Data about these factors--such as advantages and punishments, consequences, realism and humor--is getting widely disseminated for the entertainment market and buyers to raise awareness about what may possibly contribute to a program's positive or harmful outcomes on viewers (http://www.mediascope.org/whtwedo/inits.htm).
But it is not just on television or inside the mass media that violence looks in art in ways that will well be dangerous to children. An example of fine art that might well be traumatic for younger little ones at least are the prints made by Kathe Kollwitz. Her easy prints focused on images of children and mothers and death as she documented - and protested - the outcomes of Globe War I and its aftermath on the civilian population of Germany. Her works are meant to shock the viewer as we see death scavenging, scooping the bodies of children in the armies of their mothers who use whatever strength they have left in their emaciated bodies to fight for their children's lives. The works are not gory: The average video game includes a hundred times additional overt violence than Kollwitz ever utilized in her personal work. But the agony of mothers who can do practically nothing to save their youngsters is apparent in each work, and also the prints would be horrifying to several young children. Being a corollary to this, the images that she created are essential for adults to see. It is all too easy to glorify war, to think about the reality in the tearing festal machines. Little ones must be sheltered from these kinds of images but adults (who go on the voting booth and make decisions about who should fight and die) need to confront the realities of war.
It is tough to imagine that anybody would argue that a painting of the pastoral landscape would be harmful to children: Looking at tree-filtered sunli
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