Dafna Lemish and Chava E. Tidhar
Experts’ Perceptions and Mothers’ Reception
of the "Teletubbies":
An Israeli Case Study
It is four thirty in the afternoon. In
around 28%1 of Israeli homes toddlers
and pre-schoolers wake up from their afternoon naps or return home
from their day-care centers, and rush straight to their living rooms
to watch their favorite four Teletubbies. An older sibling
joins in occasionally while the younger baby in a playpen or infant-seat
watches them curiously. Mothers, treasuring the peaceful half-hour
relief, rush to the kitchen or the washing-machine to make the best
of this time. Others join their children in the viewing experience
The popularity of the Teletubbies,
an imported British program targeted to toddlers and young preschoolers,
attracted our attention for various reasons. At the time the study
was conducted, it had been broadcast for about 5 months on Israel
Public Television Channel (channel 1). Commercialization of program-related
items (toys, cloths, accessories) was just starting. However, the
discussion of the program was present in the newspapers. The program
is a novelty on Israeli television. Geared to very young audiences,
it is attracting children as old as in mid-childhood. In a culture
were most educational content for young viewers is broadcast by
Israel’s Educational Television or is marketed in special video-tapes,
the Teletubbies was a surprise.
Through our previous research on young viewers,
we have concluded that very young children can benefit from television
viewing. Lemish (1987; Lemish and Rice, 1986) found that babies
as young as a year and certainly as they turn into toddlers, imitated
behaviors, learned a vocabulary, internalized concepts (such as
sizes, shapes, colors, letters, numbers) and enjoyed programmes
designs for them. Tidhar (1987) found that preschool children learned
basic concepts and tolerance messages from the early Israeli version
of Sesame Street. She also found that young children learned
initial reading skills from the series named No Secrets produced
by the Israeli Educational Television designed for this very purpose.
As researchers, a major appeal of the Teletubbies
for us is its claim to be of a global character – a program
located within a universal children’s world, aimed to attract young
viewers of all ages and all cultures. While very few educational
programmes have become such a world-wide success, the most important
one is of course Sesame Street, none have been specifically
targeted to the pre-language viewer. None were also marketed "as
is " that is, without any cultural adaptation (excluding dubbing
of minimal linguistic utterances).
This globalized nature of children’s television
is now at the center of interest of research in the field (see for
example Lemish et al, 1998). The tension between the trend for cultural
homogeneity on one hand, and the growing self-awareness of local
cultures on the other, heightens the discussion of children as the
future creators and consumers of culture. This is particularly interesting
in the Israeli context, where television has been originally formed
to serve an integrating national role and to enhance Israeli values
and develop a common cultural identity (Katz, Haas and Gurevitch,
1997). The dramatic changes in the television environment in the
last decade with the advent of an additional commercial channel
and cable television, further stimulated the debate over television’s
potential for cultural imperialism in general, and Americanization
in particular. Since the television diet of young Israeli viewers’
today consists of over 50% imported television programs, it was
challenging to examine reactions to a program marketed as culture-free.
In addition, previous research suggests
that parents’ mediation can play a crucial role in children’s processing
of television content. The encouragement of positive viewing, reinforcement
of messages, verbal clarifications during viewing, explanation and
extension, as well as mere joined-viewing are among the parental
strategies used (see for example Abelman, 1990; Austin, 1993; Desmond
et al, 1985; Messaris, 1987; Reiser, Tessmer and Phelps, 1984; Salomon,
1977). However, Tidhar and Levinsohn (1997) showed that transition
from monopoly broadcasting to cable television in Israel induced
some changes in patterns of parental control and mediation: In coping
with the enriched television environment parents tend to grant more
independence to their children’s viewing. More children are left
to watch television on their own and independently chose the programmes
watched. It was interesting to find out whether or not Israeli parents
attribute educational qualities to the Teletubbies, whether
or not they join their young children in viewing and, if so, is
there evidence of mediation.
We set therefore to study the initial reception
the Teletubbies received in Israel as perceived by adults.
