Animation is a form of art, capable of creating amusing plots and fairytale personages and transferring a variety of concepts to a viewer. Undoubtedly, being an integral part of any child's life, an animated cartoon is an aspect, adding much to the kid's development, his understanding of reality and imagination, his comprehension of evil and good.

In a more global sense, animation is capable of reliving and revealing many concepts of foreign cultures, while cultural aspects are never ignored in the context of education. Bullfighting cartoons are capable of picturing local flavors of modern Spain through the ancient tradition of bullfighting and revealing national traits of character, such as ambitiousness and, perhaps, pitilessness. The bullfighting topic is so complicated and controversial that some producers, really interested in the subject of bullfighting, learn the bullfighting culture for years before they start their work on the project.

However, a thematic and genre diversity of cartoons to be made is so inexhaustible that many critics and viewers consider that there is no necessity to make bullfighting cartoons at all. In fact, producers are not so much inclined to make bullfighting cartoons as well; for instance, the producer of Warner Brothers Eddie Seltzer (1944-1956) refused to make any bullfighting cartoons, though his personal attitude toward the topic did not prevent the company from making some well-known pictures.

Another important argument is that such artistic interpretations of the bullfighting culture as Rudolf Valentino's Sand and Blood and Earnest Hemingway's Death In The Afternoon do not glorify the tradition, but show it as an eternal tragedy. A cartoon is not to show tragedies and dramas; animators create them for fun, amusement and enjoyment, whereas the topic of bullfighting seems inappropriate at all. In fact, to make bullfighting cartoons is to overcome a number of stereotypes and limits, alien to numerous world cultures, which disagree with the bullfighting's nature and its relevance in the modern human society.

Aimed at the young audience, a cartoon is able to form the child's imagination and behavior norms probably even deeper than parents' explanations and moral admonitions. Producers, who make bullfighting cartoons, invite kids to explore the meanings of cruelty, torture, animals' abuse and violence. A bullfighting cartoon can be as dangerous as a horror movie, watched by a child secretly from his parents.

Oppositely, should a child be ignorant of such a notion as bullfighting only for the reason it is cruel? Perhaps, not. The reality is not a thing to be hidden from curious and experimenting young minds. Furthermore, a child should not only see these things happen, but understand the reason they occur. It does not mean that parents should deliberately select animated films to let their children familiarize themselves with the notions of cruelty and immorality. The producers, who make bullfighting cartoons, should in their turn concentrate more on revealing unique features, characterizing bullfighting rather than showing numerous bloody scenes of suffering animals in order to bring along their protest against the bullfighting culture.