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Journal articles on the topic 'Animated educational film'
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.
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The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
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Hidayat, Rahmat, and Husnul Khatimah. "ANIMATED FILM “NUSSA DAN RARA EPISODE OF FRIENDS TREAT COMPETITION”AS A MEANS FOR PLANTINGEDUCATION IN CHILDREN." Almufida: Jurnal Ilmu-Ilmu Keislaman 5, no. 1 (2020): 48–58. http://dx.doi.org/10.46576/almufida.v5i1.779.
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Interests will bring shows that do not educate children behind the animated film Nussa and Rara with regard to the ability to appreciate the character of education. This film is one alternative spectacle that can be used for educational inculcation through film. This study aimed to discuss the educational value needed in the animated film Nussa and Rara episode of the Friends Treat Competition through the film. The subject of this research is the animated film Nussa and Rara which are easily taken from the Official Nussa page on youtube. The results of this research are the animated film Nussa and the episodes of the Traktir Ten Competition. The educational values include: curiosity, honesty, success, religious, national spirit, social care and creativity. If children always see shows that educate even those who teach good character and education, then dont deny that in the future the child will become an educated person according to our expectations.
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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.
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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
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Fardani, Diah Novita, and Yorita Febry Lismanda. "NILAI-NILAI PENDIDIKAN KARAKTER UNTUK ANAK USIA DINI DALAM FILM “NUSSA”." Thufuli : Jurnal Ilmiah Pendidikan Islam Anak Usia Dini 1, no. 2 (2019): 34. http://dx.doi.org/10.33474/thufuli.v1i2.4921.
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Early Childhood has a variety of interests, one of them is the fondness of watching television shows that are animated cartoons. At an early age, children have a strong tendency to mimic everything they see. This becomes important considering that a lot of animated cartoon films are shown and are often seen by children which certainly affects the character and personality of children.This study aims to determine the values of character education forearly childhood contained in the animated film "Nussa". In carrying out this study using a qualitative descriptive approach by analyzing the contents of four randomly selected episodes. The results of this study found that educational valuescharacters for early childhood contained in the four episodes of the animated film "Nussa" are very diverse, among the character values contained such as religious, hard work, independent, friendly and communicative, honest, caring socially, creatively, disciplined, rewarding achievement, and responsibility.
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Mytnik-Daniluk, Joanna. "A social dimension of the activities of selected contemporary animated film characters." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 12, no. 4 (2020): 4–14. http://dx.doi.org/10.24917/20837275.12.4.1.
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Animated film characters represent various attitudes, points of view and issues, including social problems. Many of them are shown as carriers of socially approved character traits, who have an important mission or fight for the greater good. It must be emphasised that a film hero, as the key element of the film plot is the centre of attention for a viewer. The holistic reception, including all the values, norms and principles, proves to be an effective tool during educational and therapeutic work. Thanks to considerations into the social dimension of activities, based on the example of particular characters, it is possible to appreciate in animated films the significance of the issues which are still unnoticed and regarded as childish. The development of this topic is the result of the researcher’s own research into the social message of animated works.
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Ainiyah, Kurniyatul, Nurul Hidayah, Faradilah Putri Damayanti, Indana Nuril Hidayah, Juniardi Nur Fadila, and Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 5, no. 3 (2020): 164. http://dx.doi.org/10.14421/jiska.2020.53-04.
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Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.
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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.
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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Tasker, Yvonne. "An Interview with Terry Wragg on the Work of the Leeds Animation Workshop." Feminist Media Histories 2, no. 2 (2016): 122–32. http://dx.doi.org/10.1525/fmh.2016.2.2.122.
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Based in the city of Leeds in the north of England, Leeds Animation Workshop describes itself as a “not-for-profit, cooperative company, which produces and distributes animated films and films on social and educational issues.” The organization was formally established in 1978 following a collaboration by a group of women on the film Who Needs Nurseries? We Do! In this interview Terry Wragg, a member of the group since that founding period, talks with Yvonne Tasker about funding patterns, filmmaking, the women's movement, and the significance of the workshop movement in the United Kingdom.
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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.
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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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Muhdaliha, Benny, and Dewa Ray Dharmayana Batuaya. "Film Animasi 2 Dimensi Cerita Rakyat Bali Berjudul I Ceker Cipak." Jurnal Bahasa Rupa 1, no. 1 (2017): 61–72. http://dx.doi.org/10.31598/bahasarupa.v1i1.143.
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Many factors can lead to moral irregularities by children, one of which is the number of impressions that are less culturally appropriate and less educational for children. Impressions adapted from folklore often become a strategic alternative as educational media. In general, the message conveyed in folklore is a guideline of behavior in social life, good and bad teaching, joy, sadness, and heroism. Positive moral messages contained are expected to control turbulent in emotion and character development in the process of forming a child's character, especially in the contemporary era. 2 dimensional (2D) animated film which delivering Balinese local content from folklore is done by this research. The 2D animation is entitled 'I Ceker Cipak'. The 2D animation form is chosen because it can explain complicated information to be more simple and interesting, so it can be easily to understood by the audience. 2D animated film is also a media that can be enjoyed by all ages and relatively cheaper and easy to use. Story I Ceker Cipak also convey the values of justice, and humanity through the implementation of the law of karma phala. From the results of tests conducted on children SDN 1 Semarapura Middle students, Klungkung, found that elementary school children can easily understand the moral messages contained in the 2D animation folklore movie entitled I Ceker Cipak.
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Rahmayanti, Wiga, Ahmad Hariandi, and Nopia Wati. "MORAL ANALYSIS IN THE ANIMATED FILMS OF NUSA RARA AND UPIN IPIN AS EDUCATIONAL SHOWS." AL-ISHLAH: Jurnal Pendidikan 12, no. 2 (2020): 465–80. http://dx.doi.org/10.35445/alishlah.v12i2.220.
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This study aims to analyze and describe the moral values contained in the Nusa and Rara animations as well as the Upin and Ipin cartoons. This research is a qualitative descriptive research using a sample entitled from the animation film Nussa and Rara and the cartoon Upin Ipin with content analysis techniques. The data in this study contain religious and moral values contained in the animation of Nusa and Rara and Upin and Ipin cartoon. From this research, the results are religious and moral values in form of “adab” before going to bed, eating manners, saying “basmallah”, alms, keeping doing, doing good deeds, tolerance and help, not being arrogant, keeping words, praying on time, brotherhood, honesty, loving animals, respect, responsibility, justice, tolerance, self-discipline, caring for others, courage and democratization. The animation of Nussa Rara as well as the cartoon of Upin and Ipin are highly requested to be watched by children because it contains many religious and moral values in accordance with the national culture and Islam
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Sanjaya, Azlina Nuur, Anne Agustina Suwargiani, and Riana Wardani. "Comparison between audiovisual media and simulation on the toothbrushing skills of elementary school students." Padjadjaran Journal of Dentistry 31, no. 3 (2019): 177. http://dx.doi.org/10.24198/pjd.vol31no3.22862.