The Study
In an attempt to gain insights into these
issues, we conducted 29 interviews. Of these, 20 were mothers of
39 children, ranging in age from 6 months to 10½ years. There was
varying interest in the Teletubbies, from an occasional glance
to a daily loyalty. In addition, we interviewed 9 experts (three
of which are among the above mothers). Two kinds of experts were
included -- media practitioners and academic/educators. Among the
first kind, three directors were interviewed: Director of Children’s
Programming at the Public Television Channel that broadcast the
Teletubbies; the Director of Programming the Israel Educational
Television; and the Director of the Cable Children Channel. In addition
we interviewed the Director of the cable channel being planned for
young children, and a journalist/ television producer who specializes
in young children. The second group consisted of academics and experts
on young children’s education: a Ministry of Education supervisor
of daycare centers; a Ministry of Education supervisor of pre-schools;
a specialist in curriculum development for 2-3 year-olds; a special-education
expert, and an academic specializing in children and media. Finally,
four other interviews were conducted with relatives of the above
mothers who insisted on hearing them out: one grandmother, one father,
and two female adolescents – a 16 and a 10½ year-olds.
All interviewees were educated middle-class
persons, happy to cooperate. Mothers were reached through snowballing,
and experts through our professional contacts. We asked mothers
about their children’s viewing habits and their specific reactions
to the Teletubbies during and after viewing. They shared
with us their own views of the
Teletubbies and the program’s role
in their children’s lives. The experts offered professional analyses
of the program and it’s potential contribution to young viewers.
Interviews were conducted by the authors, lasted from half an hour
to an hour, and were hand-written almost per-verbatim.
Perspectives on the Teletubbies
An analysis of the transcripts focused on
several themes, which surfaced in the interviews. Interestingly,
interviewees agreed on the issues at hand – although often differed
in their interpretation and in the value judgement attached to them.
As a generalization we may suggest that experts were far more enthusiastic
about the Teletubbies than mothers, offering an evaluation
of the various elements of the program and their appropriateness
to the target audience. Mothers, on the other hand, provided a much
more centered perspective on their own children’s reactions to the
program. In cultural-studies terminology, we suggest that as a whole,
and not surprisingly, experts were more engaged in textual analysis
while mothers focused on its’ reception. We turn now to a discussion
of the following main themes that emerged from our data: the general
perceptions of the educational and production quality of the program;
attitudes to values conveyed in the program; and viewing practices
and mediation.
Perceptions of the Educational and
Production Quality
Both mothers and experts pointed out the
unique production values and educational thought invested in the
Teletubbies. Two themes were salient: the characteristics
of the general atmosphere of the program and the nature of its content.
A) A happy, safe but dull television environment?
That the Teletubbies offer a safe
environment for young children seemed to be agreed upon by all of
our participants. "It’s a wholesome program" suggested
a mother of two pre-school aged girls, "its like…kind of good,
no-worry program, pleasant…it’s a program that is filled with goodness."
Interviewees talked about the "mean world out
there" in which children are raised
these days. On the macro societal level, they talked about life
with high-tension and demanding for children these days. "Everything
is so threatening around and suddenly there is this series that
lets children enjoy themselves and connect positively," said
a children’s-programmes director. "There is such happiness
in it. Today’s children are exposed to such horrible things, and
this is something on the contrary," explained a mother of a
pre-school and a toddler daughters.
Occasionally, they described their own child’s
personal circumstances, as does a mother of a 5 year-old son: "We
just moved at the beginning of the year to a new pre-school and
it’s the first time that he has faced physical and verbal violence
and was the youngest at school and I think it was hard for him…I
have the feeling that it [the Teletubbies] is an anti-thesis
to what happens in pre-school. It is kind of soft and pleasant.
It is exactly half an hour after he returns home from pre-school,
sits in his own armchair in a totally different world, and I feel
that he is re-charging his energy and coming back to life. That’s
what it seems to me."
Mothers talked about the program as providing
a safe environment for the children and thus releasing them from
the need of constant supervision of their viewing. As the interviews
unfolded, it became clear that many of those middle-class educated
families refrain from letting their young ones watch broadcast television,
where they have no control over the content, and base most of their
children’s viewing on selected video-tapes (purchased and/or taped).
Given this behavior the Teletubbies are an exception. Here
they feel that even without pre-viewing the programs, they can rest
assured that nothing potentially harmful will appear unexpectedly
on the screen.
Many described their children’s emotional
mood while watching the Teletubbies as pure "happiness."
They sit with smiles smudged all over their faces, expressing a
true sense of peace and happiness. "When she is watching she
is just so happy, sitting there smiling and happy," related
a mother of a 4½ year-old daughter.
However, while the safe and happy nature
of the program was viewed as one of its positive assets, its non-demanding
character for children of two years of age or above was more debatable.
For some mothers, it provided a relaxing, much needed "time-out"
for the child from every-day routine. Others had mixed feelings
about it, suggesting the program is undefined, too casual and vague.
