Media Regulation Policies

Introduction: The Media Development Authority’s current code of regulation sufficiently draws the boundaries as to what is permitted on television, however, the execution of these regulations are not completely adhered to by broadcasters and not enforced by MDA. Hence, we have chosen regulations pertaining to Singapore’s current situation, such as issues related to Singlish and gambling and will be highlighting possible areas for improvement.

“Visual and audio media make an instant impression on the eye or ear…by the time we decide we do not want to see the image or hear the details, it is too late; the real or the mental picture is in our brain for better or worse.” (Simpson & Cote, 2006, p. 123) Emotions play a critical role in our lives. Although it tells us how or when to react in certain circumstances, when we are faced with traumatic experiences caused by violent and horrific television programmes, our emotions “sometimes convey the stunning message that we cannot act, [that] we are captive of horrible circumstances and flight nor fighting back is possible” and when this occurs, “our emotional system itself may be torn apart or fragmented” (p. 26). This injury is especially severe for children as traumatic experiences will be etched in their minds and may reach them in terrifying nightmares or intrusive flashbacks to the programme (p. 27).

Hence it is crucial that no advantage should be taken of children’s natural credulity, as given the powerlessness and defencelessness of children, they are more vulnerable to violent programmes because of their inability to prepare themselves for the emotional injuries they will suffer (p. 190). However, although we agree with this regulation, MDA’s failed to address the issue on violent cartoons such as Woody Woodpecker, Tom and Jerry, and Road Runner etc. as these programmes have a great influence on children and are widely available and prevalent in our society today.

Firstly, a study by Friedrich and Stein revealed a problem with cartoon content. When organising films into viewing patterns, “programmes with cartoon presentation of human characters…[for e.g.] вЂ?Batman’ and вЂ?Superman’ were categorized with other violent adult programs rather than cartoons and the authors suggested that вЂ?perhaps the portrayal of human characters in these cartoons makes them more like adult violent programs than like other cartoonsвЂ™Ð²Ð‚Ñœ (Hapkiewicz, 1979, p. 33). Nonetheless one cannot deny that “the dramatic cartoons which depict human-like characters may also frighten children more readily than other types of cartoons” (p. 33). And this is further supported by Siegel which revealed that “if human-like characters in dramatic cartoons produce high levels of aggression anxiety, aggressive behavioural effects would be expected only after repeated exposure and subsequent desensitization” (p. 33). Therefore, children frequently exposed to media violence are slower to respond to depictions of real aggression.

Secondly, “research on cartoons indicates that…[the degree of similarly between television characters and the child] does affect viewers [young children] even though the characters and settings are imaginary.” “Since these children have difficulty in distinguishing fantasy form reality, it is not surprising that they would be affected by cartoons” (Stein & Friedrich, 1975, pp. 33-34). A study by Nobel (1975), reported that “children up to 6 years of age see puppet and cartoon characters as real” and “children begin to comprehend television stories, including feelings and motivations of the characters, only at 6 or 7 years of age” (p. 34). Therefore children are likely to be disturbed by the realistic portrayal of violence and horror and may imitate the behaviour of their cartoon heroes. Lastly with reference to the cultivation theory, cumulative exposure to such programmes will shape children’s perception of social reality as children who are heavy viewers of violent or horror cartoons are more likely to be afraid of the dark or walking alone at night etc.

In conclusion, the amount of cartoon violence on television should be reduced and more focus should be placed on cartoons’ content. The rating system should be applied to children’s cartoons according to age appropriateness and content categories which include the amount of horror, violence, adult language portrayed on television (Gardner, 1996, p. 13).

Gambling in Singapore is a prevalent and pressing issue with as many as 58% of Singaporeans gambling at least once a year, with the Chinese ethnicity forming the majority of gamblers (Refer to appendix 1.1) (MCYS, 2005 p.2). Ironically, gambling is most featured in Chinese serial dramas and this has not been addressed by MDA’s regulation. Furthermore, as Singapore moves towards the building of the casinos, these numbers are highly likely to rise and this in no way should be taken lightly for the ills of gambling are many. Hence although we agree with the above regulation, it needs to be revised for otherwise, it may result in negative messages with detrimental effects being imparted to the public.

Many would argue that social gambling when restricted does not pose any harm, however, the slope is very slippery. A research done by the MCYS found that only 2 out of 10 gamblers are compulsive gamblers, however, it also noted that this number is on the rise. This is because once engulfed in the gambling arena, it is difficult to control the temptations, just like any other form of addiction. This can then lead to a series of social problems such as family abuse, divorce, bankruptcy and in worse cases suicide (Anderson, 2007). We believe that precaution is better than cure as the harmful effects associated with gambling are very serious and this could then have an effect on our vulnerable society.

Current public opinion regarding gambling as being a pleasurable and relatively harmless activity, as seen from the survey conducted by the National Council of Problem Gambling (Refer to appendix 1.2) (Yap, 2006) may be reflected in media-based depictions of gambling, as messages about gambling generally imply that “gambling is an exciting and enjoyable form of entertainment” (Byrne, 2005, p. 674). For example, “The Unbeatables”, one Channel 8 television program is highly popular amongst Chinese viewers, follows the lifestyle of a philanthropic