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Introduction: Oral health education aims to enable an individual to maintain oral health, one of which is tooth brushing. Education media can determine its success. As the development of technology, audiovisual media is also developing. Audiovisual media are commonly used nowadays for educational purpose in many fields, and simulation media in many forms are often used for education. The purpose of this study was to compare the effectiveness of audiovisual media in the form of animated film and simulation media in the form of a dental model on toothbrushing skills. Methods: Quasi-experimental that tend to comparative analytics was conducted with the sample that was taken by purposive sampling technique. Forty students of Ciganitri 2 State Elementary School (SDN Ciganitri 2) aged 12-year old participated in this study. The students were divided into two groups; the first group received an education with an animated film, and the second group received an education with dental models. Measurement of the students’ toothbrushing skills performed with pre-test and post-test. All data calculated by independent t-test in each group. Results: The film group and the study model group intervention have equal effectiveness. The paired t-test between the two groups resulted in no significant difference between the effectiveness of audiovisual media and simulation media on the students’ toothbrushing skills. Conclusion: Audiovisual media and simulation media group intervention effectively improve toothbrushing skills.Keywords: Audiovisual media, simulation media, toothbrushing skill.
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Suntai, Dauda Ishaya, and Simon Targema Tordue. "Madagascar Escape to Africa and Parents’ Career Expectations for Children." Journal of African Theatre, Film and Media Discourse 1, no. 1 (2020): 73–85. http://dx.doi.org/10.33886/kujat.v1i1.127.
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This essay is a thematic review of a computer animated comedy filmMadagascar Escape 2 Africa. It highlights the rich thematic embodiment of the film. Entertainment-Education has been adopted as a theoretical framework for analysis, owing to the fact that it emphasizes infusion of educational oriented content into the production of entertainment programmes/media content to achieve attitudinal change in society. Five themes have been identified from the film and discussed, namely: the usefulness/relevance of every talent/skill, the power of unity/friendship, innovation, adventure and love. The central thesis in the essay is that all talents are relevant and important to the growth and development of society as contained in the film under review, hence parents are advised to identify talents which their children have and guide them accordingly to exploit and utilize them to the fullest. This is against the career imposition trait of most parents, which often time leads to poor performance of children in careers they have no passion for. Conclusively, the study recommends the Entertainment-Education approach to producers of children films and media content to help reduce the cultivation effect that arises from the projection of violence, crime, nudity and profane scenes in cartoons and children programmes. This will go a long way to help achieve the desired attitudinal change in society.
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Williams, Hamish. "“Hercules the grocer?”: low-key humor in The Twelve Tasks of Asterix." HUMOR 32, no. 4 (2019): 565–83. http://dx.doi.org/10.1515/humor-2018-0068.
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Abstract The theme of resistance has been a popular topic in Asterix scholarship, whether this resistance is applied to the historical Gauls in their defiance of imperial Rome, to later nationalist or regionalist sentiments in France against invading forces, to any small groups of locals in opposition to foreign or global forces, to a cultural war between France/Europe and America, or to the dominant educational canon of Western history and literature. What is missing in current scholarship on Asterix is a discussion of how these acts of resistance are created and implemented. To that end, this paper identifies ‘low-key’ humor as a seminal means of achieving this resistance in Asterix; this effect involves a ‘lowering’ where figures of the grand or sublime are supplanted, nullified, or defeated by the more restrained figures of the commonplace. The aim of this paper is to identify the typical character of this low-key humor in Asterix through analyzing an exemplary version of this humor – in the animated film The Twelve Tasks of Asterix (1976). From the perspective of humor studies, this analysis serves as a corrective to a commonly held impression of the Asterix bandes dessinées as being characterized by more overt or puerile forms of humor. From the perspective of Asterix scholarship, this study is the first to analyze one of the animated films; far from being an outlier in the oeuvre, The Twelve Tasks both consolidates and extends the lowering humor of Asterix by opening up the possibilities of a new medium.
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Clay, Felix, Emanuele Osimo, and Sara Al-Nakeeb. "The Cambridge Mental Health Film Club: lessons to learn, feedback, expansion and development of a standard operating protocol." BJPsych Open 7, S1 (2021): S132. http://dx.doi.org/10.1192/bjo.2021.378.
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AimsTo report on our progress and feedback running the Cambridge Mental Health Film Club. To share the recent development of a Standard Operating Protocol to help others organise Mental Health Film Screenings in order to foster discussion, engage the public, reduce stigma about mental health and build understanding.BackgroundCinema lends itself to exploring social and mental health issues such as stigma in an enjoyable way within a limited time and budget. Viewing a film with those from different backgrounds and having a chance to discuss perspectives on meaning and significance is an effective way to promote a collaborative stance and expand perspectives. We have been running a Mental Health Film Club in Cambridge for the past 3 years and have recently celebrated our 10th screening.MethodWe give details of our screenings and feedback. We also share our Standard Operating Protocol which covers important topics such as resources to find suitable films, obtaining copyright permission, finding suitable venues, supporting open discussions, use of social media and promoting inclusivity.ResultOur Mental Health Film club shows three films a year and over time has opened up to both professionals and members of the public who are interested in discussing mental health through movies and supporting recovery. We have screened many challenging and interesting films: from the impact of religious control on emergent adolescent sexuality (‘The Miseducation of Cameron Post’) to a classic film on Alcohol Dependency (‘Days of Wine and Roses’). We also support local festivals with a similar mental health theme (e.g. MEDFEST) and have recently run a very successful screening with the University of Cambridge Psychiatry Society which was introduced by a student offering subjective experience of growing up with a sibling with an Autism Spectrum Disorder (‘Life, Animated’). We promote screenings and publish all film discussions on our website (www.tinyurl.com/psychfilmclub) and Twitter in order to contribute to resources for educational use within Psychiatry training and to further involve the wider public. Feedback shows that our sessions are highly rated at helping audiences see mental health in a new way with post film discussion especially valued.ConclusionOur experience and practical advice can inspire others to start a Mental Health Film Club and promote cohesion, resilience and collaborative thinking within their locality. For future events we plan to expand into more public engagement via local Film Festivals. We welcome delegates ideas, experiences and film recommendations.
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Sumina, Natalia, Anna Belozerova, and Anastasia Evsenkova. "Linguosynergetic potential of the pedagogical workshop." E3S Web of Conferences 210 (2020): 18044. http://dx.doi.org/10.1051/e3sconf/202021018044.
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The article reveals the linguosynergetic basis of the pedagogical workshop technology in teaching language and speech. This technology was tested within the educational project of the Don State Technical University (Children's University). The pedagogical workshop is interpreted as a technology for enhancing the speech, thought and language activity of students and also as a complex system with all synergistic properties. The stages of the pedagogical workshop are described using linguistic synergetic terms. The technological map of the workshop "Law Above All" is presented on the example of working with film text (the animated film "Prince Vladimir"). The following logic of work on the speech development is proposed: from a word to a phrase, a sentence and, more broadly, a text. The ways of activating the speech-thinking activity of students are formulated: the method of associations, drawing up reference schemes, the mechanism of predication. The conclusion is made that the systematic and holistic approaches to the methods of teaching language and speech are fully embodied in the pedagogical workshop.
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COLLETTA, Jean-Marc, Catherine PELLENQ, Ali HADIAN-CEFIDEKHANIE, and Isabelle ROUSSET. "Developmental changes in articulation rate and phonic groups during narration in French children aged four to eleven years." Journal of Child Language 45, no. 6 (2018): 1337–56. http://dx.doi.org/10.1017/s0305000918000235.
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AbstractThis paper reports on an original study designed to investigate age-related change in the way French children produce speech during oral narrative, considering both prosodic parameters – speaking rate and duration of the prosodic speech unit – and linguistic structure. Eighty-five French children aged four to eleven years were asked to tell a story after they were shown an excerpt from an animated film. All their remarks were transcribed and coded using ELAN as an annotation tool. Each narrative was analyzed for duration, articulation rate, and linguistic components (i.e., number of phonic groups, syllables, words, clauses). All measures were found to increase with age, with the duration of the phonic group and its linguistic structure showing the stronger differences. Results contribute to providing reference data on speech production during childhood, and they suggest the existence of two distinct developmental patterns in narrative production.
