By I Wojik-Andrews
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Extra info for Children's Films: History, Ideology, Pedagogy, Theory (Garland Reference Library of the Humanities, Vol. 2165,)
What is different about the two reviews? I think that the Wee Willie Winkie review incurred the wrath of 20th Century Fox not just because Greene pointed out that the “mask of childhood” (Wee Willie 234) was possibly only “skin-deep” (234), but because Greene makes explicit the link between the studios, the child stars the studios own, and the profit the studios derive from those child stars. Greene’s review begins with the following comment: “The owners of a child star are like leaseholders—their property diminishes in value every year.
For example, American children rarely see children’s films that contain a degree of “frankness about sex” (98), as in the case of Mig og Mama Mia, but have full access to R-rated movies and television shows such as the Jerry Springer Show, Beavis and Butthead, 20 Children’s Films and South Park, shows critiqued as unsuitable for children because of their strong sexual content. Bazalgette and Staples remark, “Thus the hypocrisy of our society’s much-vaunted concern for children and the sanctity of childhood is exposed” (108) through the “idea of cinema for children .
That would be appealing and wholesome for each age group; grades K through 6, preteen and early teen, and young adults . ” (7). Even the films Butler mentions are similar to those Forman cites: for Butler, “wholesome” films also include Ben-Hur (1959), Abe Lincoln in Illinois (1939), The Hunchback of Notre Dame (1939), and so forth. Still, there are differences between, say, the work of Forman in the 1930s and Butler in the 1980s, differences that reflect changing social and historical conditions.
Children's Films: History, Ideology, Pedagogy, Theory (Garland Reference Library of the Humanities, Vol. 2165,) by I Wojik-Andrews