About a Boy
The representation of the family and its values
in Dutch children’s films, 2012-2016
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Iris Klouwers Date of completion: 26 June 2017
10522557 21023 words
Master Film Studies Professional Track klouwers.iris@gmail.com
University of Amsterdam 0652056548
Supervisor: dr. Emiel Martens Valentijnkade 55G
Second reader: dr. Amir Vudka 1095JK Amsterdam
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Abstract
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This thesis focuses on the representation of the family in Dutch children's films from 2012-2016. This thesis answers the question: how is the family and its values represented in Dutch children’s films from 2012 to 2016? To answer this question first a theoretical framework is presented on the representation of the family in film. The theoretical framework shows that family values can relate to a modern relationship discourse or a postmodern relationship discourse. In a modern discourse a nuclear family is the norm, with traditional roles for a father and a mother. In a postmodern discourse more family structures are possible, and work and care tasks are equally divided between parents. The concepts explained in the theoretical framework are used as a method to do a narrative analysis of 24 Dutch children's films. This thesis argues that the Dutch
children’s films connect extra postmodern values to the nuclear family. The added postmodern values are communication, and parent-child relationship resembling a friendship. This thesis shows that the current debate on the underrepresentation of women in film also applies to Dutch children's films. Women are underrepresented in these films, whereas men are explicitly elevated.
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TABLE OF CONTENTS
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Introduction.……….……….………..4
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Chapter 1 Theoretical Framework……….…….8Family values……….…….8
The family in film………..10
Representation of family and family values in children’s films……….…10
The representation of the family and family values in Dutch cinema………..……….12
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Chapter 2 What a surprise; a boy in the leading role……….………….……..15A boy in the leading role……….………..16
The two-parent family……….………..17
The father……….……….…………19
The mother.…..……….……….…………19
Heteronormativity……….………20
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Chapter 3 Two-Parent Families……….………22Brammetje Baas………22
Tony 10………..25
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Chapter 4 The Absent Mother………..……….………29Dummie de Mummie ………29
Het leven volgens Nino ………31
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Chapter 5 The Absent Father………..………..35Mees Kees.………..………..35
De groeten van Mike………..……….……..…38
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Conclusion………..……….……….42!
Bibliography………..………..……..45Introduction
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In the Dutch elections this year, Sybrand Buma from the CDA (a Dutch Christian Democratic political party) made a suggestion for an extra minister, namely a minister of family. He proposed a revaluation on ‘the family as the cornerstone of society’, the purpose being to decrease individualism. The image of the family as the cornerstone; the father as only breadwinner and the mother as a stay-at-home mother doing the laundry, is a view that has been around for generations. Nowadays however family encompasses many broader spectrums; single parents, stepparents, two fathers, two mothers or even multiple parents. In addition to the spectrums, the roles within the family have also changed. Mothers have moved into the workspace, combining family and working life and for fathers nowadays it is also acceptable to stay at home and take care of the children.
The Netherlands embodies itself as an accepting society, where every form of love may exist. However, there are incidents which show that this view isn’t true. Only a month ago two women were beaten up because they walked hand in hand and sometime ago the same happened to two men. Gay people need to continually deal with & hear the opinions from others about them. Notably when looking to Dutch children’s films over the past five years or so, heteronormativity is given as the norm. A father is depicted as the head of the household and the mother as the primary carer, which leads to the question; how do Dutch children's films films relate to society?
The relation between films and society is important to research because films give messages with particular viewpoints about society to their audience. Furthermore, it is often assumed that children learn from the things they see on television. The influence on films takes place through socialization. Socialization is a learning process in which knowledge is gained through observation and imitation (Owen 8). According to Matheson, “people learn to see themselves as how the dominant society want them to see themselves, by consuming products that are structured in dominance” (58). The theory holds that when children watch a film they learn to place themselves in or alongside the certain roles the film gives about society (Matheson 58). Children see things in films and associate it to their own life; they make sense of things they see in society through the things they have learned in films.
Dutch children’s films have been chosen because they are one of the biggest successes in the Dutch film industry. Most Dutch children's films reach an audience of more than 100.000 people, sometimes up to 400.000 people. Since Dutch children’s films reach large audiences, it is important to explore the messages they are sending out on various aspects related to current views in society today. Because children are an influential audience it is a motivating reason to write this thesis. By and large this thesis seeks to explore and answer how the family and family values is represented in Dutch children’s films between 2012 to 2016?
To answer this question, the thesis is spilt into two parts. The first chapter presents a theoretical framework, that consists of a literature review. The theories discussed in the literature review are used as a method for the narrative analysis of the corpus in the second section. According to Matheson, the strength of a narrative analysis is that ideas that are propagated without being stated in a film can be examined (89). Due to narrative analysis, underlying norms and values in films can become clearer. Norms and values are filtered out in different aspects of a film; the storyline, how the characters behave, what kind of problems they deal with, the choices they make, the things that they say and do, the role the character has within the family and the role of his (or her) family members (Oud, Weijers and Wester).
A discourse analysis requires not only to analyze narrative meanings, but analyzes the ways that readers or viewers will draw on those meanings (Matheson 91). Foucault’s definition of discourse is of “practices that systematically form the objects of which they speak (49). By this definition Foucault meant that discourses are ideas embedded in what we do, say, and think. These discourse create the terms upon which we know the world (Matheson 1). To do a critical discourse analysis Foucault directs us towards “finding patterns, series, hierarchies in language that position people within certain roles and ways of
thinking” (Matheson 10). Critical discourse analysis seeks to analyze how a film carries a particular meaning (Matheson 7). This thesis uses a discourse analysis to analyze the different meanings about the family the Dutch children's films display.
The films selected are Dutch children’s films of the last five years (2012-2016) that depict a family, are not animated and meant for cinema. Only films which depict a family in one way or another have been selected because the focus for this thesis is on the way a family is represented. To keep the corpus small the television films are left out. Animated films are not taken into consideration because the Dutch animated films are meant for a younger audience. The lead character in the films are children aged between eight and twelve years old, the selected films are also for audiences of the same age. A corpus is selected of 24 films. There are multiple similarities between the 24 films, which divides them into different categories. Looking at the family structure, each year, three types of families return; the two-parent family, the absent mother, and the absent father. These three types can then be divided further into two. Two parent families can show either a nuclear family (breadwinner father - homemaker mother) or the post-nuclear family, in which the tending tasks are more equal. Regarding the single father films, these films portray two types of roles; a satisfying father-child relationship and a destructive relationship, thus the good parent and the bad parent. All films which depict a single mother illustrate a mother that has difficulties taking care of her child, with the exception of one film namely Jack bestelt een broertje (2015). This film fits into the single mother category because the father is absent. However, the film is about a family with two mothers, and the mothers don’t have problems taking care of their child. The tables below show the three categories and their films.