"It doesn’t hurt but it doesn’t add either," described
one mother of 6 and 3½ year-old girls. "Let’s say that she
[the younger one] watches many programmes with her [the older one]
and it demands a lot of her, and she has to make up lots of parts,
and this [the Teletubbies] doesn’t demand anything. She just
rests there on her laurels and doesn’t make an effort to understand.
Too simple."
One of the experts developed this argument
even farther: "Everything is cheerful and goes too easily,
and there is no effort or difficulty that a young child experiences
every hour and can identify with. Never do they make an effort to
reach an object placed too high, or to do something that doesn’t
work out immediately, or to make a difficult movement. The same
goes for language – little children often mumble something and get
annoyed when they are not understood. In this program everything
goes smoothly. There are no difficulties."
A contrasting view was offered by another
mother of 4 and 2 year-old girls: "Everything in life is demanding
for her, so what do I care if one program doesn’t benefit her but
gives her fun."
B) Age-appropriate or dehabilitating content?
Experts interviewed were unified in
praising the efforts invested in the creation of an age-appropriate
program for children as young as one to two years. They talked about
the simplicity of the program, and the choice to have it situated
within the world familiar to the child. They identified elements
such as the pleasant pace, repetitiveness, the simple plot lines,
the rituals of getting starting and ending each program, the engaging
of the senses, the characters, the smiling baby-face in the sun,
and the environment. They talked about the process of identification
with the characters, the aesthetics of the scenery, and the role
of movement and music. One of the experts couldn’t contain her admiration:
"I looked upon it as a miracle. I was stunned. I have never
seen such a thing. Such an attitude towards this age group."
However, consideration about the content
of the program must address its appropriateness given the diversity
of viewing ages. For example, a mother of a 5 year- old who complained
that the program was too simplistic or that the vocabulary too limited,
has her own child in mind, and not the original target audience.
Many were perplexed by the fact that such an "infantile"
program could be of interest to their much older bright, well-developed
and advanced offspring. In struggling with this dilemma, one of
the experts confessed: "When I first saw the program, I did
not understand its power. My respect for the program developed only
when I saw the effect it has on children…You can’t argue with facts
– and the children love it."
Several content-oriented issues came up
frequently in the interviews. The role of language was a rather
dominant one. Interviewees were in agreement that a conscious effort
was made to use a simple, clear language geared at the language-acquisition
stage. Experts referred to the use of simple pre-language syllables
(including choice of names for the characters) and giggles. One
particularly praised the minimalist use of language: "It’s
the physical part [I like]. It doesn’t come from the verbal. Television
always handled things verbally and that is quite oppressive for
children." Another mother of three girls, aged 10 and 8 year-old
and a 17 month toddler said: "It’s O.K. to have them encounter
a language that a child can understand. It’s good. They are not
talking in a defective way but in a way that babies talk. I have
no problem with this." Mothers noticed that use of language
was purposefully minimal and simplistic, but were pleased with the
fact that there were no linguistic mistakes or unacceptable expressions.
Others were critical, as was a mother of
two girls aged 4 and 1½ who said: "the text is retarded. The
dialogue – 10 words in an episode – as in a play by Becket. What’s
the point? When compared to Israeli programmes – in those programmes
they talk. They have a
rich language. One should talk. First of
all – talk. The words the Teletubbies say are correct but
there are no complete sentences even. Something rather strange."
Another mother of 4 year-old and an 18 month old girls: "…
adults talk like adults and not like children. All the research
shows that you need to talk to a child like a human being and not
in their own language." This debate was evident among the experts
too. One praised the use of primary syllables and short sentences,
while another was critical of the use of "gibberish" syllables.
Some mothers tried to compensate for the absence of explicit verbal
labeling through their own mediation (see below).
A second issue which emerged was related
to the messages conveyed in the program. The choice to focus on
the familiar in the young viewer’s life, the simplicity of the presentation,
and the repetitiveness were praised by most. "The program deals
with concepts that are close to the world of children of this age,
in the here and now, and it does it nicely. It reinforces each concept
from various angles, with lots of repetitions that are important
for this age. The program itself is aesthetic and pretty. The colors
are tranquil and the atmosphere is one of happiness. The transition
between the segments is appropriate for the concentration span of
children this age – short concentration span," noted one of
the experts. A second one compared the program enthusiastically
to other viewing options: " In contrast to the pace of advertising,
and even in Sesame Street, where everything is boom-- boom
and quick-quick-quick, hit them on the head with a hammer. Here
there is consideration all the time, not to shock but to go with
the children. There is preparation for every single move, a hint,
it’s coming…they get the messages without hitting them with on the
head a hammer to let them know that we are educating them."