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Nilsson, Camilla, Jill Nyberg, and Sofia Strömbergsson. "How are speech sound disorders perceived among children? A qualitative content analysis of focus group interviews with 10–11-year-old children." Child Language Teaching and Therapy 37, no. 2 (2021): 163–75. http://dx.doi.org/10.1177/0265659021995538.
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The aims of this study were to identify children’s reactions towards speech sound disorders (SSD) in other children and whether these reactions can be related to specific speech characteristics. Six audio samples, each containing minute-long resumes of short animated film by five children with SSDs and one child with typical speech (TS), aged 5–9 years, were played back to 17 10–11-year-olds, during four focus group interviews. The transcribed interviews underwent a qualitative content analysis. The analysis resulted in five identified main themes of listener reactions, concerning the experiences as a listener, the perspective of the speaker, as well as observations of speech characteristics. Reactions of empathy were expressed towards a perceived misalignment between speaker age and speech production proficiency. Awareness of peer reactions are clinically useful, for the understanding and acknowledgement of everyday contextual factors of children with SSDs, during planning and motivation of speech intervention. The children’s self-selected terminology may serve future quantitative investigations to further determine the boundaries of acceptability towards SSDs as well as towards non-standard sociolects or language varieties.
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Kirsh, Steven J. "Using Animated Films to Teach Social and Personality Development." Teaching of Psychology 25, no. 1 (1998): 49–51. http://dx.doi.org/10.1207/s15328023top2501_17.
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Students in a course on Social and Personality Development wrote term papers about 10 aspects of child and adolescent development depicted in an animated film of their choice. Film analysis required using theory and research from the course. The assignment received favorable ratings. The animated film assignment appears to improve students' understanding of course material and helps students evaluate the types of films that children frequently see.
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Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
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This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
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Rahmaniah, Rima, M. Hudri, Irwandi Irwandi, Moh Fauzi Bafadal, Nurmiwati Nurmiwati, and Hidayati Hidayati. "PERMAINAN EDUKASI PSIKOSOSIAL DI DESA AIK BERIK KECAMATAN BATUKLIANG UTARA KABUPATEN LOMBOK TENGAH." SELAPARANG Jurnal Pengabdian Masyarakat Berkemajuan 3, no. 2 (2020): 218. http://dx.doi.org/10.31764/jpmb.v3i2.2197.
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ABSTRAKBermain, dari segi pendidikan adalah kegiatan permainan menggunakan alat permainan yang mendidik serta alat yang bisa merangsang perkembangan aspek kognitif, sosial, emosi, dan fisik yang dimiliki anak atau yang disebut dengan permainan edukatif. Adams (1975) berpendapat bahwa permainan edukatif adalah semua bentuk permainan yang dirancang untuk memberikan pengalaman pendidikan atau pengalaman belajar kepada para pemainnya, termasuk permainan tradisional dan moderen yang diberi muatan pendidikan dan pengajaran. Maka guna mengurangi trauma anak pada dampak bencana gempa pada tahun 2018 lalu, tim pengabdian bersama mahasiswa melaksanakan kegiatan pengabdian sebagai kegiatan psikososial dengan mengajak dan mengajar anak-anak terdampak tersebut dengan memberikan permainan edukatif dengan tahapan kegiatannya dimulai dari pemutaran film animasi gempa bumi, sesi tanya jawab, dan bermain edukasi untuk mengurangi trauma anak mengenai kejadian bencana yang terjadi di tahun 2018 lalu untuk meningkatkan pengetahuan, keterampilan dan self awareness anak usia sekolah sampai menengah yang ada di desa Aik Berik Kecamatan Batukliang Utara Kabupaten Lombok Tengah. Kegiatan ini akan dilakukan selama 8 (delapan) pekan dalam 2 (dua) bulan dengan menggunakan metode observasi atau pengamatan langsung, dan metode tindakan. Target hasil capaian dan simpulan dalam kegiatan ini sebagai berikut: a) Adanya pemahaman tentang mitigasi bencana pada anak-anak dan masyarakat yang akan menemani anak-anak mereka untuk meningkatkan self awareness mereka tentang bencana, b) Dimilikinya pengembangan pengetahuan, ketrampilan dengan menggunakan permainan edukatif untuk mengurangi trauma akan dampak gempa yang terjadi tahun 2018 lalu, dan c) Dimilikinya pemahaman tentang kesiapsiagaan akan mitigasi bencana yang bertujuan pengurangan dampak bencana atau usaha-usaha yang dilakukan untuk mengurangi korban ketika bencana terjadi baik korban jiwa maupun harta Kata kunci : permainan edukasi; psikososial. ABSTRACTIn terms of education, playing is an activity by using games that can stimulate the development of cognitive, social, emotional, and physical aspects of a child or what is called an educational game. Educational games are all forms of games designed to provide educational experiences or learning experiences to the players, including traditional and modern games that are given educational and teaching content. So in order to reduce child trauma on the impact of the earthquake in 2018, the team of devotees along with students carried out community service activities as a psychosocial activity by inviting and teaching affected children by providing educational games with stages of activities starting from the screening of earthquake animated films, question answer sessions, and education games to reduce child trauma regarding disasters that occurred in 2018 and to improve the knowledge, skills and self awareness of school-to-middle-aged children in the Aik Berik village, Batukliang Utara District, Lombok Tengah District. This activity would be carried out for 8 (eight) weeks in 2 (two) months using the observation method or direct observation, and the action method. The target and conclusion in this activity are as follows: a) An understanding of disaster mitigation for children and the community that will accompany their children to increase their self-awareness about disasters, b) Having the knowledge development and skills by using educational games to reduce trauma to the effects of the earthquake that occurred last 2018, and c) Having an understanding of disaster mitigation preparedness aimed at reducing the impact of disasters or efforts made to reduce casualties when disasters occur both fatalities and property. Keywords : educational game; psychosocial.
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Murodhodjaeva, Natalia Sergeevna, Sergey Alexandrovich Averin, Andrey V. Koptelov, Svetlana Ivanovna Karpova, and Elena Ivanovna Sukhova. "Animation creativity as a factor in the development of children’s giftedness." SHS Web of Conferences 117 (2021): 02006. http://dx.doi.org/10.1051/shsconf/202111702006.
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The main premise of the study is the objective need to find new means for the development of children’s personality in the modern educational process. Scientific and technological progress, the active use of technology and gadgets by children, even young children, the expansion of the use of distance learning and communication, artificial intelligence, and social networks are the realities in which we already live. Therefore, high relevance is gained by the means that are based on information technologies on the one hand but have the potential for the development of children’s personality on the other. What can be considered as one such instrument is animation creativity of children that involves the process of children jointly composing, creating, and discussing a cartoon of their own making. The assumption of the potential effectiveness of animation creativity as a means of developing children’s giftedness is based on the fact that in the process of joint creation of a cartoon, children show and develop several abilities as they create the script, images of characters, their characters and appearances, as they are involved in filming, montage, editing, as well as the presentation and promotion of the finished animated film. Children interact with one another and with technical devices, learn to listen to and hear each other, substantiate their opinion, carry the responsibility for collective work, distribute responsibilities between each other, and bring the creative idea to fruition in the finished product. The goal of the study is to conduct an empirical study to determine the effect of the author’s children’s animation technique on the development of figurative thinking in older preschool-age children. Methods: observation, conversation, measurement, creative tasks, comparative analysis of experimental data.
