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Throughout the postwar years the media industry increasingly shifted the notion of children as influencing agents who could persuade their parents to purchase goods and services, which were thus marketed to children, to children as "sovereign, playful, thinking consumers" who are now one of the fastest-growing market demographics, particularly in this age of niche markets and kids-only television networks like Nickelodeon, Nickelodeon's TV Land, The Cartoon Network, Noggin, Discovery Kids, and The Disney Channel.7 The advent of children's cable networks afforded advertisers "a ripe environment through which to address children as consumers" in both programming and advertisements, as well as to construct those preferences through strategic product placement and association, among other things.8 In early attempts in television and Hollywood films (mainly by Disney) to "mass market childhood . . . childhood got branded sweet and cuddly, cute and tiny" and took place in fantasy realms of pure Disney, pastel palettes that reinforced the whimsical notion of the perfect childhood, as well as notions of gender-specific colors, that is, pinks, reds, and violets for girls and blues, greens, and browns for boys.9 As Ellen Seiter and Vicki Mayer argue, "Many aspects of children's toy and media worlds have remained unchanged since the 1950s" and are most visible in children's films.10 The divinity and purity of a prelapsarian state is "at the heart of the bourgeois cult of the beautiful child" because "childhood itself" is one of the most successful products sold to American consumers.11 It is my suggestion that the idealization of childhood through color in films like Burton's doubles as a marketing strategy that works to reinforce among children the desire for goods that allow them to revisit the utopia of the film world and to create among adults desire for products-packaged and advertised in the same color palette as the film- that promise a return to that idealized childhood.
As a marketing strategy, product advertisers work to "(re)define commodities as beneficial/functional for children.
Burton's unusual and highly stylized saturated palette, as a marketing strategy, increases the child viewer's idealization, mythification, and commodification of his or her own childhood.
[Companies] strategically use color to communicate desired images and reinforce them to consumers" in the hope of creating long-lasting brand or product loyalty, a marketing strategy that is also symbiotically connected to films' similar use of color palettes.14
Today's childhood is no longer viewed as a Victorian utopia; however, the nostalgic desire for the Victorian idealized childhood is still a viable marketing strategy.
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