MM8 - Media Representation of Age

The media plays a powerful role in shaping how different age groups are viewed in society. Representations of childhood, adolescence, adulthood, and old age often rely on stereotypes rather than reflecting real-life diversity. These portrayals influence how age groups are treated, how policies are shaped, and how individuals understand their own identities. Sociologists argue that age is socially constructed through media narratives rather than being simply biological. Studies by Heintz-Knowles, Wayne et al., Postman, and Cuddy and Fiske show that media representations of age often reflect adult concerns, moral panics, and economic interests rather than lived experiences.

CHILDHOOD

The media often represents children as cute and innocent, portraying them as sweet, vulnerable, and in need of adult protection. This representation is common in advertising and early-years television, where children are shown as wide-eyed, playful, and dependent. Programmes such as Hey Duggee and family animations like Toy Story reinforce the idea that childhood is a time of simplicity and emotional innocence. These portrayals encourage adults to see children as fragile and in need of safeguarding.

In contrast, children are also frequently shown as mischievous or disruptive, sometimes described as “little devils.” Characters such as Bart Simpson in The Simpsons present children as rule-breakers who challenge adult authority. While these portrayals are often played for humour, they can normalise antisocial behaviour and suggest that bad behaviour has few consequences. Heintz-Knowles’ content analysis found that antisocial behaviour in children’s television is often rewarded and that narratives focus heavily on peer relationships and romance rather than serious issues affecting children’s lives.

Another common representation is the brilliant child, where children are shown as unusually intelligent or gifted. Characters such as Matilda or Young Sheldon are portrayed as possessing exceptional academic abilities beyond their years. These portrayals challenge the idea that children lack intelligence, but they also create unrealistic expectations by suggesting that children must be extraordinary to be valued.

Children are also sometimes represented as brave and heroic, particularly in fantasy and science fiction. Characters in Harry Potter and Stranger Things face danger, responsibility, and moral choices usually associated with adulthood. While these portrayals show children as resilient and capable, they still present childhood as exceptional rather than ordinary, reinforcing unrealistic ideas about maturity.

The media also increasingly portrays children as accessories to adult lifestyles, particularly in celebrity and influencer culture. Children of celebrities and social media influencers are often used to reflect fashion, wealth, or family branding rather than individuality. This reflects consumerist values and supports Heintz-Knowles’ conclusion that entertainment media often reflects adult perspectives rather than children’s real experiences.

More recently, the modern child has emerged in media representations. Children are now often shown as tech-savvy, socially aware, and engaged with global issues. News programmes, eco-themed children’s media, and young influencers present children as informed and independent, reflecting changing expectations about childhood in a digital society.

Neil Postman’s theory of the disappearance of childhood is especially relevant in this context. He argues that television—and now social media—exposes children to adult knowledge and themes such as sexuality, violence, and consumerism at an early age. Platforms like TikTok, YouTube, and Instagram blur the boundary between childhood and adulthood, eroding traditional ideas of childhood innocence and supporting Postman’s claim that childhood is no longer a clearly protected life stage.

ADOLESCENCE

Adolescents are often represented in the media as enjoying freedom and independence, with teenage life portrayed as a time of self-discovery, adventure, and emotional intensity. Films such as The Perks of Being a Wallflower and series like Heartstopper present young people exploring identity, friendships, and relationships with relatively little adult control. These representations frame adolescence as a meaningful and formative stage of life, symbolising growth, autonomy, and personal development.

However, the media also frequently portrays adolescents as rebellious and disruptive, challenging authority figures and social norms. This stereotype reflects wider adult anxieties about youth behaviour and loss of control. Historically, characters such as James Dean in Rebel Without a Cause established this image, and it continues today through crime dramas, news reporting, and reality television. Young people are often framed as troublemakers who resist parental rules, school discipline, and societal expectations, reinforcing negative views of youth.

Another dominant portrayal is the hypersexualised teenager, where adolescence is shown as overly focused on sex, relationships, and physical desire. Contemporary series such as Euphoria emphasise sexual exploration, drug use, and intense emotional relationships. While some argue this reflects real experiences, critics suggest it exaggerates teenage sexuality and contributes to moral panics. Social media platforms such as Instagram and TikTok further reinforce this stereotype by rewarding visibility, attractiveness, and popularity, linking teenage value to appearance and sexual appeal.

Adolescents are also commonly represented as lazy and lacking responsibility. Characters such as Bart Simpson or Ferris Bueller present teenagers as disengaged from school and uninterested in work. This stereotype suggests that young people are unwilling to contribute productively to society and reinforces the idea that they need discipline and control rather than support.

A related stereotype is that of the entitled teenager, particularly associated with wealth and privilege. Reality television programmes such as My Super Sweet 16 portray young people as expecting rewards, luxury, and success without effort. This representation reinforces class-based assumptions and presents youth as ungrateful or out of touch with the value of hard work.

The media also frequently portrays adolescents as desirable objects, especially young women. Shows like Gossip Girl focus heavily on fashion, beauty, and glamour, reinforcing unrealistic beauty standards and suggesting that teenage worth is based on physical attractiveness. This can contribute to body image pressures and low self-esteem among young audiences.

These stereotypes are supported by sociological research. Wayne et al.’s content analysis of 286 media stories found that 82% portrayed young people as either victims or perpetrators of crime, while 28% focused on young celebrities. Crucially, only 1% of stories included young people speaking for themselves. This shows that the media often talks about adolescents rather than listening to them, reinforcing fear, misunderstanding, and moral panic.