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Wang, Yue, and Xiaowen Ji. "A Study of Translation Strategies of Animated Film Titles from the Perspective of Eco-translatology." Journal of Language Teaching and Research 12, no. 1 (2021): 88. http://dx.doi.org/10.17507/jltr.1201.09.
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In recent years, the animated film industry is booming and attracting more and more attention. This study, under the guidance of Eco-translatology, revolves around both E-C and C-E animated film title translation, analyzing its translational eco-environment and three-dimensional transformations. Use of main translation strategies of animated film titles, which are transliteration, literal translation, free translation and creative translation, is analyzed. It is found that free translation is the mainstream in both C-E and E-C translation of animated film titles while that creative translation is the least frequently used method.
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Карпова, Светлана Ивановна, Наталья Сергеевна Муродходжаева, Ольга Викторова Цаплина, and Александр Пилялович Каитов. "THE PEDAGOGICAL POTENTIAL OF ANIMATION IN THE EDUCATION OF PRESCHOOL AND PRIMARY SCHOOL CHILDREN." Tomsk state pedagogical university bulletin, no. 6(212) (November 13, 2020): 46–56. http://dx.doi.org/10.23951/1609-624x-2020-6-46-56.
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Введение. Исследуется актуальная проблема реализации педагогического потенциала мультипликации в образовании детей дошкольного и младшего школьного возраста. Представлены этапы развития детской мультипликации, отечественный и зарубежный опыт использования мультипликации в образовательной практике с дошкольниками и младшими школьниками, проблемы влияния мультипликации на детей, перспективы развития педагогического потенциала мультипликации в обучении детей на ступени дошкольного и начального общего образования. Цель – провести теоретическое исследование реализации педагогического потенциала мультипликации в образовании детей дошкольного и младшего школьного возраста. Материал и методы. Материалом для исследования стали отечественные и зарубежные научные источники, которые содержат информацию о становлении мультипликации как вида киноискусства и образовательной технологии, а также результаты изучения проблемы применения мультипликации в воспитательной, образовательной и коррекционно-развивающей работе с детьми дошкольного и младшего школьного возраста. Использовались следующие методы: ретроспективный, сравнительно-сопоставительный анализ, контент-анализ, анализ и обобщение педагогического опыта, классификация. Результаты и обсуждение. Применение мультипликации в образовании связано с эволюцией ее образных средств (движение, время, пространство, цвет, графика и др.), в соответствии с этим можно выделить два основных этапа: первый – классический (докомпьютерный) и второй – современный (с применением компьютерных технологий). На первом этапе происходит становление мультипликации как вида киноискусства, в образовательной практике используются мультфильмы, созданные по мотивам народных и авторских сказок, басен, детских литературных произведений, а также мультфильмы с выраженным познавательным и дидактическим содержанием. Второй этап в развитии детской мультипликации связан с применением компьютерных технологий. Педагогический потенциал компьютерной анимации заключается в наглядности, воздействии выразительных средств анимации на восприятие учебного материала, интерактивности. Сформировались основные направления применения мультипликации в образовании: воспитание, обучение, творческая деятельность, коррекция, реабилитация. В настоящее время образовательная мультипликация представляет обобщающее название группы технологий, объединенных использованием анимации как образовательного инструмента и способствующих достижению образовательных результатов (личностных, метапредметных, предметных). В то же время существуют проблемы влияния современной мультипликации на детей. Мультфильмы с негативным содержанием (сцены убийства, насилия и т. п.) приводят к изменению поведения ребенка, появляются агрессивность, грубость, жестокость, эгоизм. Приоритетной задачей является разработка образовательного контента с использованием современного потенциала мультипликации для обучения, развития у детей и подростков навыков коммуникации, социализации, медиамышления и медиакультуры. Заключение. Перспективы развития педагогического потенциала детской мультипликации заключаются в создании целостной комплексной системы развивающего обучения на ступени дошкольного и начального общего образования с использованием мультипликации как образовательного инструмента. Introduction. The actual problem of realization of pedagogical potential of animation in education of preschool and primary school age children is investigated. The article presents the stages of development of children’s animation, domestic and foreign experience of using animation in educational practice with pre-school and primary schoolchildren, the problems of influence of animation on children, the prospects of development of pedagogical potential of animation in teaching children at the level of pre-school and primary general education. Material and methods. The materials for the research were domestic and foreign scientific sources, which contain information about the formation of animation as a kind of film art and as an educational technology, the results of the study of the problem of applying animation in educational, educational and correctional development work with children of preschool and primary school age. The following methods were used: retrospective, comparative analysis, content analysis, analysis and generalization of pedagogical experience, and classification. Purpose: to conduct a theoretical study of the implementation of the pedagogical potential of animation in the education of children of preschool and primary school age. Results and discussion. The application of animation in education is connected with the evolution of its figurative means (movement, time, space, color, graphics, etc.), in accordance with this, two main stages can be distinguished: the first – classical (pre-computer) and the second – modern (using computer technologies). The first stage is the formation of animation as a kind of film art, in educational practice used cartoons created on the basis of folk and author’s tales, fables, children’s literary works, as well as cartoons with a pronounced cognitive and didactic content. The second stage in the development of children’s animation involves the use of computer technology. The pedagogical potential of computer animation lies in the visualization and impact of expressive means of animation on the perception of educational material and interactivity. The main directions of animation application in education were formed: education, training, creative activity, correction, rehabilitation. Nowadays, educational animation represents a generalizing name of a group of technologies united by the use of animation as an educational tool and contributing to the achievement of educational results (personal, metaproject, subject). At the same time, there are problems with the impact of modern animated products on children. Cartoons with negative content (scenes of murder, violence, etc.) lead to changes in the behavior of the child, there is aggression, rudeness, cruelty, selfishness. The priority task is to develop educational content using the modern potential of animation for learning, developing communication, socialization, media and media culture skills in children and adolescents. Conclusion. The prospects for developing the pedagogical potential of children’s animation are to create a holistic integrated system of developing education at the level of preschool and primary general education using animation as an educational tool.
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Rahmi, Syarifah. "تدريس المفردات باستخدام الأفلام الكرتونية في الجامعة الهلال سجلي". 'Arabiyya: Jurnal Studi Bahasa Arab 9, № 1 (2020): 49. http://dx.doi.org/10.47498/arabiyya.v9i1.307.
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Cartoon films are fun and simple art that is accomplished in the hands of children through colorful cardboard papers that are drawn and cut into parts and affixed to each other, then revived by photography and animation, and these drawings are stories from the lives of children and their dreams or stories that narrate the weave of their own imagination to finally end Animated film.So I found the problems in Al Hilal Colledge, that the teacher is unable to attract the attention of students during education and cannot excel students in the subject that he will teach, the poor preparation of Arabic language teachers in the teaching process, and his ignorance of teaching methods even the most students who are forced to absorb the Arabic language. As for the appropriate and interesting way in teaching Arabic to students, it is the teaching of vocabulary using animated films to help students understand educational materials in relationships and interconnections with their daily lives in terms of individual, societal and cultural in order to obtain what he wants from education.As for the research aims for this research, it is to find out the response of students using cartoon films at Al-HilalColledge. And to know the effect of using animated films on teaching vocabulary using a descriptive and qualitative approach. And to analyze the results using statistical analysis.
