Banduras media effect

What Bandura Argues - Bobo doll

• Albert Bandura (1961) developed the Media Effects / Social Learning Theory, suggesting that people can learn and imitate behaviours they see in the media.

• His Bobo Doll experiment showed that children copied aggressive behaviour from adults they watched on screen.

• He identified four stages of observational learning:

  1. Attention – noticing the behaviour.

  2. Retention – remembering what they saw.

  3. Reproduction – having the ability to copy it.

  4. Motivation – choosing to copy it if it seems rewarding or socially accepted.

• Bandura argued that audiences might imitate violence, aggression, or anti-social behaviour, but can also learn positive social behaviours from media role models.

• He also recognised that context, regulation, and audience interpretation affect whether these behaviours are actually copied.

Glamour and Violence

• The assassin Villanelle is portrayed as funny, intelligent, and fashionable — making her an appealing but dangerous role model.

• Bandura would argue that viewers might internalise her behaviour (confidence, rebellion, or lack of empathy) because she is rewarded with attention, wealth, and admiration.

• Her murders are often stylised and humorous, which could desensitise audiences or make violence seem thrilling.

. Observational Learning and Role Models

• Villanelle and Eve are both morally ambiguous characters, so viewers learn that morality is complex — actions aren’t simply good or bad.

• This reflects how audiences may imitate attitude and independence, not literal violence, by identifying with Villanelle’s self-assurance or Eve’s intelligence.

Gender and Empowerment

• The show presents women as dominant, active, and in control, contrasting traditional media portrayals.

• Bandura would interpret this as positive modelling, where audiences learn that female power and ambition are socially acceptable and admirable.

• This turns potential negative influence (violence) into pro-social influence (empowerment and independence).

Context and Reception

Because Killing Eve airs on the BBC, its violence is regulated and stylised, reducing realistic imitation.

• Audiences understand the show’s tone is darkly comedic and exaggerated, helping prevent harmful copying.

Moral Ambiguity and Crime

• Lupin follows Assane Diop, a gentleman thief who steals to avenge his father’s wrongful conviction.

• Bandura’s theory explains how audiences may sympathise with or admire Assane, seeing crime framed as clever and justified.

• This could lead to vicarious reinforcement — viewers seeing illegal acts as acceptable if the cause is noble.

Observational Learning and Identification

• Assane uses intelligence, planning, and disguise, rather than violence, to achieve his goals.

• Bandura would say audiences might imitate his cleverness and self-control, showing that media can teach strategic and moral reasoning instead of aggression.

Representation and Pro-Social Learning

• As a Black French lead, Assane challenges racial stereotypes and represents diversity, resilience, and justice.

• Bandura’s theory applies positively here: audiences can learn respect, empathy, and awareness of social inequality through his story.

Global Audience and Reception

• Streaming on Netflix gives Lupin a global reach, meaning different audiences will interpret Assane’s behaviour differently based on culture and values.

• Bandura’s theory would suggest that context and identification shape whether behaviour is copied or merely admired.