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The two-parent family
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The nuclear family The postmodern family
Brammetje Baas (Anna van der Heide 2012) Tony 10 (Mischa Kamp 2012)
Midden in de winternacht (Lourens Blok 2013) Achtste-groepers huilen niet (Dennis Bots 2012) Oorlogsgeheimen (Dennis Bots 2014) Kidnep (Diederik Ebbinge 2015)
Apenstreken (Johan Nijenhuis 2015) MeesterSpion (Pieter van Rijn 2016) Uilenbal (Simone van Dusseldorp 2016)
The absent mother
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The absent father
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The structure of this thesis consists of two parts to answer how the family is represented in Dutch children’s films. Part one, the first chapter, is the theoretical framework. The aim is to describe the different fields of study that are used for this research, namely family values, children’s film and Dutch film. Values are principles or standards of behavior, about what is good or bad. Family values relate to structure, function, roles, beliefs, attitudes and ideals. A children’s film is a film made by adults meant for children. A defining feature of children’s film as a genre is the motif of a “lightning bolt that completely disrupts ordinary life and leads to extraordinary events” (Wojick-Andrews 20). The field of study on Dutch film is explored to
conclude that there is a gap when it comes to research on the representation of the family in Dutch children’s films. It is argued that in film there are two types of families, the nuclear family and the postmodern family. The nuclear family consists of a breadwinner father and a homemaker mother. Important values in this family are, parental authority, relationships based on ‘true love’, and relationships which are easily maintained. In the postmodern family, extra values are given to the relationship and a wider range of structures of the family is possible. Because of individualism, relationships in the postmodern family are based on wishes and needs, in which equality, communication, and self-development are crucial values. Furthermore, the parent-child relationship in a postmodern family is equal, resembling a friendship.
Part two of the thesis consists out of four chapters. Chapter 2 gives an overview of all the 24 films selected. Largely it can be argued that when depicting a single mother the Dutch children’s films represent a
The good father The bad father
Nono, het zigzag kind (Vincent Bal 2012) Kauwboy (Boudewijn Koole 2012) Dummie de Mummie (Pim van Hoeve 2014) Finn (Frans Weisz 2013)
Wiplala (Tim Oliehoek 2014) Het leven volgens Nino (Simone van Dusseldorp 2014) Dummie de Mummie en de sfinx van shakaba (Pim van
Hoeve 2015)
De Boskampi’s (Arne Toonen 2015)
The bad mother Exception; two mothers
Mees Kees (Barbara Bredero 2012) Jack bestelt een broertje (Anne de Clerq 2015) De groeten van Mike (Maria Peters 2012)
Mees Kees op kamp (Barbara Bredero 2013) Mees Kees op de planken (Barbara Bredero 2014) Meester Kikker (Anna van der Heide 2016) Mees Kees langs de lijn (Anniëlle Webster 2016)
bad mother who is struggling with taking care of her children. The films that depict a single father however show also examples of good single fathers. When observing films that depict two parents, the traditional roles belonging to men and women appear. Chapter 3, 4 and 5 present case studies that represent the main arguments given in Chapter 2. In this second part, it is argued that Dutch children’s films mainly focus on the traditional family values with a boy in the leading role. Important characteristics conveyed are that a parent should be able to take care of the child and listen to his (or her) needs. Good parent-child relationships are similar to a friendship. In the Dutch children’s films the work and tending tasks are more equal between parents. However, a mother is seldom depicted working. When a parent doesn’t have these characteristics, it is depicted as destructive for the child, thus the child acts out. The child has a lot of freedom, and
individualism and optimism are important values. The child experiences adventures and is able to find a solution for his (or her) problems. Regardless how bad the problems are and what sort of obstacles are encountered, the children need to overcome them, so in the end everything will be okay.
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Chapter 1 Theoretical Framework
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This chapter contains of an outline of study fields and concepts concerning family structures and values in film. Three central fields of study are explored, namely family values, children’s film, and Dutch film. The concepts discussed in this chapter are used as a method to analyze the Dutch children’s films in the next chapter. This chapter is divided into five parts. First, family values are discussed. Second, family values in film is analyzed. Third, the family in children’s films is discussed. Fourth, Dutch family values is outlined. Lastly, this chapter analyzes the research in the Netherlands on the family in media.
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Family values
This part will focus on family values. Values are principles or standards of behavior. Family values relate to structure, function, roles, beliefs, attitudes, and ideals. According to OxfordDictionaries.com, "family values" are “values held to be traditionally learned or reinforced within a family, such as those of high moral
standards and discipline”. In the social sciences there are two concepts regarding to the family structure, the ‘traditional family’, which involves a middle-class family with a breadwinner father and a homemaker mother, raising their biological children. Any deviation from this family model is considered a
‘non-traditional family’. For example a single parent, a child that lives with his/her grandparents or parents of the same gender. Another term for the traditional family is the nuclear family.
The study field on family values shows two types of relationship discourses, namely a modern relationship discourse and a postmodern relationship discourse. These discourses are not fully contrary to each other, however they each have their own values and ideals when it comes to relationships (Costera Meijer and van Vossen 207). This thesis uses the study of Costera Meijer and Van Vossen on the modern and postmodern relationship discourse as a main concept. Costera Meijer and Van Vossen define the different relationship values the discourses have according to different studies (Beck and Beck-Gernsheim; Bernardes; Chambers; Evans; Giddens; Jamieson; Wilterdink and Heerikhuizen).
The modern relationship discourse has certain values that are important. In the modern relationship discourse the nuclear family is the ideal relationship form. Furthermore marriage is connected to ideas about ‘true love’ and ‘everlasting love’, and a family guarantees stability and security in the modern relationship discourse (207). Furthermore, the modern discourse values a segregation between the roles of a man and a woman in the household. In this segregation the woman stays home to care for her children and the household, and the man is the breadwinner. The table on the next page gives an overview of the norms according to the modern relationship discourse and what is considered to be the deviant.
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Table modern relationship discourse
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The postmodern relationship discourse gives more values to a family. The structure of the family in this discourse depends on the needs and wishes from the family. Besides that the postmodern discourse has different family structures than only a nuclear family. Other important values are individual freedom, equality, and self-development (Costera Meijer and van Vossen 209). These values apply to love
relationships, as well as to parent-child relationships. In the postmodern discourse the relationship between parent and child is equal and based on communication and consultation (Chambers 21). Furthermore the postmodern relationship discourse concerns the quality of love. The next table depicts the important norms according to a postmodern discourse and what is considered to be deviant.