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MacRae, Christina. "Tactful hands and vibrant mattering in the sand tray." Journal of Early Childhood Literacy 20, no. 1 (2020): 90–110. http://dx.doi.org/10.1177/1468798420901858.
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This paper reflects on a slow-motion video clip of the hands of three young children as they play with toys in the sand tray. It foregrounds sand and toys that are handled, as well as hands that grasp and relinquish things. Through this movement of hands that tug and pull at things, it explores how things animate bodies, and how this produces the felt-sense of other desiring bodies. As hands tender things, they are animated by what they touch, and simultaneously things are animated through the give and take of pulls and pushes of desire expressed as kinetic force. The slowed film of hands in motion draws our attention from words, towards a (re)cognition of a sensed intelligence which is not pre-language, but is produced before language, as well as with language. Arguing that child development theories are inextricably bound up in narratives of human exceptionalism founded in language and moralism, I will make the case for reinstating sense as a mode of attention in order to counter a lack that is perceived until children learn language. By troubling the boundaries that we draw between the animal and the human, there is much to learn from very young children when we seriously attend to their capacity for sensory ways of knowing that are so often eclipsed by the dominance of language.
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Dolgova, Yulia, and Cao Yu. "Pedagogic and Educational Function of China's TV for Children and Peculiarities of Its Implementation." Theoretical and Practical Issues of Journalism 9, no. 3 (2020): 543–53. http://dx.doi.org/10.17150/2308-6203.2020.9(3).543-553.
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The article deals with functions of China’s TV programs for children and forms in which they are implemented. The variety of the genres and thematic content is aimed at one of the biggest TV audiences and is broadcast on both universally available and commercial thematic channels, which determines the topicality of the research. The authors conceptualize the pedagogic and educational influence of TV programs for children, and distinguish its key aspects, which include delivering moral values and social norms, propagating cultural and scientific knowledge, encouraging interest in learning, and developing the ability for self-actualization and world cognition. The qualitative and quantitative research methods were used to analyze which of the aspects are realized by means of TV programs and animated films for children in China. The study covers 34 programs and 74 animated films for children shown on 33 universal and 4 most popular special TV channels. The results of the research are as follows. One of the most popular forms of content on TV channels for children is animated films, whose key function is delivering moral values and social norms. Magazine format is a rather common form of journalist content. TV programs are mostly aimed at encouraging children’s interest in learning. Since it is rather difficult to combine entertainment and educational components, on universally available channels there is a large number of TV programs for children that fulfil their pedagogic and educational function only formally.
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Champoux, Joseph E. "Animated Films as a Teaching Resource." Journal of Management Education 25, no. 1 (2001): 79–100. http://dx.doi.org/10.1177/105256290102500108.
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Ekanayake, Hiran B., Uno Fors, Robert Ramberg, Tom Ziemke, Per Backlund, and Kamalanath P. Hewagamage. "Affective Realism of Animated Films in the Development of Simulation-Based Tutoring Systems." International Journal of Distance Education Technologies 11, no. 2 (2013): 96–109. http://dx.doi.org/10.4018/jdet.2013040105.
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This paper presents a study focused on comparing real actors based scenarios and animated characters based scenarios with respect to their similarity in evoking psychophysiological activity for certain events by measuring galvanic skin response (GSR). In the experiment, one group (n=11) watched the real actors’ film whereas another group (n=7) watched the animated film, which had the same story and dialogue as the real actors’ film. The results have shown that there is no significant difference in the skin conductance response (SCR) scores between the two groups; however, responses significantly differ when SCR amplitudes are taken into account. Moreover, Pearson’s correlation reported as high as over 80% correlation between the two groups’ SCRs for certain time intervals. The authors believe that this finding is of general importance for the domain of simulation-based tutoring systems in development of and decisions regarding use of animated characters based scenarios.
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Fan, Jason. "Queering Disney animated films using a critical literacy lens." Journal of LGBT Youth 16, no. 2 (2018): 119–33. http://dx.doi.org/10.1080/19361653.2018.1537871.
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Athamneh, Naser Al-Hassan, and Jehan Ibrahim Zitawi. "English-Arabic Translation of Dubbed Children's Animated Pictures." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 2 (1999): 127–48. http://dx.doi.org/10.1075/babel.45.2.03ath.
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Abstract This study aims at evaluating the translation of dubbed children's animated pictures shown on Jordan Television and other Arab televisions in terms of accuracy and faithfulness to the original text. In an attempt to achieve this goal, the researchers have studies the translations of (56) episodes of Arabic versions of five children's animated pictures. Upon close examination of the translated material, it has been found that most of the translators have given erroneous renderings of some portions of the original texts, thus distorting the message conveyed in the target language text and, consequently, affecting, in a direct way, the educational level of the children. The researchers analyse and categorise some erroneously translated words, phrases and sentences observed in the corpus of the study. They also try to attribute the errors to their possible causes. Finally, the researchers suggest alternative, supposedly more appropriate translations of the source language utterances. The study concludes with some recommendations which would hopefully enhance the process of translating dubbed children's animated pictures in general and improve the performance of Arab translators working in the field of English-Arabic dubbing. Résumé Le but de l'étude est d'évaluer la traduction de films animés doublés pour enfants, diffusés à la télévision jordanienne et d'autres télévisions arabes en termes de précision et de concordance avec le texte original. Dans un effort d'arriver à cette fin, les chercheurs ont étudié les traductions de 56 épisodes des versions arabes de cinq films animés pour enfants. Suite à un examen approfondi du matérial traduit, on a trouvé que la plupart des traducteurs ont donné une version erronée de certaines parties des textes originaux déformant ainsi le message transmis dans la lnague cible et, par conséquent, ayant une influence directe sur le niveau d'instruction de l'enfant. Dans le corpus de l'étude, les chercheurs analysent et categorisent certains mots, locutions et phrases observés et traduits erronément. Ils font également un effort pour attribuer les erreurs à leurs causes probables. Enfin, les chercheurs suggèrent une alternative et, par supposition, mieux appropriée des propos de la langue de départ. L'étude termine avec quelques recommandations qu'on espère, relèverait en général le processus de la traduction de films animés doublés pour enfants et améliorerait la tāche des traducteurs arabes spécialisés dans le domaine du doublage anglais-arabe.
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Fouts, Gregory, Mitchell Callan, Kelly Piasentin, and Andrea Lawson. "Demonizing in Children’s Television Cartoons and Disney Animated Films." Child Psychiatry and Human Development 37, no. 1 (2006): 15–23. http://dx.doi.org/10.1007/s10578-006-0016-7.
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Bridgewater, Enrica E., David Menendez, and Karl S. Rosengren. "Capturing death in animated films: Can films stimulate parent-child conversations about death?" Cognitive Development 59 (July 2021): 101063. http://dx.doi.org/10.1016/j.cogdev.2021.101063.
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Huber, Loreta, and Airidas Kairys. "Culture Specific Items in Audiovisual Translation: Issues of Synchrony and Cultural Equivalence in the Lithuanian Dub of “Shrek the Third”." Studies about Languages 1, no. 38 (2021): 5–16. http://dx.doi.org/10.5755/j01.sal.1.38.24743.
