In this direction, it is considered that the livened up drawings, through the dialogue that its personages exert with the small spectators, directly influence in the valuation and maintenance of the commercialized ideal of beauty, standing out bitipo lean, strong and high as being more privileged in detriment of the other corporal possibilities. The above-mentioned author detaches, still, that the esteretipos wide are contemplated by the cultural industry because they take care of I appeal to it economic required for the capitalist ideology. Thus, while communication elements the esteretipos are economic, therefore they allow to process social information quickly, as any another social representation, to transform the evaluations into descriptions and the descriptions in explanations. Esteretipo can exactly be defined as a species of percipient project associated the certain categories of people or objectos, crystallized around a word assigns that them, automatically intervined the representation and characterization of especmenes of these categories (Maisonneuve, J., 1971:110) In such a way, the proper language signals and carries the esteretipos, influencing decisively the processes of communication between individuals and groups (BAPTISTA, 1996, P. 9).
Grifos of the author. On the other hand, the children do not consist in ‘ ‘ empty vases of vidro’ ‘ or in ‘ ‘ blank sheets of paper ‘ ‘ , where if they can inscribe ideologies, gostos, practical social, fancies and criatividades: programming of the television supplies an ample repertoire of information that are assimilated by the children, but that also they are reproduced and ressignificadas through its behavior, either during the tricks, either in the conviviality with the other people. this taking of the Real, that is, of what he is proper and characteristic of the child, is tried to compensate with the symbolic one? role immediately assumed by the livened up drawings.