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Table for postmodern discourse relationships
Value norm or ideal Deviant
● Nuclear family (father, mother, children) ● Happy, stable family
● Eternal loyalty
● Segregation between primary responsibilities between men and women (breadwinner - caregiver) ● Sex connected with marriage
● Serious relationships based on true love ● Parental authority, subservient children ● Commitment
● Other households (like single parenthood)
● Unstable family relations ● Disloyalty
● No segregation (two-earner household; working mothers)
● Loose sexual values
● Unstable, temporary relationships ● Undermining parental authority,
out-of-control youth ● Egoism
Norm, ideal Deviant
● Family structure depends on needs and wishes
● Individual freedom within a relationship ● Confluent love, based on mutual respect
and love
● Relationship based on communication and consultation
● Self-development
● Egalitarian relationship between parents and children
● Shared work and care tasks
● Caught in a relationship that doesn’t work anymore
● Limiting and oppressive relationships ● A permanent relationship
● Relationship based on inequality and dependence
● Sacrifice
In short, the modern relationship discourse concerns the importance of the nuclear family and the segregation between roles in the household for men and women. In contrast in the postmodern relationship discourse, every family structure is possible. Furthermore the postmodern discourse values the importance of communication, self-development, and shared work and care tasks. Each discourse follow their own logic of norms and values that form our views on relationships and families (Costera Meijer and van Vossen 207). The two discourses are used as concepts to analyze the Dutch children's film in the next chapter.
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The family in film
Besides studying the field on family values, this chapter seeks to explore the representation of the family and its values in film. In film a family is mostly researched in American context. When analyzing the study field on family in film, two themes occurred. Heteronormativity and the traditional family are values that still seem to be the norm in Hollywood films and American society at large. Heteronormativity is the belief that people fall into distinct and complementary genders (male and female) with natural roles in life. It assumes that heterosexuality is the only sexual orientation or only norm, and that sexual and marital relations are most fitting between people of opposite sexes (Lovaas and Jenkins). Heteronormativity falls into the modern relationship discourse.
In the traditional, or nuclear, family in film, a segregation between the roles of a woman and a man is depicted (Considine; Leitch; Levy; Olson and Douglas). Women in film are often depicted as caregivers, they are represented in marital and familial roles, as wives and mothers (Levy 199). Furthermore in film women frequently look forward to motherhood (Hoerl and Keller 364). This is what Valdivia calls ‘the myth of motherhood as womanhood’; in almost all the films in which women appear, they are somehow connected to a family or their lack of a family is noted. Often professional women are depicted struggling to manage their careers with more “traditional feminine aspirations of heterosexual romance and motherhood” (Hoerl and Kelly 365). For women family life has been glorified as “the epitome of personal fulfillment” (Levy 201). In contrast to women, unmarried or childless men have not been regarded as deviant, whereas unmarried women have been (Levy 201). Motion pictures over the years have portrayed fathers in many different roles, from being good role models to a preposterous parent (Leitch). In film, the nuclear family fathers are often depicted as being the head of the family, the breadwinners, and the main decision makers. When a man becomes a father he is often represented in film as the provider for the family.
In short, this part attempted to explore the family in film. In doing so different concepts occurred about the family. In Hollywood the representation of the nuclear family is still the norm. Furthermore the roles of woman and man are also segregated in caregiver and breadwinner. Thus, it can be argued that Hollywood film values the modern relationship discourse when representing a family. Additionally this thesis also seeks to explore the family in media meant for children, therefore next the study field on children’s film will be explored.
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Representation of family and family values in children’s films
The study field on children’s films is a broadly researched subject. Mainly children’s films are researched on the effect they have on children and what messages they give. This will be discussed first, by the concept of socialization. Secondly this part discusses the genre of children’s film. Furthermore this part will give an overview of the field of study on children's films and how the family is represented in the films.
Children learn from films they watch. Mass media serve as a major source of information about social roles. This sociological function has been particularly important for children and adolescents who have dominated the movie-going public; “these viewers often gain their first insights into the real world through exposure to film and television” (Levy, 189). Film creates experiences for children, children can use this information to make sense of their family. Films have the potential to teach children with information they receive because of the concept of socialization. Socialization is a learning process in which children gain knowledge through observation and imitation (Owen). According to Steyer children are exposed to media that depict stereotypical portrayals and underrepresentation of males and females. In this stereotypical portrayal traditional roles for man and woman are still the norm (175). However, socialization can take place because of the stereotypical images. Socialization takes place through the simplification of existing norms and values. Through recognizing these elements the audience is able to identify with the characters (Leaper 130). The fact that children can learn from things they see in film, is a reason why this thesis seeks to explore how the family is represented in Dutch children's films.
A children’s film is a film made by adults meant for children, and deals with the interest of children in their own terms. A defining feature of a children’s film is the motif of “a lightning bolt that completely disrupts ordinary life and leads to extraordinary events” (Wojick-Andrews 20). Furthermore another characteristic is a journey or adventure. Additionally, children's films often contain a moment of
self-awareness or self-discovery which lead to an important moment of choice (Wojcik-Andrews 9). According to Wojcik-Andrews most children's cinema around the world is synonymous with American children's cinema (18). This thesis uses the concept of a surprising moment that disrupts life and leads to a journey with unexpected events, for the definition of a children's film.
The field of study on a family in children's films has mainly focused on American films, especially Disney films. The focus on Disney films is because their films are an internationally successful in the industry thus have the capability of reaching audiences all over the world. The field of study also shows that feminists studies focus their research on children’s films and the way they represent positive role models for girls. The feminists studies argue that children are exposed to stereotypical portrayals, in which traditional depictions of females are the norm (Steyer 175).
When exploring the family values in children's films, as discussed above, two values are also occurring in children's films. Namely, a family in Hollywood means a nuclear family: a working dad, a housewife mom, and their children (Valvidia). Furthermore heterosexual relationships are also the norm in media meant for children (Butsch; Tanner et al.; Valdivia). The study of Tanner, Haddock, Schindler
Zimmerman and Lund researched 26 Disney films from 1937 to 2000 on the representation of the family and found four overarching themes in which the family is represented: (1) family relationships are a strong priority, (2) families are diverse, but the diversity is often simplified, (3) fathers are elevated, while mothers are marginalized, and (4) couples are represented based on traditional gender roles.
The study on mothers in children's films showed two themes that emerged about the nature of the mother: mothers as primary caregivers, and mothers as protectors. An important characteristic for a mother is patience (Valvidia). In children's films when a single mother is depicted, there is a good way and a bad way to be a mother. The good way of becoming single for a mother is through the death of a spouse. Good moms do not experience work and childcare tensions. Good moms are able to combine their job with family life. However, even women that have a job are hardly depicted as working in a children's film (Valvidia). A bad
mom becomes single through divorce, their life is hectic and not under control (Valdivia). Bad moms have emotionally disturbed or delinquent children. However, bad moms can become good moms if a man is patient enough to shepherd them through the hectic period (Valvidia).