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Audiovisual translation encompasses a number of dissimilar areas. To quote Frederic Valera Chaume, AVT “covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing” (2013, p. 105). This paper analyses the importance of culture-specific elements in audiovisual products and strategies of their transfer to the target culture. Practical investigation is based on a case study of an animated film “Shrek the Third” and its Lithuanian dub. The choice for the case study was determined by the fact that the history of dubbing animated movies in independent Lithuania started with “Shrek,” the first Hollywood film dubbed into Lithuanian, which has achieved unprecedented success and become an example for further dub localizations. The aim of the research was to determine the relationship between types of synchrony that should be maintained in dubbing and culture-specific items that should be localized in the target text. The study is complemented with a research survey that questions the importance of different types of synchronies in translation. As there is no consensus about the importance of lip synchrony in dubbing, and some scholars (Doane, 1980; Chaume, 2012) claim that it plays a dominant role in dubbing, whereas others (Herbst, 1994; Jüngst, 2010) declare its overestimation, the survey research attempts to answer this debatable question.
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Garbar, Svitlana. "PEDAGOGICAL CONDITIONS FOR THE USE OF ANIMATED FILMS IN THE EDUCATION AND EDUCATION OF PRESCHOOL CHILDREN." Scientific Bulletin of Uzhhorod University. Series: «Pedagogy. Social Work», no. 1(48) (May 27, 2021): 83–87. http://dx.doi.org/10.24144/2524-0609.2021.48.83-87.
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The relevance of the study is due to the importance of the period of preschool childhood in the upbringing and education of the child and the creation of conditions and prerequisites for the harmonious, full development. The direct contact of the child with electronic media determines the impact of information and screen culture on the education and training of preschoolers. The aim of the article is to analyze the impact of cartoons on the development of the child's personality and to identify the pedagogical conditions for the use of cartoons for the education and training of preschool children. Research methods applied: theoretical (analysis of the literature on research problems), empirical (questionnaires, interviews, pedagogical observations, creation of special diagnostic situations). Cartoons have been found to perform a great educational, cognitive, developmental and educational function. The main pedagogical conditions for the use of cartoons in the education and training of preschool children are determined. The system of thematic planning of watching cartoons for preschool children is offered, which provides for three stages of work: preparatory, screening, reflective. The expediency of using cartoons as a means of education and training of preschool children is experimentally substantiated.The above material allows us to draw the following conclusions: animation can be considered not only as entertaining, but also a developmental genre that has a clearly defined content and structure, while performing tasks in the purposeful child’s development, upbringing and education. Active use of animated products will be effective if the demonstrated situations are explained to a smaller audience. Thus, the cartoon, intended for children’s audiences, contains significant developmental potential to influence the child’s individualityy. The quality and direction of this effect depends on the cartoon products that a child «consumes».
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Williams, Wendy R. "Examining Studio Ghibli’s Animated Films: A Study of Students’ Viewing Paths and Creative Projects." Journal of Adolescent & Adult Literacy 63, no. 6 (2020): 639–50. http://dx.doi.org/10.1002/jaal.1043.
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Kuznetsova, O. E., and E. V. Bol'shakova. "YOUNGER SCHOOLBOYS’ PERCEPTION OF RUSSIAN NATIONAL FAIRY TALES." Bulletin of Udmurt University. Series Philosophy. Psychology. Pedagogy 29, no. 2 (2019): 167–76. http://dx.doi.org/10.35634/2412-9550-2019-29-2-167-176.
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The aim of the research is revealing features of younger schoolboys’ perception of Russian national fairy tales. The sample consisted of 125 schoolboys of third grade. It was divided into groups according to gender and a status of the educational organization. We assumed that the core of younger schoolboys’ perception of Russian national fairy tales is not complete due to the influence of mass media, in particular animated films, and that the periphery of ideas will be feebly marked. As a data gathering method, the author's questionnaire has been used. The results of research have shown that the younger schoolboys’ ideas about Russian national fairy tales have no complete core, are inconsistent, the periphery of ideas is diverse, stereotyped. It is revealed that magic Russian fairy tales are little known to schoolboys who are more familiar and are guided by cartoon films’ heroes, instead of fairy heroes. The gender difference has been revealed: boys’ perception in contrast to girls’ perception has more complete character. The perception of the schoolboys of an ordinary city educational school is most shaped and complete. Being kept informed in Russian national fairy tales classic school students are more focused on foreign fairy tales and cartoon films.
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Prévot-Julliard, Anne-Caroline, Romain Julliard, and Susan Clayton. "Historical evidence for nature disconnection in a 70-year time series of Disney animated films." Public Understanding of Science 24, no. 6 (2014): 672–80. http://dx.doi.org/10.1177/0963662513519042.
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O'Day, Danton H. "Animated Cell Biology: A Quick and Easy Method for Making Effective, High-Quality Teaching Animations." CBE—Life Sciences Education 5, no. 3 (2006): 255–63. http://dx.doi.org/10.1187/cbe.05-11-0122.
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There is accumulating evidence that animations aid learning of dynamic concepts in cell biology. However, existing animation packages are expensive and difficult to learn, and the subsequent production of even short animations can take weeks to months. Here I outline the principles and sequence of steps for producing high-quality PowerPoint animations in less than a day that are suitable for teaching in high school through college/university. After developing the animation it can be easily converted to any appropriate movie file format using Camtasia Studio for Internet or classroom presentations. Thus anyone who can use PowerPoint has the potential to make animations. Students who viewed the approximately 3-min PowerPoint/Camtasia Studio animation “Calcium and the Dual Signalling Pathway” over 15 min scored significantly higher marks on a subsequent quiz than those who had viewed still graphics with text for an equivalent time. In addition, results from student evaluations provided some data validating the use of such animations in cell biology teaching with some interesting caveats. Information is also provided on how such animations can be modified or updated easily or shared with others who can modify them to fit their own needs.
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Van de Vijver, Lies. "Going to the exclusive show: Exhibition strategies and moviegoing memories of Disney’s animated feature films in Ghent (1937–1982)." European Journal of Cultural Studies 19, no. 4 (2015): 403–18. http://dx.doi.org/10.1177/1367549415592894.
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Marin, Ricardo, Rocío Lara, and Javier Valseca. "Vídeo espontáneo infantil en contextos familiares y cine de animación en contextos escolares. Dos investigaciones preliminares en Granada y Tegucigalpa." eari. educación artística. revista de investigación, no. 10 (December 19, 2019): 272. http://dx.doi.org/10.7203/eari.10.14513.
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Resumen: Presentamos dos indagaciones preliminares sobre cine y Educación Artística. Primera, un estudio de caso de un niño sobre video espontáneo infantil (VEI) en un contexto familiar en Granada (España), que responde a la pregunta ¿qué vídeos produce la infancia de forma espontánea? Como conclusión inicial a partir de esta observación longitudinal no-participante sugerimos cinco fases: (a) exploración autónoma del aparato de grabación; (b) se actúa delante de la cámara fija; (c) la cámara sigue a la acción, se graba al mismo tiempo que se hace cualquier cosa; (d) imitación directa de sus ‘youtuberos’ preferidos; y (e) adopción de los usos videográficos adultos predominantes. La segunda es una ‘Investigación-Acción Participativa’ sobre la enseñanza del cine, que responde a la pregunta ¿cómo enseñar a ver y a hacer cine en la escuela? El contexto es un proyecto de cooperación educativa en Educación Artística que desarrollamos en tres escuelas de la ONG ‘Asociación Colaboración y Esfuerzo (ACOES) en Tegucigalpa. Las cuatro acciones son: ver películas completas, formación de técnicos proyeccionistas entre el propio alumnado de secundaria, creación de cine de animación a partir de N. MacLaren, en pequeños grupos, y formación del profesorado a partir de obras clásicas del cine español y hondureño. La principal conclusión es que ver y hacer vídeos forma parte del proceso de aculturación en las sociedades contemporáneas por lo que es necesario conocer mejor cuáles son los tipos y modos espontáneos de percepción y creación videográfica en edades escolares para poder mejorar los objetivos de aprendizaje del cine en la escuela.
