caricature shop's window has become a kind of public theater, and no one is safe
from being satirized there.

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While the market declines and the demise of Boney, the most popular caricature
character, English comic art rebounds by taking on new "cartoon" forms after
Waterloo.Mr. Punch enters the world in 1841. Age and the Age have softened him
up a little. According to a historical account written in 1895, "it may safely be said
that there is to-day no efforton Punch's part to be smart, anti-popular, anti-
bourgeois, or anti-anything, save anti-virulent and anti-vulgar."
• Caricature To Cartoon
As the 19th century progressed, technical advancements raced ahead of the
graphic arts community. Quality and affordability are constantly re-evaluated and
re-balanced. In 1798, the first lithograph is created. Thomas Bewick's discovery of
wood engraving was more revolutionary than any comic book that went against
the grain. No illustrated weekly newspapers would exist if the burin wasn't used
to sharpen the final grain.Clearer images are a huge plus. However, increased sales
on their own virtually make cartoon characters "a new thing." Wellington's hooked
bridge, Pitt's beanpole torso, the Prince Regent's paunch, Sir William Curtis's
gherkin-pickle nose, and Lady Hertford's swollenglobes. These characteristics
took on a life of their own as they were passed from one caricature to the next,
evolving in definition and expressive distortion in accordance with the aesthetic
and functional needs of each print. It was via a process of graphic analysis,
selection, reduction, and interchange between artist, topic, and audience that a
language of physical signals was developed, and it was this vocabulary that
caricaturists sought to duplicate.
• Caricature To Modern
The caricature comes after Courbet and Manet. "What could be more logical! A
French reviewer was hoping for a catastrophic reductio when he saw this
exhibition showing caricatures as art. Clement Greenberg then replaced "illogical"
with "cheap," attempting to denigrate just the cheapest of the poor. Chromeo
types, magazine covers, artwork, advertisements, slick and pulp fiction, comics,
and other examples of "popular, commercial art and literature." All of this must be
antithetical to modernity. Manet no longer shocks us; the walls of Greenberg's
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ivory tower have crumbled. argues that Picasso was a caricaturist. It was created
before to Picasso by non-European art historians who traced the lineage of
caricature back to prehistoric times It's not easy to put a time stamp on these
changes, that much is true. To paraphrase the philosopher who says, "we can for
each case explain why the painting in question is not a caricature" we can see that
this is not true. Therefore, it may be assumed that they are not. Assuming the
converse would make me feel more at ease.

CONCLUSION

Using a critical media studies perspective, you may better understand the
messages conveyed in children's television. Based on these findings, we might
anticipate a day when children are the ones to discover the deeper meanings in
their beloved cartoons. contends that parents and children play vital roles at all
stages of the encoding and decoding process. This study uses cartoons as a kind of
mediated communication to investigate the process, function, emotional reaction,
audience, context, and structure of cartoon programming. This article combines a
critique of Gombrich's "the experiment of caricature" with a look at some
paradigmatic examples from the field of art history. It's hardly unexpected that
this soup gave rise to for comics. However, violence may be entrenched in some
settings. However, research that involves participants draws the conclusion that
theoretical understanding of violence and non-violence in cartoons is being
formed alongside cognitive knowledge. This study bolsters the peaceful and
affable features of visual imagery's supposed realism.

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