The field of study on children's films show that fathers can be depicted in different ways. Different roles for fathers in Disney are; nurturing, controlling, or self-sacrificing. It is possible that fathers fall into more than one of the categories (Tanner et al.). The father-child relationship can be divided into two types, a satisfying father-child relationship and a destructive father-child relationship. In a satisfying relationship fathers give their children the freedom to explore who they are and what they want. In this relationship the father is depicted as supportive and encouraging. In a destructive relationship the father is depicted as denying their child freedom. The father is controlling and does not listen to the needs of his child. In a destructive relationship children act out against their father’s demanding control (Wynns and Rosenfield).
In short, this part explored children's films and the representation of the family in children’s films. A children's film is made by adults meant for children and consists of a dramatic moment that disrupts ordinary life but which leads to an adventure. The study field on the family in children's films showed that the nuclear family is the norm. Values concerning a good parent in children's films are caring, nurturing, and supportive. It can be argued that children's films relate to the modern relationship discourse when it comes to the
structure of the family. However, extra values are added in the children's films to the family which fit into a post nuclear relationship discourse. Thus, children’s films often depict a nuclear family, with postmodern relationship values.
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The representation of the family and family values in Dutch cinema
This thesis seeks to explore how the family is represented in Dutch children's films. Therefore this section will first outline Dutch family values. This thesis will also focus on the social context, thus this section will give an overview on the current Dutch family structure. Lastly it will give an overview on the research about the family in Dutch media, to conclude that there is a gab when it comes to research on the representation of the family in Dutch children’s film.
When thinking about a family, most people in the Netherlands think of the nuclear structure (Van Poppel 4). A ‘harmonisch gezin’ (harmonic family) was a central value that a lot of people shared in the Dutch society (Blom 29). In a harmonic family, a man, a woman and a child each have their own position. The woman was primarily responsible for the household and taking care of her husband and children (Blom 19). The man was the head of the family and the main decision maker. Blom described that in this family structure children have a subservient place when they lived at home, they had to listen to parental authority (32). However, a lot has changed in the Dutch family (Van Poppel 4). Changes on family views appeared with modernization and economic improvement after World War Two (Felling 4). Because of modernization, individualization begun. People would distance themselves from traditional institutions and traditional relations like family and church (Felling 8). Self-development became an important value.
In current society all relationship variations are possible in the Netherlands (van Poppel 4). From living together without being married, divorced parents and getting children outside a marriage. For the child it became important to have the freedom to discover themselves and the parents needed to be supporting and listening to their needs (Blom; Felling; van Poppel). Extra values were added to the traditional family values, like having fun, experiencing fun things together, and relationships are equal (Felling 43). The relationships
between family members became more free and varied, they required communication, mutual respect and self-control (Blom 49). Thus it can be argued that the current family values in the Netherlands fit into the postmodern relationship discourse.
When exploring the social context it can be claimed that the way people in the Netherlands live together has changed over the last couple of decades. The traditional family, consisting of a father, a mother and their children, is still present. However, this structure is often replaced with more alternative forms. For example single parents and gay parents (Emons, Scheepers and Wester 320). The fact that different structures are possible is because more people see it as socially acceptable (Emons, Scheepers and Wester 320).
Numbers published by CBS showed a strong growth of the one-parent households in the Netherlands. The last couple of years the one-parent household has increased with 36%. In the one-parent households 15% of the children lived with their father, and 85% with their mother. 50% of the single mothers had one child living with her, and 75% of the single fathers had one child at home (CBS).
To be able to compare film to the social context, different concepts are used; a film can mirror, mould or have a cultural lag when representing society. Mirror is when the films reflect the society. With the moulder effect, films are seen as a trendsetter. Lastly, cultural lag is when the films reflect the society with a delay (Emons, Scheepers and Wester 321). According to Costera Meijer and van Vossen Dutch there is another aspect; media presents different structures to be interesting and surprising (218). Therefore looking to media and society, there can be different categories in which the films can be placed; mirroring, moulding, cultural lag and just to be interesting and surprising.
The study field on Dutch film has mainly focused on the success of the Dutch film. The children’s film genre is one of the biggest successes of the Dutch film industry. An important success factor is that the Dutch youth films are successful at prestigious film festivals. The Nederlands Filmfonds, a cultural fund of the Dutch government that gives financial support to films, also highlights the importance of the genre. The Nederlands Filmfonds state that Dutch family films, measured to their successes nationally and
internationally, is a strong brand in the Dutch film industry (Nederlands Filmfonds 2012 37). Therefore the Nederlands Filmfonds gives a priority to children’s films (Nederlands Filmfonds 2012 45-46). Because the Dutch children’s films play a big part in the Dutch film industry, it’s important to take a closer look at these films. However, the field of study on Dutch media hasn't researched the family in the Dutch children's films.
Even though the family in Dutch children's films hasn't been researched, there are some studies on the representation of family in the Netherlands. These studies mainly focus on the Dutch television family. In television the importance of family is included in almost 50% of the drama (Bouwman, Meier and Nelissen). The results of Emos, Scheepers and Westers study on the relation between the changing Dutch family and the representation in Dutch television from 1980-2005 showed that the family as theme is increasing as a
storyline in television shows, and especially the representation of the unconventional family has increased. The increase of non-traditional families on television has a similarity with the society and the acceptable attitude towards non-traditional families, like single fathers and homosexual relationships, has increased (332).
In the research of Meijer and Van Vossen on prime-time Dutch television, different themes occurred when television represented a conflict in a relationship; stability versus temporality, friendship versus love, loyalty versus infidelity, freedom versus commitment, authority versus consultation (211). The stability of a relationship relates to modern relationship values (loyalty, true love, compatibility). The conflicts often
occurred between a person with modern relationship values and a person with postmodern relationship values (213). Meijer and Van Vossen also explored the parent-child relationship, they argue that in Dutch television programs parents and children often use postmodern values. It is not unusual that parents and children deal with each other as friends. In this parent-child relationship communication, equality, and understanding are important values (214). The study of Meijer and Van Vossen showed that Dutch television prefers the depiction of the nuclear family. However, extra values from the postmodern relationship
discourse are given to this family structure.
This part showed that the Dutch family values are comparable with the values discussed above. The family in the Netherlands fits into a postmodern relationships discourse. Current society accepts different family structures. However, when analyzing the family on television, it showed that the television family fits into both discourses. When it comes to the structure of a family the Dutch television prefers the values of a nuclear family, with a stay-at-home mother and a breadwinner father. However, extra values from the postmodern relationship discourse are added to the nuclear family. The parent-child relationship often uses postmodern values. In this relationship, essential values are, communication, equality, and supporting each other.