 Palabras Clave: vídeo espontáneo infantil, cine de animación escolar, educación artística, cine hondureño y español.
 Abstract: We present two preliminary inquiries on cinema and Art Education. First, a case study of a child on ‘children's spontaneous video’ (VEI) in a family context in Granada (Spain), which answers the question: What videos does childhood produce spontaneously? As an initial conclusion from this non-participating longitudinal observation five phases can be indicated: (a) autonomous exploration of the recording apparatus; (b) acting in front of the fixed camera; (c) the camera follows the action, recording at the same time as doing anything; (d) direct imitation of its preferred 'youtubers'; and (e) imitation of predominant adult video narratives. The second is a 'Participatory Action Research' on the teaching of cinema, in school. The context is a project of educational cooperation in Art Education that we have been developing in three schools of the NGO ‘Association Collaboration and Effort’ (ACOES) in Tegucigalpa. The four actions are: watching complete films, training of projection technicians among the secondary school students, making animated films in small groups inspired in N. MacLaren, and teacher training on classic works of Spanish and Honduran cinema. The main conclusion is that watching and making videos is part of the process of acculturation in contemporary societies, so it is necessary to know the spontaneous modes of perception and video creation at school ages in order to improve the learning objectives of screen education.
 Keywords: spontaneous children's video, making animated video in school, art education, Spanish and Honduran cinema.
 
 DOI: http://dx.doi.org/10.7203/eari.10.14513
 
 
 
 
 
 http://dx.doi.org/10.7203/eari.10.14513
 
 
 
 
 
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Frølunde, Lisbeth. "When young people author film: A dialogic perspective on the process of learning." MedieKultur: Journal of media and communication research 25, no. 46 (2008). http://dx.doi.org/10.7146/mediekultur.v25i46.1339.
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This paper explores reflection as a process occurring in an educational setting where 18 year old students are creating multimedia production in the form of animated short films. ’Mediated learning’ is seen in terms of how young people reflect on their filmic ideas and choose meanings while authoring films. What happens while creating films, in terms of reflecting and being critical about their films – how do the students verbalize or perhaps embody their process of reflection? The students’ learning is studied by applying a dialogic model of learning called Animated Symbols.
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Bresler, Jessica. "What caused the French Revolution? by T. Mullaney." Deakin Review of Children's Literature 7, no. 1 (2017). http://dx.doi.org/10.20361/g2hx10.
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Mullaney, Tom. “What caused the French Revolution? - Tom Mullaney ”, edited by Kasia Zabavko. TED-Ed, 27 Oct. 2016, ed.ted.com/lessons/what-caused-the-french-revolution-tom-mullaney#watch. Accessed 12 Feb. 2017.In this Ted-Ed Lesson Tom Mullaney presents a six minute animated film of the causes behind the French Revolution (Watch), an 8 question quiz (Think), additional information in order to foster critical discussions (Dig Deeper), and a forum to discuss the topic (Discuss). All of these sections can be accessed easily by a pinned menu along the right hand side of the page which follows an intuitive sequence. The animated film covers the situation in France from the ideologies that contributed to the start of the revolution to the First French Republic. The film concerns itself in large part with the questions and ideals that the revolution raised over two hundred years ago. While the interactive quiz, which requires a free account, focuses five questions on factual recall and has three short answer questions. Depending on the answer given, the quiz allows the audience to move on to the next question or directs them to try again or to view the film again. The design of the lesson page is minimalistic allowing for easy navigation and makes use of bright colours and obvious hyperlinks to inform the audience of additional available information held offsite. The synopsis of the French Revolution in the film is simplified in order to fit into a six minute film and should therefore be used as a supporting educational tool for students studying the French Revolution between grades 6 and 11. The age range is based on an advisor to teachers as the ‘Dig Deeper’ section may be unsuitable for younger audiences due to the level of critical thinking skills it requires, which enables it to be better suited to audiences in grades 10 and up. This Ted-Ed Lesson should be included in a list of study aids for use by social studies teachers. Highly Recommended: 3 stars out of 4Reviewer: Jessica BreslerJessica Bresler is a University of Alberta graduate student who is finishing her Master of Library and Information Studies degree in 2017.
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Sari, Ana Lufita, Hery Nariyah, and Welly Wihayati. "STUDI FENOMENOLOGI FILM ANIMASI UPIN DAN IPIN DI MNC TV DALAM MEMBENTUK PERILAKU IMITASI PADA ANAK DI TK AL-MUHIBBIN KECAMATAN SUMBER KABUPATEN CIREBON." Jurnal Signal 7, no. 1 (2019). http://dx.doi.org/10.33603/signal.v7i1.1915.
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ABSTRACT Upin and Upin animation is an animation aired by MNC TV station and produced by Les't Copaque and began airing in 2007 aimed at welcoming the holy month of Ramadan, which airs at 5.00 pm. This animation carries a story to educate children about the meaning and importance of the holy month of Ramadan. Animation Upin and Ipin tell about the world of children full of fun and diversity, all the stories told in animation Upin and Ipin provide education to children about the life of society, togetherness and mutual respect between each other and against the elderly. This animation teaches children to be a better person and always thinking optimistic for the future. Animation Upin and Ipin have many educational aspects for children. The style of the language and the motivation to learn to achieve these goals are potentially imitated or can shape imitation behavior for the child. The purpose of this study are: (1) To find out how the animated film Upin and Ipin that aired on MNC TV; (2) To know the child's behavior in watching Upin and Ipin Animation Movies on MNC TV; (3) And to know what efforts made by parents to accompany their children in watching Upin and Ipin Animated Movies on MNC TV. The research method used is phenomenology study method. The research concept identifies Upin and Ipin animated films aired on MNC TV, to know the behavior of the kindergarten children of AL-Muhibbin Sources when watching the Animation Upin and Ipin films on MNC TV, and to find out what efforts are made by parents to assist his son in watching Animation Upin and Ipin for child's imitation behavior can be controlled with the guidance and assistance of parents. The conclusion of the research on the Phenomenology of Upin and Ipin Animation films in shaping imitation behavior in children is Upin and Ipin Animation has an interesting storyline, tells about the good life of society and tells about the playground of children full of fun. Involvement on Upin and Ipin animation shows among the Kindergarten children AL-Muhibbin Sumber Cirebon relates to time, duration and presentation. Imitation behavior performed by the child including into positive and negative imitation behavior in children, is said to be negative because of the fear of local language refraction (original) which is replaced with the language used in animation Upin and Ipin (Malay) imitation in terms of language style and said positive because animation Upin and Ipin can motivate children in learning and ideas. Parents' efforts to ensure the child's imitation behavior can be controlled by accompanying and guiding the child while watching the Upin and Ipin Animation films. Keywords: Upin and Ipin Animation Movies, Imitation Behavior Formation.
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du Plooy, Belinda. "Anthropocene terror in two girl-centred narratives: The leitmotifs of mythological time, colonisation and monstrosity in the films Whale Rider and Moana." Image & Text, no. 34 (2020). http://dx.doi.org/10.17159/2617-3255/2020/n34a7.
