5 English 1110.01 17 December 2014 Literature Review Since the rise of the modern film industry, media has directed much of its attention on targeting a child audience. With this came a new topic for discussion in academic circles. My focus deals with the way in which children’s film industries use particular methods for covertly accomplishing their agendas. This topic includes a multitude of contexts that must first be considered before the final research question can be addressed. For example, before discussing the methods various individuals will use to influence children through film, one must consider the nature of children’s film. How can a particular film be especially suitable for a child and thus influence his or her perception of the world? Furthermore, how many factors drive children’s film producers, and if there are multiple incentives, how do they rate in importance to one another? Questions like these are connected to my main research question in that they help to provide a broader and thus more realistic outlook on the circumstances surrounding the children’s film industry. Many scholars have expressed their own personal opinions on these matters. Regarding the nature of the films themselves, the majority of scholars insist that children are a prime target for industries due to their extreme vulnerability in the kinds of things they are exposed to through the media (Howarth, 2012; Hudson, 2008; Silva, 2010; Wagner, 1957; Wood, 1979; Zornado, 2008). Indeed, a child’s perspective has barely had the opportunity to develop into a complex collection of experiences that can clue him or her in on various aspects of reality. In this way, a child exposed to fantastical elements is more easily to be captivated, a child who sits in front of a colorful scene is more easily made interested, and certainly, a child who is introduced to new ideas is more likely to consider them and then adopt those new ideas as his or her own. The opportunity to gain a child’s attention with very little effort seems to be a central concept in whatever method is used in children’s media. While nearly all scholars recognize the nature of children’s film based on the fundamental aspects of children themselves, namely, curiosity, some tend to focus on a child’s inquisitiveness as being merely a positive aspect (Howarth, 2012). The fact that a child seems to naturally want to learn more about the world around him or her provides a host of ways to help that child develop as a unique individual. Indeed, although this can be the case, a view as limited in scope as this fails to address the opposite side of the spectrum where there are equally numerous opportunities to influence children, but in a sense which fails to consider the needs of children first. In one view, the motive is fairly neutral in terms of ethical assessment; the kinds of films produced are directly linked to the kinds of things a child wishes to see (Silva, 2010; Wood, 1979). Irene Wood (1979),.