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This part showed that the Dutch children’s films have a major role in the Dutch film industry, however when researching the representation of the family and its values in Dutch children’s films, it can be concluded that there is a lacunae. A gap that this thesis will partly fill by analyzing the family in Dutch children’s films. Answering the question; how is the family and its values represented in Dutch children’s films from 2012 to 2016? In the next chapter, the narrative analysis will use the concepts discussed in this chapter to answer this question. These concepts are the nuclear family, the non-traditional family, a modern relationship discourse, a postmodern relationship discourse, heteronormativity, fathers as breadwinners and head of the household, mothers as primary caregivers, working women, and Dutch family values.
In short, a nuclear family is a family with a breadwinner father, a homemaker mother and their children. Any deviation from this structure is a traditional family. In a modern relationship discourse the nuclear family is the ideal form and there is a segregation between man and woman and parent-child, marriage is connected to ideas about ‘true love’ and ‘everlasting love’. The postmodern relationship
discourse is more about equality and self-development, doing what is best for you. Heteronormativity is the belief that people fall into distinct and complementary genders (male and female) with natural roles in life. It assumes that heterosexuality is the only sexual orientation or only norm, and that sexual and marital relations are most (or only) fitting between people of opposite sexes (Lovaas and Jenkins). Furthermore the thesis will analyze the role of the different family members (breadwinners, caregivers) and the aspect of the fact that even women with a job are hardly depicted working.
Chapter 2 What a surprise; a boy in the leading role
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This chapter will give an overview of the Dutch children’s films and analyze how they represent the family, to answer the question; how the family and the family values are represented in Dutch children’s films from 2012 to 2016? In the last five years 55 Dutch children’s films were made but for this thesis films have been selected which meet certain criteria. First the analysis will focus on the films meant for cinema and the films which are not animated. Furthermore, there is a focus on the films which depict children aged from eight to twelve in the leading roles within the family structure. Besides this, the corpus contains films aimed at a child audience ranging from eight to twelve. In using the above mentioned criteria 24 films remain that can be analyzed. This chapter will give an overview of how the 24 films represent the family and the family values, with the theoretical framework discussed concepts.
To do this six parts are presented. First an argument is made about the fact that in only three of the 24 films does a girl have the leading role. The second part analyzes how the films present the family structure and whether the nuclear family is also still considered an important value. This is because, as discussed in the first chapter, the nuclear family; with the breadwinner father and the homemaker mother, is still an important norm in most media. The third part will analyze the role of the father. The theoretical framework showed that a good father is presented as a friend of the child, giving the child freedom to explore themselves. This father-child relationship is defined as a satisfying relationship. When a father is a bad father, this is defined as a destructive father-child relationship. In this relationship the father is depicted as controlling and demanding, meaning the relationship is destructive so the child acts out (Wynns and Rosenfield). In the fourth part the representation of the mother is explored, chapter 1 showed that mothers are primarily presented as the carer. Good mothers are nurturing, patient, protectors and able to combine their work with family life. However, even women with a job are seldom seen working (Tanner et al.; Valvidia). The fifth part looks at the aspect of heteronormativity, which is deemed to be the norm in most children’s films (Butsch; Tanner et al.; Valdivia). The last part provides an overall conclusion on what messages the Dutch children’s films give concerning the family and analyzes if the Dutch children’s films portray a modern or postmodern discourse. In a modern relationship discourse the nuclear family is the ideal form and there is a segregation between man and woman, parent and child. Marriage is connected to ideas about ‘true love’ and ‘everlasting love’. The postmodern relationship discourse is more about equality and self-development, doing what is best for you (Costera Meijer and van Vossen). Lastly, this chapter divides the films into categories for the case-studies for which follow in the chapters after this. The table on the next page presents the 24 films over the years which the thesis will examine.
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A boy in the leading role
When analyzing the 24 Dutch children’s films an overall conclusion can be made that a son has a more dominant role in the family than a daughter. In 21 of the 24 films a boy has the leading role. The role for girls in the 21 films are either as sidekicks or as antagonists. Some films depict the girl as a friend who helps the boy. For example in Apenstreken (2015). This film is about an orphan boy, Wim, who really wants to go to school, but has to work in a factory at his orphanage, so he escapes. A girl helps Wim to go to school and in the end she convinces her parents that Wim can stay with them. Midden in de winternacht (2013) is about a boy who finds a moose in his shed and helps the moose to get back to Santa Claus in time for Christmas. The boy does this with the help from his little sister who is depicted as being really smart for her age. Another example of a film which depicts a girl as a sidekick is Jack bestelt een broertje (2015). This film is about Jack who wants a brother but because he has two mothers, he needs to find a good candidate to give him ‘willies’ (sperm). In his adventure for a candidate, he gets a girl to help him out. In addition to being a helper, a girl can also be portrayed as an antagonist, for example in Dummie de Mummie (2014). In this film the boy, Goos, finds a living mummy. Along with his father they decide to pretend that the mummy is their cousin from Egypt, which results in a big adventure. The girl in this movie isn’t happy with Dummie stealing all the attention, so she bullies him and tries to get him expelled. She is also the reason Dummie almost dies. She is depicted as a mean girl who bullies other children. Besides the sidekick and an antagonist, a girl can also be a love interest which is the case in Tony 10 which turns a friendship in the end into young love. Thus, it can be argued that in the Dutch children's films girls are underrepresented and boys are elevated.
2012 2013 2014 2015 2016
Achtste-groepers huilen niet (Cool kids don’t cry) (Dennis Bots)
Midden in de winternacht (In the middle of the winter night) (Lourens Blok)
Oorlogsgeheimen (War secrets) (Dennis Bots)
Jack bestelt een broertje (Jack orders a brother) (Anne de Clercq)
Meester Kikker (Frog teacher) (Anna van der Heide)
Tony 10 (Mischa Kamp) Finn (Frans Weisz) Dummie de Mummie (Pim van Hoeve)
Kidnep (Diederik Ebbinge) MeesterSpion (Mister spy) (Pieter van Rijn) Kauwboy (Jackdaw boy)
(Boudewijn Koole)
Mees Kees op Kamp (Mees Kees goes camping) (Barbara Bredero)
Het leven volgens Nino (Life according to Nino) (Simone van Dusseldorp)
De Boskampi’s (Arne Toonen)
Uilenbal (Owl ball) (Simone van Dusseldorp) Brammetje Baas
(Brammetje Boss) (Anna van der Heide)
Wiplala (Tim Oliehoek) Apenstreken (Monkey busi-ness) (Johan Nijenhuis)
Mees Kees langs de lijn (Mees Kees coaching soccer) (Anniëlle Webster) Mees Kees (Barbara
Bredero)
Mees Kees op de planken (Mees Kees theater) (Barbara Bredero)
Mummie de Mummie en de sfinx van Shakaba (Pim van Hoeve)
Nono, het zigzag kind (Nono, the zigzag child) (Vincent Bal)
De groeten van Mike (Greetings from Mike) (Maria Peters)
The two-parent family
Nine films of the 24 Dutch children’s films showed family structure consisting of two parents: a father and a mother. The two-parent family can be divided into two types, a nuclear family and a postmodern family. Four films showed the nuclear family, with the traditional roles belonging to the father and the mother. The films are Brammetje Baas (2012), Midden in de winternacht (2013), Oorlogsgeheimen (2014) and
Apenstreken (2015). In the four films the father is the breadwinner and main decision maker, and the mother stays home to take care of the family and do the household chores.