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The place of children in societies is a question that we have been grappling with in many forms, maybe nowhere more creatively and visibly than in the products of our imaginary complexes, such as films. Educational theorist and cultural critic Henry Giroux (2012) describes a contemporary crisis about youth and considers youth as potential cultural and pedagogical 'border-crossers or outlaws'. Our complex contemporary engagement with the concept of youth coincides with an increasing awareness of, firstly, the genderedness of our world and, secondly, of anthropocene planetary ecological states of crises. In this article I consider two girl-centred films, both with young female protagonists, where the convergence of these discursive forces is depicted in the narrative context of the current renewed appreciation for indigenous cultures, particularly those of the global south. The films are New Zealand director Niki Caro's Whale Rider (2002) and Disney's animated film Moana (2016). There are clear similarities between the films, and the Disney creators have openly credited Whale Rider as influential in their creative process. I particularly consider how these two films, when read together, engage with ideas of cyclical mythological time, the leitmotifs of exploration, gender and colonisation, and with the trope of monstrousness or monstrosity as metaphors for paradoxical and complex living in an age of increasing complexity and anxiety.
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Jannah, Gita Nur, and Anita Chandra Dewi. S. "PENGARUH PENGGUNAAN MEDIA FILM ANIMASI TERHADAP KETERAMPILAN BERBICARA KELOMPOK A TK NURUL HUDA DEMAK TAHUN PELAJARAN 2016/2017." PAUDIA : JURNAL PENELITIAN DALAM BIDANG PENDIDIKAN ANAK USIA DINI 6, no. 1 (2017). http://dx.doi.org/10.26877/paudia.v6i1.1866.
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This research can be concluded that animated film media influence to children speaking skill of group A TK Nurul Huda Demak Lesson Year 2016/2017. Suggestions that researchers should convey this research can be applied in schools as a proof of Hasil observasi di TK Nurul Huda Demak, banyak dijumpai pada anak usia 4-5 tahun menunjukkan bahwa keterampilan berbicara anak masih kurang, terlihat dari cara anak dalam menyampaikan apa yang diinginkannya masih malu-malu, anak menjadi pasif, kurang keberanian anak dalam berbicara. Peneliti memilih film animasi Adit Sopo Jarwo sebagai media yang digunakan dalam penelitian karena film ini mengandung nilai edukatif yang tinggi, kesederhanaan perkampungan, gotong royong, kebersamaan dan kegiatan bermain keseharian anak-anak.Tujuan penelitian ini adalah untuk mengetahui pengaruh penggunaan media film animasi terhadap keterampilan berbicara kelompok A TK Nurul Huda Demak Tahun Pelajaran 2016/2017.Metode yang digunakan dalam penelitian ini adalah metode quasi experimental design. Desain penelitian ini menggunakan the non ekuivalen, pretest-posttes design. Dalam penelitian ini sebagai populasi adalah anak-siswi Kelompok A TK Nurul Huda Demak tahun pelajaran 2016/2017. Sampel dalam penelitian ini adalah anak-siswi kelompok A yaitu kelompok A 1 dan kelompok A 2 TK Nurul Huda Demak yang terdiri dari 15 anak Kelompok A 1 dan 15 anak Kelompok A 2. Data dalam penelitian ini diperoleh melalui observasi, wawancara, dokumentasi.Hasil perhitungan menunjukkan uji-t diperoleh sebesar 37,0667 sementara ttabel dengan db= n-1 = 15 – 1 =14 dengan taraf signifikan 5% sebesar 1,76. Karena thitung> ttabel yakni 37,0667 > 1,76 maka dapat disimpulkan adanya treatment terhadap keterampilan berbicara. Jadi hipotesis (Ha) yang berbunyi terdapat pengaruh media film animasi terhadap keterampilan berbicara pada kelompok A TK Nurul Huda Demak diterima dengan taraf signifikan 5%.Penelitian ini dapat disimpulkan bahwa media film animasi berpengaruh terhadap keterampilan berbicara anak kelompok A TK Nurul Huda Demak Tahun Pelajaran 2016/2017. Saran yang peneliti sampaikan hendaknya penelitian ini dapat diterapkan di sekolah sebagai bukti inovasi guru professional. Observation in Nurul Huda Demak kindergarten, many found in children aged 4-5 years shows that children's speaking skills are still lacking, seen from the way the child in conveying what he wants is still shy, the child becomes passive, lack of courage in talking children. Researchers chose the animated film Adit Sopo Jarwo as a medium used in research because this film contains high educational value, the simplicity of the village, gotong royong, togetherness and daily play activities of children.The purpose of this study was to determine the effect of animation film usage on the speaking skills of group A TK Nurul Huda Demak Lesson Year 2016/2017.The method used in this research is quasi experimental design method. The design of this study used the non-equivalent, pretest-posttes design. In this study as a population is a student of Group A TK Nurul Huda Demak academic year 2016/2017. The samples in this study were A group A children and group A 2 TK Nurul Huda Demak consisting of 15 children of Group A 1 and 15 children of Group A 2. The data in this research was obtained through observation, interview, documentation.The result shows that t-test is obtained at 37,0667 while t table with db = n-1 = 15 - 1 = 14 with 5% significant level equal to 1,76. Because thitung> ttabel ie 37.0667> 1.76 then it can be concluded the existence of treatment of speech skills. So the hypothesis (Ha) which reads there is the influence of animated film media on the skills of speaking in group A TK Nurul Huda Demak accepted with a significant level of 5%.innovation of professional teachers
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Campos, Luiz Carlos de Sá. "Cinema e Educação na construção da identidade: a partir dos discursos do cotidiano escolar." AVANCA | CINEMA, May 11, 2020. http://dx.doi.org/10.37390/ac.v0i0.59.
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The focus of this article is to discuss the issues that involve the problematization of the construction of identity and the hegemonic discourses, especially the racial one, from the reflection of the reach of the cinema and its pedagogical potential in Education. The cinematographic narratives are punctuated with concepts that approach, among other subjects, equality, the emancipation of the man and the freedom, allowing a reflection that takes into account the quotidian of the classroom in the High School and extra room, with the objective to analyze the criticality relations that were built in the learning relationship. This, because we consider cinema a powerful tool for human education, education and reflection, based on experiences inside and outside the school environment, by the students. We emphasize that among the objectives of this article is the use of cinema as a vehicle and teaching-learning instrument, which makes it possible to highlight the cultural, historical, literary and political particularities, providing an unrestricted view of this art as an educational medium. We will emphasize that the correlation between knowledge and cinema goes beyond the scope of formal education, since we consider the multiplicities of knowledge presented by it, making it possible to overextend its common use as an audiovisual fomentation. We chose the film narratives used in short animated films, highlighting, among others, “Vida Maria” by Márcio Ramos and “Happiness” by Steve Cutts.
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Garibashvili, Manana, and Shorena Lazviashvili. "Psycho-Linguistic Aspects of Gender Vocabulary in Female Characters (Based on the American Animated Movie)." ,,INTERCULTURAL DIALOGUES“ TRANSACTIONS, September 24, 2021. http://dx.doi.org/10.52340/idw.2021.514.
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In general, animated films are very interesting resources carrying the educational and upbringing functions. In addition, animated movies are rich in cultural elements that are an interesting visualization of the identity of a country or a nation.Animation has a long history of development. It is noteworthy to mention that the golden age of American animated art originated in 1928 and lasted until the 60s.The aim of the study is to provide a linguistic analysis of the linguistic aspects of gender, in particular femininity based on the American animated movie “American Tail” directed by Don Bluth in 1986 .The paper mainly uses qualitative research, observation and analysis methods, which allowed us to observe and analyze in detail the psycho-linguistic aspects of femininity in the speech of female characters.