Many examples were provided for relevant episodes from children’s
daily life: for example, going to the beach, riding the bike, making
soap-bubbles.
Particular attention was devoted to the
film segments of the program which appear on their body-screen and
are repeated twice in a row. Clearly, the interest in this element
develops with age and with viewing the program. However, mothers
and experts had mixed reactions to it. Some perceived this realistic
section to be the most educational and valuable part of the program
from which their children were benefiting the most. "I think
it is very successful, nice. It’s a model that exists in many programmes
that characters take you to a different story, when they read a
story in a program etc. It doesn’t stay within their own world.
It’s a connecting point to our world – realistic
characters. Things from children’s lives,"
explained a mother of 6 and 3½ year-old daughters. Others criticized
these film segments for presenting much older children and experiences
remote from viewers’ lives. One of the experts presented a sharp
criticism: "There is a wide gap between the films and the rest
[of the program]. It throws the young child into something aimed
at too high level for him. Even the children in those films are
much older. The reality in these films is not familiar to young
children and is not presented at their eye-level, from their perspective.
It looks as if they just planted those segments from an archive
of programmes for older children." Another expert expressed
mixed feelings about the need to adapt to an innovative production
decision: "There is something problematic about viewing something
electronic that comes out of the stomach. It creates for a moment
an unpleasant sense. But when you think of the idea that the stomach
is our potential for continuation; that the baby develops in his
mother’s belly and all future education is also something developing.
So maybe it is correct that those films in the stomach present older,
more developed children than the audience."
The familiar world and its relevancy to
their own experiences charm the viewers: several mothers reported
imitative behavior such as singing the songs, and joining in the
giggling and movements, making soap bubbles, eating Teletubbies’
food (pudding and toast), sliding (into their homes), riding up
a hill (like Po and her scotter), Teletubby hugs and games,
scary lion, wearing a particular color like a favorite character
("today I am Dipsi") and more. Many repeated utterances:
"Where is Dipsi? Where is Tinki-Winki?" "Bye-bye"
"Oh-oh!" etc, in their original intonation.
While both experts and mothers were generally
supportive of the program’s content, many felt that it could have
done more. Specifically for the older audience that it seems to
attract as well. This point was often brought up in the context
of a comparison to two other highly praised educational programmes
geared at pre-schoolers in Israel and broadcast on Israel’s Educational
Television: Sesame Street (an Israeli co-production with
CTW) and the Lovely butterfly. As one mother put it: "I
prefer a hundred times more that he views Sesame Street. Maybe
I don’t know the Teletubbies well enough, maybe there is
something deeper here from what I imagine, but the messages in Sesame
Streeet are much deeper and it speaks to me much more. Except
maybe for those segments of the television in the belly that each
time it is a different topic."
Others compared the Teletubbie to
video-tapes purchased especially for the children. As one particularly
negative mother to two girls, 5 and 1½ year-olds said: "In
my opinion this is a boring program. The voice-over is not much,
there are hardly any words in the program, and everything is so
monotonous. Not much movement, and there is very little one can
learn from it. I like it when the girls learn something from the
tapes or activate themselves. In front of Barnie’s Friends, for
example, she dances and sings, and here she is only watching. Four
dolls that you can hardly understand what they are saying and most
of what you see is that they walk..In other tapes there is a story,
or a legend or some activity and also learning, and here not."
Attitudes to Values Conveyed in the Program
Among the issues discussed with the interviewees,
the following three received particular attention: the gender of
the Teletubbies, the techno-natural environment and the universal
pretense of the program.
A) Towards a non-gendered society?
The four characters – Tinki-Winki, Dipsi,
La-la, and Po, are by far the focus of attraction for the young
viewers, as well as role models for behavior and sources of identification.
Their colorfulness, softness, childishness, cheerfulness and playfulness,
and smiling faces were characteristics often mentioned by the interviewees
as explanations for their popularity. More specifically, they noticed
their movements, clumsy and abrupt as those of young children; and
even their puffed-up behinds resembling a diapered toddler.
While some of the interviewees found the
characters to be non-attractive, even ugly in a way, the children
accepted their non-human features as natural. According to the adults,
the young viewers perceive them as dolls – to hold, hug and play
with. Many children owned one or more of the dolls or were actively
nagging their parents to get them.