However, Oorlogsgeheimen and Apenstreken take place during a different period in history.
Oorlogsgeheimen takes place during World War Two and Apenstreken around 1900. Both films are during a time period where it was more common that fathers were the head of the household and mothers the primary care providers. Apenstreken is about an orphan boy who eventually ends up having a family. A lot of families are depicted in the film, every mother shown in Apenstreken is a stay-at-home mom and all the fathers depicted have jobs such as: teacher, butcher, baker and farmer. The film presents the father being the head of the family as a totally normal value; it is normal for a family to look at the father to make the decision. For example, when the girl, Jet, has to ask her father (not her parents) if Wim can stay with them, every one of the family looks to the father to make this decision. Even though Apenstreken and Oorlogsgeheimen take place earlier in history, they still send the message that this kind of family structure is totally normal.
Brammetje Baas and Midden in de winternacht however are a depiction of our current society. Brammetje Baas is a film about a boy with ADHD, his father is the main breadwinner and his mother stays home to take care of him. The film shows the representation of a traditional family and will be discussed in the next chapter as a case-study. In Midden in de winternacht the father works away and the mother stays home to take care of the children. The film emphasizes the desperate need the children to have their father back home in time for Christmas.
In the nuclear family the value of ‘true love’ is important. Relationships are easily maintained and ‘love at first sight’ is an important value. It can be argued that in the Dutch children’s films relationships are also based on true love and are easily maintained. However, Tony 10 is an exception because the film is about a boy called Tony who tries everything to get his fighting parents back together. The film shows that relationships can be hard and that it is possible that one of your parents can fall in love with somebody else.
In the nuclear family, another value which relates to the parent-child relationship is where the child needs to listen to the parental authority. However, in Dutch children’s films the parent-child relationship is based more on the values in a postmodern relationship discourse. The parent-child relationship is based on equality and communication and children have a lot of freedom for adventures and to explore themselves. The parent-child relationship resembles a friendship. Characteristics which all the children had in common were optimism, adventure seeking and often the children were really bold and smart. Also children were able to change the situation they were in as in the films Kauwboy and Het leven volgens Nino. In the two films the father-son relationship is destructive for the son. However, due to the actions the son’s take the father’s change their behavior. The sons don’t tell their fathers directly that they need them to be different, they show them. For example Kauwboy, this film is about a boy who really misses his mother, he finds comfort in a jackdaw but has to hide it from his father. In one scene the father comes home from work, Jojo has decorated the house and made a apple-pie for his mom’s birthday even though his father had told him he couldn’t do so. His dad gets angry, but Jojo is angry too and starts singing ‘happy birthday to mama’. His father demands
him to stop, but Jojo keeps singing louder and louder. Suddenly the jackdaw flies in and his father catches it and throws it outside. Jojo runs away to search for his friend and his dad tries to find Jojo, but Jojo hides from him. The next day Jojo accidentally kills the jackdaw. Jojo’s dad finds his son in tears, gives him a hug and realizes that he hasn't been a good father and says sorry. The scene illustrates how the fathers perspective changes and subsequently becomes a more understanding father. The fact that children can change a situation in which they are in, is a recurring theme in the Dutch children's films.
Besides the nuclear family, the two-parent family can also be depicted as a postmodern family. In this family, the role of the parents is not that segregated, and the work and care tasks are more equal. The father is not the only breadwinner as the mothers also have jobs. However, even though these films imply that the mother has a job, it is not really clear what they do and they are hardly seen working. The mother is often seen doing household tasks like cooking and washing clothes as well as caring for the children. The father is depicted as main decision maker and action taker. For example in in Kidnep (2015). When Bo is kidnaped the father is represented as taking action and having contact with the kidnappers to get his son back whereas the mother is depicted as not being able to do this, instead she is always shown to be crying and in panic. Even though all the mothers in these films have an opinion, and the films show that too, the final decision is always made by the father when there are two parents involved. As discussed in the first chapter, even though the family structure has changed, the traditional values given to the nuclear family are still depicted. The Dutch films however do give other values to a family with a father and a mother, values that a postmodern discourse give to a relationship. Certain norms belong to the postmodern discourse, which came forward in the Dutch children’s films: living from depending on needs and wishes; individual freedom within a relationship; confluent love, based on mutual respect and love; relationship based on communication and consultation; self-development; egalitarian relationship between parents and children; shared work and care tasks.
In short, when analyzing the families with a father and mother it can be argued that the Dutch children’s films show two types of families. The nuclear family, with segregation between roles of the father and the mother (breadwinner-caregiver) and the postmodern family with more equal roles between the family members. Overall the Dutch children’s films present certain family values, where good
communication between the family members is an important value. Family members need to listen to each other’s needs and wishes in order to stay a balanced family. The Dutch children’s films that represent the two-parent families don’t have a preference for the nuclear family or the postmodern family. However, certain values from the postmodern family do appear in the films that depict a nuclear family.
The father
When analyzing the father two concepts from the theoretical framework are used, a satisfying father-child relationship and a destructive father-child relationship. A father-child relationship is defined as a satisfying relationship when a good father is a friend to the child, giving the child freedom to explore themselves. When a father is a bad father, this is defined as a destructive father-child relationship. In this relationship the father is depicted as controlling and demanding, in this case the child shows disruptive behavior.
Dutch family films show different roles belonging to the father. As discussed above, the father in the nuclear family is often the head of the family and the main decision maker. Besides fathers being the male authority figure, in the Dutch children’s films good fathers are often depicted as heroes. Fathers are often
represented as being the strongest, brightest and smartest fathers in the world. For example in Nono, het zigzag kind, the movie starts with stating that the father of Nono is the best detective in the world and Nono wants to be just like him. The same applies in Tony 10, where Tony also states that his father is the best crane driver in the world, Tony wants to be just like his father. In Dummie de Mummie the father is depicted as a hero. He helps Dummie when he gets expelled from school and helps his son save Dummie. Next to this the father in Dummie de Mummie is also represented as a friend and a good listener, which is depicted as important. The good father is also depicted as doing fun things with their children, like in Nono, het zigzag kind where the son helps his father solving crimes or in Tony 10 where the son helps his father also at work. Thus when a father-child relationship is satisfying, a father is represented as a role model for the child, a hero, a friend and a good listener. The father is able to take care of his children.