Osgerby argues that representations of youth have changed over time. In the post-war period, young people were often portrayed as hopeful, progressive, and symbolic of a positive future. However, modern media increasingly presents adolescents as problematic, irresponsible, and a source of social decline. Osgerby suggests that youth are often scapegoated for wider social problems such as crime, antisocial behaviour, and moral decay, reflecting broader societal anxieties rather than the reality of young people’s lives.

ADULTS

Adults are typically portrayed in the media as responsible, rational, and in control, and they are often positioned as the norm against which other age groups are judged. In television dramas such as Line of Duty, adults are shown as authoritative professionals making serious decisions within institutions like the police or government. Similarly, reality shows such as The Apprentice present adulthood as centred around competition, leadership, and productivity. These portrayals reinforce the idea that being an adult means being successful, hardworking, and emotionally controlled.

From a sociological perspective, this links to Cohen’s theory of moral panic, where adults are often positioned as the moral guardians of society. Media narratives frequently frame adults as responsible for controlling or correcting the behaviour of young people, reinforcing adult authority and legitimacy. This creates a clear generational divide, where adulthood is associated with order and stability, while youth is associated with risk and disorder.

However, media representations of adults are often narrow and idealised. Adults are commonly shown as financially secure, confident, and in stable careers, which ignores the realities of unemployment, low-paid work, mental health struggles, or insecure housing. For example, social media platforms such as Instagram and TikTok often promote curated images of adulthood that focus on career success, relationships, home ownership, and consumption. This can create unrealistic expectations about what a “successful” adult life should look like and can lead to feelings of failure or inadequacy for those who do not meet these ideals.

These representations also tend to overlook adults with caring responsibilities. Parents and carers are often shown as coping effortlessly, reinforcing the idea that adulthood involves emotional strength and self-sacrifice without difficulty. This masks the pressures many adults face and presents adulthood as a stage where problems should already be solved.

Gender expectations play a significant role in how adults are represented. Men are more likely to be shown in positions of power, leadership, and professional success, particularly in political dramas, business programmes, and crime series. Women, in contrast, are more frequently portrayed balancing paid work with caregiving and emotional labour. Even in contemporary media, adult women are often judged on their ability to “have it all,” reinforcing traditional gender roles.

This supports Gauntlett’s view that while media representations of gender have become more diverse, they still rely heavily on stereotypes. Adult masculinity is often linked to authority and control, while adult femininity is linked to care, responsibility, and appearance. Although some modern dramas and streaming content challenge these roles, traditional representations remain dominant.

ELDERLY

The elderly are often represented in the media through a narrow range of negative and ageist stereotypes, which shape public attitudes towards ageing. One of the most common portrayals is the grumpy or feisty older person, where elderly characters are shown as irritable, stubborn, and resistant to change. Films such as Gran Torino and Grumpy Old Men reinforce the idea that ageing leads to intolerance, anger, and social inflexibility. These portrayals suggest that older people struggle to adapt to modern society.

Another dominant stereotype is that of the sick or mentally deficient elderly person. Older characters are frequently portrayed as physically frail, forgetful, or cognitively impaired, particularly in hospital dramas and animated films such as Finding Dory, where the grandmother character reinforces ideas of confusion and dependency. These portrayals contribute to the belief that ageing is inevitably linked to illness, helplessness, and a loss of independence.

Elderly characters are also commonly shown as lonely and depressed, often living in isolation and disconnected from society. In films such as Up, older characters are portrayed as emotionally withdrawn following loss, reinforcing the stereotype that old age is a time of sadness and social isolation. This ignores the many elderly people who remain socially active and emotionally fulfilled.

In contrast, some media representations portray the elderly as wise mentors who offer guidance to younger generations. Characters such as Yoda in Star Wars embody this stereotype, suggesting that age brings knowledge and insight. While this portrayal is more positive, it still limits elderly characters to supportive or background roles rather than central, active ones.

Another recurring portrayal is the busybody elderly character, where older people are shown as nosy or interfering in others’ lives. Characters such as Mrs. Dubose in To Kill a Mockingbird reinforce the idea that elderly individuals lack purpose and instead involve themselves unnecessarily in community affairs. This stereotype can contribute to negative attitudes about older people being intrusive or out of touch.

The media also sometimes represents the elderly as experiencing a “second childhood.” This means older characters are portrayed as dependent, playful, or childlike, needing care and supervision. Films such as The Curious Case of Benjamin Button and Cocoon reinforce the idea that ageing involves regression and loss of adult agency, rather than continued independence.

These portrayals are supported by sociological research. Cuddy and Fiske (2004) found that elderly people are often perceived as high in warmth but low in competence. This means they are seen as kind and friendly but not capable or intelligent. As a result, media representations often evoke pity rather than respect. This pattern reflects ageism and reinforces stereotypes of decline.

Further studies support this view. Kite et al. (2005) found that older people are commonly perceived as less competent, reinforcing assumptions of dependency. Andreoletti et al. (2001) found that older adults are often viewed as less intellectually capable than younger people. Biernat et al. (2007) argued that when elderly characters forget information or struggle with technology in media, these failures are usually attributed to cognitive decline, strengthening negative stereotypes.

Despite these issues, there has been some shift in representation, particularly in advertising. Lee et al. found that older adults appear in only around 15% of adverts, showing clear underrepresentation. However, when they do appear, over 90% are portrayed positively as “golden agers”—active, healthy, financially secure, and enjoying retirement. This reflects the growing importance of the Grey Pound, as older consumers often have more disposable income and brand loyalty.

However, these positive portrayals are not evenly distributed. Lee et al. also found gender differences, with older men more likely to be shown in active, high-status roles, while older women are more often portrayed in family or domestic settings. This highlights how ageism often overlaps with gender inequality in media representations.

EVALUATION