Interviewees appreciated the attempt at
creating a diversity: the differences in size (perceived as difference
in age as well) between the figures; the slightly darker skin of
one of the figures; and representation of both genders. While many
mothers weren’t sure of the gender identity of the characters, they
were certain that their children easily identified them as boys
or girls. It is worth noting that in the Israeli case, the Hebrew
language assigns different suffixes to female and male.
The treatment of gender-related issues constituted
another significant theme in the interviews. Most adults detected
a purposeful blurring of gender-roles in the program.
One expert suggested that: "the dolls
do not have a sexual identity, they are closer to animals than to
human dolls." Another explained that: " the lack of sexual
identity of the dolls is like its absence in babies – when you see
a baby under one year you can’t tell if it’s a boy or a girl. That’s
the way it is here." Occasionally, an interviewee expressed
a discomfort with this lack of identity: "It looks funny. They
don’t have any sexuality. So what, are we not sexual creatures?
It’s not logical. It’s true that the
female-Smurf is pretty with a bow and a dress
and the guys love her. But at least it is clear that she is a female.
I don’t know, it’s an interesting phenomenon. It’s different."
Many interviewees however, dismissed gender
identity as a non-issue. They were sure that their children had
no problem deciding who is who and none of them could recall incidents
of confusion or questions raised regarding gender. A few were especially
pleased: "It’s great that the differences are blurred. It is
clear to my daughter who is a girl and who is a boy. I think it
is great. Those are so many stereotypical programs, that I think
it is great. Those are kids who don’t have any prejudices yet."
Another said: " The fact that the purple one walks around with
a purse and he is a boy is fine. It is fine that there is no female
or male stereotypes and no stigma." Our 10½ year-old female
interviewee, sister to a 2 year-old boy was tryed to explain the
process of distinguishing between the characters: "You can
tell who is a boy or a girl first by their voices – Tinki Winki
and Dipsi are boys and La-la and Po are girls. And also by their
names." When she was asked specifically about Tinki-Winki’s
red purse, she replied: "I think it is funny. In my opinion
they are giving Tinki-Winki the personality of a girl. For example,
they let him dance with La-la’s skirt. It looks very funny but the
babies don’t understand. The red color of the purse is both for
boys and for girls, but its shape is of a girl’s. In my opinion
all the teletubbies are everything together – they are neither
a boy nor a girl."
Reference to the potential homosexual identity
of Tinki-Winki, and issue that was debated in the media sometime
prior to our study, was dismissed by most interviewees. "It’s
adults’ none sense. We don’t care and the children don’t care. It
occupies the sick mind of adults who are searching for sensations,"
said one expert. They encountered the debate through media coverage
but found it to be completely non-relevant to their own family.
B) A futuristic techno-natural environment?
The unique environment of the Teletubbies
– combination of nature and technology - received a lot of attention
in the interviews and raised a variety of reactions. "There
is an attempt to create a fantasy world," explains one of the
experts, "there is an attempt to create something realistically
magical, protected, and focused. Part of a complex of dialogue between
colors and material. It seems to me not accidental but purposeful.
It is important how the colors and materials ‘talk’ to one another,
there is kind of artistic thought in it. There is an attempt to
connect progress with simple materials and its’ pretty."
The seemingly "pastoral," "wonderland"
even "sterile" environment raised mixed feelings. The
artificial green grass, hills, and plastic flowers were perceived
as too "kitsch" by some. The rabbits as "out of context."
One mother of three daughters related her initial reaction: "At
first I was stunned from the visual aspect. It seemed so computerized,
everything was so ordered, the grass too green, and those rabbits
– something too realistic. There was even kind of coldness from
being too clean and too computerized." However, most agreed
that the natural environment created a relaxing, aesthetic, and
peaceful atmosphere.
The technological elements – the home, various
appliances, and furniture were perceived by some as too cold and
alienating. "The child can identify nature without mediation,
but the technological space is unclear, alienated, un-identifiable,"
argued one expert. There is an attempt to "cutifie" technology,
suggests one mother. Others complained in particular against the
non-homey feelings created by the Teletubbies home: "…their
blankets, their beds. The home is very cold. The little metallic
blankets and those tiny beds; that was something very un-homey,"
described a mother of a 3 year-old girl and a 6-month baby boy.
"Life is not like that. I don’t understand what it reflects.
It is not natural. The creatures are not human. A different planete,"
said a mother to a 5 year-old son and 2½ year-old daughter.