However, when looking at the single father, the Dutch children's films also represent a destructive father-son relationship. The behavior of the bad fathers is depicted as being destructive for the child. In Kauwboy (2012), Finn (2013) and Het leven volgens Nino (2014) each father struggles with taking care of their son after the death of their wife. Het leven volgens Nino depicts a father that suffers from depression after his wife dies and his children need to take care of him. The fathers in Kauwboy and Finn are
represented as surly and demanding. In these families the mother figure is missing, but another female character often fills this gab. Like in Finn where the neighbor is a woman who cooks all the meals and in Het leven volgens Nino where the neighbor again a woman, is ironing the clothes. The bad fathers need to listen to their children's needs in order to change their behavior. However, the films that depict a bad father in the beginning show that fathers can change their behavior for their son when they realize they haven’t been a good father. For example in Finn, in this film Finn really wants to play the violin, but his father demands him to play soccer. This results in Finn and his father fighting, and Finn lying and acting out. In the end the father realizes he needs to talk to his son about why he doesn’t want him to play violin, by the end they are both playing the violin together. Films depicting a bad father represent their behavior as destructive for the child, however in all the four films, the father is able to change in the end for the benefit of their children.
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The mother
As discussed above the role of the mother is often as a care provider. She is nurturing and able to combine her job with family life. Mothers in a two-parent family have different roles according to the family structure they are in. In the nuclear family the mother is the main carer and responsible for the household tasks. In the postmodern discourse extra values are given to the mother. However, even though the carer tasks are more equal, it is important that a good mother is able to combine her job with taking care of her children. The Dutch children’s films also depict single mothers. Six films from the 24 depict a family with a single mother. However, four from the six films are the Mees Kees films, which depict the same family. Thus from the 24 families depicted, only three films depicts a family consisting of a single mother. The theoretical framework in the previous chapter showed that single mothers could be good or bad, however the Dutch children’s films only depict single mothers as struggling. In these films the message is given that when a mother is a single parent she isn’t able to take good care of her children. The films put the mothers in a negative light. The parent-child relationship is destructive.
In Mees Kees the mother suffers from a depression after her husband dies. The teacher brings lunch to school for Tobias because the mother isn’t able to. The fridge is empty when Tobias comes home and he is
often depicted as sad. Next to this the mother is mostly shown lying in bed and not interested in her son. In De groeten van Mike, Mike desperately wants to go home after months in the hospital but his mother neglects to pick him up because she is an alcoholic. The mother puts her needs before the needs of her child. In Meester Kikker a single mother is shown as less destructive for the child, but the mother is depicted as a working mother who has troubles combining her work and caring for her child. The girl, Sita, finds the attention she wants from her mother by giving it to her helpless frog teacher. Films that depict a single mother also give the message that a child needs a female and male figure in their lives. In the Mees Kees films the teachers help to take care of Tobias. In De groeten van Mike, the security guard in the hospital becomes Mike’s friend and at the end of the film ends up in a relationship with Mike’s mother. In Meester Kikker the teacher is the male figure in Sita’s life.
How the mothers act in the films mentioned above are represented as bad for the child, however just like the films which depict a single father, some mothers go through a transformation because the child needs that from them. Like in De groeten van Mike where after a confrontation in the hospital Mike’s mother promises him she will get better. She goes to a clinic and in the end Mike is able to live at home again. Comparing these single mothers to the mothers in the traditional families, an overall conclusion can be made that good mothers just need to show up for their child. Next to this good mothers also need to listen to their child's needs, and need to be able to combine their job with taking care of their children. There are also some more traditional values given to good motherhood, like being able to make dinner, wash clothes and having a clean house. In short, the Dutch children’s films give the message that a single mother isn’t able to take care of her children whilst a father isn’t around. When comparing single mothers to single fathers, the Dutch family films show more single fathers than mothers. This is surprising because in the Netherlands, 85% of the single-parent families are single mothers. The Dutch children's films underrepresent the single mothers. In this they elevate the father and marginalize the mother. It can be argued that the films present the single-father families in order to be surprising, or to show another structure than the norm in society.
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Heteronormativity
In the films analyzed, one recurring element came forward, which also came forward in the theoretical framework, namely heteronormativity. Heteronormativity is the belief that people fall into distinct and complementary genders (male and female) with natural roles in life. It assumes that heterosexuality is the only sexual orientation or only norm, and that sexual and marital relations are most (or only) fitting between people of opposite sexes (Lovaas and Jenkins). However, the exception to the rule is Jack bestelt een broertje. Instead of a mother and a father, Jack has two mothers. This exception is not emphasized, the film presents it as normal. It’s not presented as a problem for Jack that he has two mothers. He also isn’t
searching for a father figure to fulfill this role which is contrary to what is argued above: films give the message that children need a male and female figure. This movie gives the message that Jack doesn’t need a father, he only wants “willies” so that he can have a brother. His mothers are kind and nurturing, though they sometimes lose track of where Jack is. However, in all the films analyzed often he parents don’t actually have a clue where their child is and the child has a lot of freedom for his (or her) adventures. Although with one exception, the majority of the Dutch children’s films still represent relationships between people of opposites sexes as the norm. This sends the message to children that heterosexual relationships is the only possibility, even though sexuality is a spectrum.
This thesis sought to explore how the Dutch children’s film represent the family, after this chapter it can be argued that one overall important value that the Dutch children’s films give to the family is the importance of heterosexual relationships. Even though Jack bestelt een broertje is an exception, all the other films give preference to heterosexual relationships. Even the young children in these film already have heterosexual love interests. Another message which films give, is the fact that children are better off with a father and a mother, though some films do show that a father is able to be a good single father. The majority of the films depict that it is good for the child to have a male and female figures in their lives. When a father or mother is missing in the family structure, often a male or female figure fills this gab. However, in Dutch children’s films fathers are elevated and mothers are marginalized.
Other values films give to the family, is that communication is key. Family members need to listen to each other’s needs and wishes, in order to stay a balanced family. All the films have happy endings because the family members talk to each other about their feelings and what their needs are. The films present the father in different roles; authority, controlling, nurturing, as a friend, and nurturing. The message is given that the father is a good father when he listens to the needs of his child, is supportive and at times is a hero that saves the day. The mother has a primarily caring role. A good mother is nurturing and needs to be able to combine her job with her family. Also some more traditional values are given to good motherhood, like being able to make dinner, wash clothes and having a clean house. The films present the parent-child relationship as an equal relationship, the child needs to have freedom for adventures and self-development. Also all the children represented have similar characteristics, the films present these children as bold and optimistic. They are able to overcome any problem and change the situation they are in.
