As far back as 1999, a study, The Killing Screen, revealed that there were in all 759 distinct acts of violence across the five channels that were studied over a period of nine days. Nearly one-third, or 283 acts, appeared in the genre of horrors/mystery/thrillers and Homecoming Dresses and with the ratings indicating high viewership among children for such programming, we found that the advertising support had a fair number of child-specific advertising. Even more worrisome was that when two years Prom Dresses 2012 we examined the effects of media violence in five cities and found that the “overload of violence” on the screen — news, fiction, horror serials and in dramatised form — had left the children extremely confused. They could not distinguish between reality, and the reel and indeterminate world of the supernatural. Each one informed and reinforced the other at all levels in an ongoing, cyclical process, to the extent that children were no longer able to distinguish one from the other. More importantly, given the levels of violence in all media forms and its equally strong presence in real life, we found children living in an atmosphere of high emotional conflict and physical violence. Such problematic portrayals and depictions persist.
In response to these concerns, many parents are veering to the view and being encouraged to take the position that that it is better that we expose children to all the complex realities of life as and when these present themselves and, of course, courtesy the media and like a true mentor and friend, help the children to make sense of it and not get into an emotional or psychological turmoil. We cannot fault this position. With parents and guardians taking ownership, it is the best case scenario and, in a sense, Short Prom Dresses our maturing as a society.
But what is worrisome is that viewers end up accepting the fare that is being dished out. For want of any space or mechanism to learn about the effects of such programming, engage with the evidence that is emerging, debate and develop a consensus on how to cope with its differential effect on viewers, they offer various explanations to justify watching such programming. Some claim that they are discerning viewers and do not get carried away and some take the position that the viewing is voluntary, participative and helps them to get “real”, avoid the pitfalls of life and in many ways prepare them for the big bad world outside.
And yet, with many people being affected by such Red Bridesmaid Dresses and depiction, some even ending in death or in extreme depression, it is difficult to categorise it as programming that is driven by the viewer or reflecting the “real” needs of all sections of viewers. The National Commission for Women claims that it has received many complaints and there is a whole section of viewers out there who feel extremely angry and estranged by such programming and are demanding decisive action against them. These shows display the worst possible combinations of violence, vulgarity and exhibitionism.
Madhu, a homemaker from Tilak Nagar, Delhi, says, “I am reminded of the discomfort I had 10 years ago when I could not watch TV sitting with my children. “Rakhee Ka Insaaf” has brought back those same feelings. Everything about her, from the way she dresses, gestures, Silver Bridesmaid Dresses her face, spews words, makes it very difficult for me to watch it or exercise the power to use the remote. My 17-year-old daughter, Deepti is hooked to it.” Defending her viewing, Deepti says that ever since “Rakhee Ka Insaaf” got aired, “we, girls are facing a tough time in school. Boys are ganging up, imitating scenes from “Rakhee Ka Insaaf” and teasing us in the most vicious manner. If I do not watch the programme I won't even know what they are teasing us for. ”