Others, on the other hand, found the technology
to be representative of the urban environment in which most children
are raised today. "They present a non-threatening technology,
based on things one sees at home: vacuum cleaner, toaster, familiar
gadgets. They recognize that the struggle with the technological
side of life is not less difficult than that of nature – both environments
demand learning," suggested a mother of two girls, 8 and 5
year-old, and a 16 month old son.
Many appreciated the combination between
nature and technology, preparing children to the world in which
they are being raised, as one expert said: "There are lots
of elements of technology in one small program; and at the same
time it returns us back to nature. This is a very important message
- that in principle we belong to nature." Another expert suggested:
"The right thing in this case is for them to connect with the
innovative and futuristic…the connection of futurism with nature
and scenery will always be there." A mother of 2 year-old twin
boys had similar reflections: "I like the combination of pastoral
and technology. The background is aesthetic, visually pleasant.
This diffusion is important in the post-modern world – the absence
of definiteness, how to break inter-disciplinary frameworks. Man
needs both nature and technology and creative thinking breaks boundaries."
Others were particularly attracted to the fact the
technology was incorporated within a clean
and aesthetic environment rather than in association with pollution
and ugliness. Interestingly, interviewees were aware of the fact
that their interpretations of the environment, as well as their
reservations from it, were not shared by their children. In their
view, young viewers seemed to naturally accept the environment as
is.
C)
A universal or local world?
Our attempt to tackle the perceived global
nature of the program stimulated thoughtful reactions among our
interviewees. Contrary to expectations, most perceived the universal,
de-contexutalized characteristics of the Teletubbies as a
relief from the social pressure to raise children as Israelis and
Jews. "There are enough programmes that try to insert Israeli
ways of life. We do not need to be attached to our Israeliness in
every program," said one expert. A mother of a 4 year-old son
stated: "It’s a kind of wonderland. I don’t see anything wrong
with it. I don’t think that you have to instill in him the fact
that he is an Israeli and a Jew every second. As long as it educates
to human values without exception of religion, race and gender,
then it is OK from my point of view." One expert-mother of
three young girls stated bluntly: "Maybe part of it is the
fact that it is so detached and foreign. In others program I am
constantly saying to myself: ‘this is sexist, and this guy is with
a yamaka [religious head-cover], and here it is so rootless that
nothing will make me anxious and I don’t fell that I have to be
on guard to mediate because it is this way or that way. The one
half hour a day that I don’t have to intervene."
Nevertheless, some interviewees had reservations
concerning the true meaning of the universality presented in the
program They inserted the fact that the program and its values are
clearly Western, and that it is situated within children’s culture.
They also pointed out that the fact of the matter is that most of
what Israeli youngsters watch on television is imported and not
local, and that there is a need for both. "I think there is
a need for both the global and the local. Depends on what’s the
route. They don’t mind it, they have this need too. They relate
to it. But 90% of what they watch is not Israeli. It’s the context
of the Western culture, it is not the Third World. So this is true
for most of the programs. Maybe because the technological orientation
it is perceived like this by adults, in comparison to local production
where the local context is purposefully apparent," reflected
a mother of 6 and 3½ year-old girls.
One particular theme of contextual nature
raised by the interviewees was that of the voice-over dubbing. Many
complained about the poor quality of the dubbing. A mother of 2
year-old twin boys said: "I am bothered by the fact that they
left the English voices in the background. The Hebrew voices are
delayed and are not in sync with the picture. Sometimes there are
inaccuracies in the translation. For example, not every yellow flower
is a chrysanthemum. In particular, I am bothered by the voices in
the background and the imbalance of the volume of the Hebrew speech.
When we watch I constantly have to set the volume on the remote
control: one is speaking too loud and the other in such a soft voice
that is hardly heard."
The discussion over dubbing is much more
than a technical issue, since it serves as a mechanism for "glocalizing,"
a process by which global content is deemed locally meaningful.
The example of the "yellow flower" translated into a common
Israeli flower – the chrysanthemum – is one such specific illustration.
Another more general issue is that of the gendered nature of the
Hebrew language. Since all verbs and adjectives are conjugated differently
for females and males, the characters and objects are immediately
identified as belonging to one gender or another. This non-escapable
nature of the language complicates any attempt to present a gender-biased
free world, as has been discussed above.