It can be argued that family values fit into a postmodern relationship discourse because these films give the importance of equality between family members and emphasize the importance of communication. Besides these extra values, the Dutch children’s films still have a preference to the traditional family, with heteronormativity as a strong value. Looking at the different families in Dutch children’s films and according to the family structure, the films can be divided into three categories; two parent families, the absent mother and the absent father. The next chapters will explain these categories and give case-studies as examples.
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Chapter 3 Two-parent families
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This chapter discusses the category of two-parent families in Dutch children’s films. Nine out of the 24 films depict a family structure of two parents. As discussed above, the representation of the two parent families in Dutch children's films can be divided into the nuclear family and the postmodern family. A nuclear family consists of a father, a mother and their children. In the nuclear family, there is a segregation between responsibilities for the men and women, where the mother stays home and takes care of the children whilst the father is the main decision maker and breadwinner. The children in the meantime need to listen to the parental authority. In the postmodern family, the family structure is based on the needs and wishes of the family members. Care and work tasks are equally divided between men and women. In the postmodern family important values are communication, self-development and equality. In this family, the parent-child relationship resembles a friendship.
This chapter discusses two case-studies that represent a nuclear family and a postmodern family. In the first section a case-study on Brammetje Baas is presented. This film is one of the four films that depict a nuclear family. However, two of the four films are not depicted in the present, and thus Brammetje Baas has been selected as the case-study because it reflects current society. Brammetje Baas also revolves more around the family than the other three films. Brammetje Baas concerns a family dealing with the fact that Brammetje has ADHD. In the second section, a case-study on Tony 10 is presented. This film is one of the five films that represent a postmodern family. Tony 10 is chosen as a case-study on the postmodern family because the film deals with problems inside a family. The other films which depict the postmodern family concerns different problems, in which the family plays a smaller part. Tony 10 is about Tony who tries everything to get his parents back together.
This chapter argues that when analyzing the Dutch children's films about the two-parent family, two family structures appear. In the nuclear family there is a clear segregation between the father and the mother (breadwinner-caregiver). Extra values are given to this nuclear family structure, however, these value fit into the postmodern family. When depicting the postmodern family, work and care tasks are more equally divided between the father and the mother. However even though the mother has a job, she is seldom depicted working. At the end this chapter concludes that the Dutch children's films don’t have a strict distinction between a nuclear family and a postnuclear family. However, the films do depict a preference to heteronormativity and the fact that a child needs a mother and a father in their lives.
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Brammetje Baas
Brammetje Baas is a film made in 2012 that depicts the problems which appear when somebody has ADHD. This film is about a boy who really looks forward to going to school, only at school his teacher doesn’t understand his behavior. His teacher demands him to sit still and focus on his work. However Brammetje is easily distracted and has trouble concentrating. This results often in the teacher punishing Brammetje; he has to sit in the hall, has to stay a day in kindergarten, and has to do homework. Brammetje’s parents don't know how to handle the situation, because they know Brammetje as a boy who is eager to learn. Brammetje doesn’t want to go to school anymore, but when a new, younger, teacher arrives the situation changes. This teacher knows how to handle Brammetje’s ADHD and subsequently his grades improve. Also the tensions experienced at home disappear because the parents now know how to structure Brammetje’s life.
Brammetje Baas depicts a nuclear family. In this film traditional roles are given to the father and the mother. The mother is depicted as the main caregiver; she stays home to take care of the children, does the laundry, and cooks meals. The father is the breadwinner, and is represented as the authority figure. The father often raises his voice to make Brammetje listen and due to this the parental authority as a value in the parent-child relationship is depicted. The first impression of this film is thus that it represents the typical nuclear family, with the segregation between roles of the father and the mother.
This becomes clear at different moments throughout the film. The mother is for example continuously shown performing traditional care tasks. The first time she is introduced, she is holding a laundry basket (fig. 1). The film often places her in the kitchen, wearing an apron. Besides this, her daily routine consists of making breakfast for the family, bringing the children to school, cleaning the house, picking the children up from school, and doing the laundry. The mother is also portrayed as spending more time with her children, than the father.
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The father is depicted as the breadwinner and an authority figure. In the first 15 minutes of the film he is shown as only saying ‘BRAMMM’ in response to when Brammetje is depicted as doing something he can't do or giving him short demands, like ‘eat’. The father often raises his voice when Brammetje needs to listen to him. The father also disregards his sons situation at school. The film depicts this ignorance due to the father often being away, which is why doesn’t understand Brammetje’s behavior. The father agrees with the school that Brammetje needs to be disciplined. Besides this, the film depicts the authority of the father through his demands and raising of his voice. There are times also when the father is filmed with a low-angle, indicating authority (fig. 2). In one such scene, the parents are filmed with a low angle when they explain the method the school has given them to Brammetje. It is a sticker system, in which Brammetje gets a green sticker when he does something right and a red sticker when he does something wrong. However, after trying the system, the film presents it as a failed method, and thus undermining the father’s authority.
Fig. 1 Mother Brammetje with laundry basket
Throughout the whole film the mother is depicted as patient and understanding. Brammetje often accidentally breaks things; however she doesn't punish him and instead just cleans up the mess. The mother also defends her son against the teacher’s opinion. She sees her son as a boy who is eager to learn and states that people just don't work hard enough to understand him. The mother also communicates with Brammetje in a way that he understands; when she talks to him she lowers down to his level (fig. 3). In one scene, she explains to Brammetje why he should do his homework. She sits down with him and explains that if he wants his dream of building a ‘rocketbus’ to come true, he must do his math homework. The film shows that this is an important value, and as a result of Brammetje’s understanding mother, he is able to listen and do his homework. Furthermore, the film presents understanding and communicating parents as an important value because the father goes through a transition, from uninvolved to involved and understanding.
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The theoretical framework showed that people have conflicts with each other because they have different views regarding the modern relationship discourse and the postmodern relationship discourse. The father in the beginning of the film has a modern view, and agrees with the school that Brammetje needs to be disciplined. In one scene he states that “Brammetje needs to know he is not the boss of the family, that he has to listen”. This corresponds to the nuclear family value that children need to listen to the authority of the parent. The mother in Brammetje Baas has postmodern views when it comes to raising her children. The mother disagrees with her husband and states that Brammetje knows he is not the boss. Due to their differing views on raising Brammetje, they consequently fight. Through mutual respect and communication however - values of the postmodern relationship discourse – the father’s view change. A shot is shown of the father and Brammetje together throwing the sticker method away. In the end the family is shown hugging and laughing on a trampoline (fig. 4). They are presented as happy with how the family is at that moment. The film ends with a pan upwards, which stands for that this positive state of the family will be continued.
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Fig. 3 Mother Brammetje talks to him on his level