Finally, even a seemingly universal and
culture-free program as the Teletubbies is not protected
against the localized nature of audience interpretation. Many of
the interviewees were sensitive to particular foreign content elements
. One mentioned "a
black woman singing gospel music," another
"going to school on by boat," and yet another mentioned
the episode where a little girl brings her rabbit to a veterinarian:
"This is so unlike Israeli atmosphere – were in Israel does
one go to a big animal hospital with a rabbit!" A few noticed
the British roots of the program. As one expert-mother of 3 daughters
said: " They showed children, a few black and less blond ones,
although those black children were in those British lawns… the clouds
and the weather is so British…so unlike Israeli. Here everything
is yellowish and there it is all green and blue-like. The films
are so British in my opinion. Those children, blond and red-heads,
are so English."
Other illustrations suggest that viewers
not only detect foreign elements in the program, but also embrace
that which is perceived as familiar. One expert suggested
that the program could be used for Israeli
educational purposes: "For example, there is this chapter about
pairs of animals. One could connect through it to the story of Noah’s
Ark. Also you can connect through the rain and clouds and compare
to our own everyday experience." A particularly unusual local
association emerged in an interview with two experts, one of them
a mother of 3 year-old daughter: "The visual choice of the
artificial green hills and that bunker…as an Israeli, the bunker
doesn’t make me feel good, it looks like a military shelter."
To this, the mother-expert adds: "Just like Ammunition Hill,
exactly." The association between the Teletubbies’ home
and a military shelter, and in particular to Ammunition Hill, a
famous battle-site in Jerusalem, is uniquely Israeli. It suggests
that a truly context-free program content is impossible to achieve
since the audience is culturally situated and is actively negotiating
meanings (Fiske, 1987).
Viewing Practices and Mediation
Similar to what was revealed by Tidhar and
Levinsohn (1997) concerning the enriched cable environment in Israel,
most of our interviewees tended to leave their children to watch
the Teletubbies on their own. In this particular case, the
perception of the program as "safe television environment"
contributed to this pattern. Several mothers reported using the
program as a means of regulating the child’s daily schedule. For
example, a mother of a 2 year-old boy recalled: "In the beginning
we heard about the program from the newspaper and we decided to
wake him up for viewing, and to begin regulating his schedule since
the very first day of the broadcasts. I woke him up: ‘come see the
dolls.’" Another mother of 5 year-old boy and a 2½ year-old
girl commented: "It is significant that it is there everyday
at 4:30 p.m., and if he wants to watch it – this is the time."
Nevertheless, quite a few mothers reported
viewing with their young children and engaging in active mediation.
Mediation was partially stimulated by their perception of the dullness
of the language and their drive to compensate for this deficiency.
As a mother of 16 month-old twin boy and girl said: "It makes
a difference if they watch with me – they can watch for a longer
period of time, and I explain to them so that things are more comprehensible.
If they show them [Teletubbies] jumping, but do not say that
they are jumping, I say it: ‘here they are jumping,’ or ‘here is
Lala jumping.’ I often feel that because of the translation they
miss something when there are words and terms that could be used
and are not stated in words. For example, when the Teletubbies
do something and they do not use the language to say it, it is a
pity. Every action that they are engaged in, they should tell them
[the viewers] in words, and they do not do that; and that is why
I feel a need to sit with the children and tell them and explain
to them."
A mother of a 16 month-old boy noted: "I
always watch with him. There are, for example, these animals, and
they don’t always say their names, pairs like in Noah’s Ark. So
I tell him the names of the animals. I also always say: ‘a yellow
sun, flowers, rabbits.’" In another household, it is the role
of the grandmother of 2 year-old twin boys to reinforce language
skills. She reported that she talked to them all the time and describing
what is on the screen in her own words.
As noted earlier, in the Israeli context,
the linguistic limitations of the program were amplified by the
incomplete dubbing of the original English voice-over. Naturally,
mothers who were aware of this weakness yet appreciated the overall
value of the program, decided to actively invest in labeling and
verbalization. Such language enrichment strategies were specifically
characteristics of mothers’ whose toddlers were at the critical
stage of language acquisition.
In addition to direct labeling mediation,
a rich variety of other strategies were revealed by the experts
and more highly educated mothers in our study. Among these were:
explanation of concepts, answering the child’s questions, asking
leading questions, analysis of situations presented, relating content
to the child’s familiar real world, engaging games (such as searching
for objects on the screen), and stimulation of viewing interests
and expectations (e.g., "where are the Teletubbies, where
have they gone?"). Many of these strategies were
reported in previous research on toddlers (Lemish and Rice, 1986).
The way the various strategies are integrated
in the routine viewing process was vividly described by one expert-mother
of 3½ year-old twin boy and girl and a 20 month-old boy: "When
I see things that can contribute, I direct their attention. For
example, I encourage them to discover objects on the screen. In
most cases, I ask them questions and I often tell the little one
the name of the object that we see, what and who it is. When they
show in the film section things that resemble their own environment,
like the clouds and the rain, I expand the explanation and when
they show unfamiliar things such as dolphins, I try to explain to
them what they are. The artificial environment is hard to explain
because it can not be related to something that they know, and I
can not tell them ‘this is like so and so.’"
Another mother of 8 and 5 year-old girls
and 16 month-old boy said: "When I watch with them, we clarify
situations. When their nanny watches with them, she provides explanations
and repeats with them basic concepts. When the children watch on
their own, the 5 year-old sister [who is an expert on the program]
tells her young brother and their 8 year-old sister, what is going
to happen and raises their expectations."
As this final illustration suggests,
siblings also play an occasional role in mediation, especially in
explaining who is who and in predicting further developments on
the screen. This sibling involvement has been documented as contributing
to learning by Alexander et al (1986).
Concluding Comments
Overall, our reception case-study reveals
favoring attitudes towards the Teletubbies in Israel, among
middle-class and educated Israeli mothers and their children, as
well as among experts. The professional and educational investment
in the program is well recognized and appreciated, and mothers’
allow – sometimes even encourage – their young children to view
the program regularly.
The traditional high emphasis that Jewish
heritage in general and Israeli society in particular place on education,
is reflected in appreciation of the educational merit of the program
and of the efforts made to meet the developmental needs of very
young viewers. References made about values conveyed by the program
such as relaxed, aesthetic, healthy ecological environment can be
interpreted within this framework.
On the other hand, criticism related to
the rather limited learning opportunities offered by the Teletubbies
to slightly older children, both in concept development as well
as in language enrichment, can also be related to the same point
of departure. It is of no surprise then, that some mothers invested
special efforts in compensating mediation strategies to enrich the
educational potential of the program to their children. This attitude
probably stemmed from the attraction of the program to children
older than the intended target audience. In this respect, the Teletubbies’
popularity can be viewed as a double-edged sword.
The rapidly expanding multi-channel environment
in Israel has stimulated debates over the negative potential of
television during the formative years of early childhood. Consequently,
efforts were made at various educational interventions (Lemish and
Lemish, 1997; Tidhar, 1996). Educated mothers, such as those represented
in our study, have clearly been effected by these social concerns.
In the typical television diet of mostly imported high-paced, commercialized
and often violent programmes – the Teleteubbies stand out
as an island of tranquillity. Its harmless non-violent nature and
cheerful optimistic atmosphere, provide mothers with a sense of
comfort regarding their children’s exposure to the program.
Even those of the interviewees who dismissed
television’s role as an educator and expressed their view that the
effects of television on children are over-rated, appreciated the
pleasant nature of the program as a viewing experience. "Com’on,"
said one mother-expert, "half an hour of television can hurt
language development?! We give too much credit to television. It
[the Teletubbies] just gives children legitimization to feel
good about themselves for a minute; that there is someone on the
same level as they are and doesn’t just push them forward and pull
them forward, since we are all the time pushing them forward, forward,
forward…"
Finally, the Western culture of childhood
reflected in the program appealed to our interviewees. In a society
that is intensively pre-occupied with issues of cultural identity
and integration, such as Israel, this attraction deserves attention.
Apparently, our highly educated, secular western-oriented mothers
feel comfortable with the values that the program conveys. Several
mothers even seem to be relieved of the constant need to reinforce
Israeli and Jewish identity in their children which is salient in
many locally produced children’s programs.
In conclusion our case-study reveals that
for a host of reasons and considerations, Israeli experts and middle-class
mothers and children were highly receptive of the Teletubbies.
It is of great interest to examine whether such positive reception
carries over to other sections of Israeli society, differing by
class, education, religion and ethnicity.
NOTE:
1
Ratings for the month of August 1999, as reported in an interview
with director of children’s programmes for the Israeli Public Television
Channel, carrier of the Teletubbies. Among the 4-7 year-old
population, ratings fluctuated during that months between 22-40%,
and among 0-3 year-olds – between 3-12%.
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THE AUTHORS
Dafna Lemish is Senior Lecturer
at Tel Aviv University, Israel.
Chava E. Tidhar is Senior Lecturer at
Bar Ilan University, Ramat Gan, Israel.
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