Relevant bibliographies by topics / Children's Film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Children's Film'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 April 2022

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Journal articles on the topic "Children's Film"

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Hapsarani, Dhita, and Nadia Farah Lutfiputri. "Reimagining Peter Pan: The Postmodern Childhood Portrayal in Wendy (2020)." k@ta 23, no. 1 (June 21, 2021): 1–9. http://dx.doi.org/10.9744/kata.23.1.1-9.

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As a social construct, the view towards childhood remains to change over time. Literary works, such as films or novels from different periods of time which feature children's characters as the protagonists can be the right medium to identify those shifts. This article analyzes Wendy (2020) film as the latest adaptation of J.M. Barrie’s classic children's novel Peter Pan (1911). This film has made some transformations from the original novel to make the story more relevant in today’s context, including how it showcases childhood that is experienced by the children’s characters. Using textual and comparative analysis, this study attempts to see the transformations in the film adaptation and how it shows a different childhood construction from the one appearing in the source novel. Referring to the concept of postmodern childhood, Linda Hutcheon’s adaptation theory, and Bordwell and Thompson’s elements of film analysis, this study reveals how Wendy (2020) has exemplified the concept of postmodern childhood through the portrayal of children’s roles, children’s agency, and children-adults relationship.
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Kovanen, Marjo, and Sirkku Kotilainen. "Transcultural perspectives in Teaching Children's Horror Films." Seminar.net 14, no. 1 (June 28, 2018): 31–42. http://dx.doi.org/10.7577/seminar.2581.

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Transcultural perspective has recently raised more academic attention due to the internationalization of higher education and migration all over the globe. Thus the objective of the paper is to open the discussion on film education, especially teaching children’s horror films from the transcultural perspectives through an empirical case study among university students in media education. We concentrate on students attitudes and perception on children´s horror from the perspective of film education. Our question is, how to increase the students understanding of children´s horror culture and pedagogies related to it? The paper consists of the first research results based on the course including lecturers’ research diaries, students' interviews, their film life studies and practical assignments such as films made during the two-week workshop. The preliminary results show that the perceptions and attitudes vary a lot depending on cultural backgrounds. Students’ pre-understandings of film culture and film literacy as a pedagogical practice mostly were professional-oriented and colored with the aesthetic perception on film. The most visible impact of the course was the minds-opening for wider understanding of film as education and uses of film in teaching. Taking up the aspects of children´s horror in the course was surprising, even irrelevant to students: they didn´t expect this kind of perspective at all. As a result the course was able to create open, safe spaces for reflection and changing students’ mindsets. Based on the results, situated approaches to film education is suggested to reinforce multiliteracy model with creation of safe space for discussion and supplementing emotional skills.
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Kümmerling-Meibauer, Bettina. "Paratexts in Children's Films and the Concept of Meta-filmic Awareness." Journal of Educational Media, Memory, and Society 5, no. 2 (September 1, 2013): 108–23. http://dx.doi.org/10.3167/jemms.2013.050208.

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This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.
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Rozi, Romdhi Fatkhur. "MULTICULTURALISM IN ETHNIC IN CHILDREN'S POPULAR FILM IN INDONESIA POST 2010." Capture : Jurnal Seni Media Rekam 10, no. 2 (May 9, 2019): 45–56. http://dx.doi.org/10.33153/capture.v10i2.2229.

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This article discusses about multiculturalism in the popular film industry with the theme of children in Indonesia after 2010. The categorization of this popular film is based on the number of viewers. This study is intended to find many aspects of ethnic multiculturalism contained in child-theme films after 2010. The concept of children's films from Bezalgette and Stapless is used to review the children's theme films. The conclusions of this study are that multiculturalism is present in most children's films in Indonesia through various forms of moral messages, which are delivered from interactions between characters and characterizations, however the films have not succeeded in showing all multi-ethnic diversity in Indonesia yet.
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Sennikova, Veronika V. "TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 126–38. http://dx.doi.org/10.17223/22220836/43/9.

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Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.
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McCallum, Robyn. "Palimpsestuous IntertextualitiesAdaptations for Young Audiences: Critical Challenges, Future Directions." International Research in Children's Literature 9, no. 2 (December 2016): 197–214. http://dx.doi.org/10.3366/ircl.2016.0202.

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Historically, literary sources have always provided a rich resource for film narratives, meaning that the history of cinema is closely intertwined with the history of film adaptation. Children's literature in particular has been a favoured source of represented narratives. Some of the earliest film adaptations were of children's texts, many of which have been readapted multiple times. Adaptation studies has been a growth area of scholarly research and debate for at least five decades. However, despite the close imbrication of the film industry and children's literature since the early twentieth century, few adaptation scholars have turned their attention to the rich resource that children's and youth culture provides. This paper surveys dominant shifts in approaches to adaptation, in particular the shift from ‘fidelity criticism’ to a dialogic intertextual approach; the recent move back to a modified form of ‘fidelity criticism’; and the cultural work that has thus far been achieved in the field of adaptation studies and children's and youth culture. In doing so it examines the critical challenges faced by scholars in the field and the potent possibilities future scholarship might pursue.
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Panda D, Fransiska, Amrin Saragih, and M. Oky Ferdian Gafari. "The Development of Teaching Material in Writing Fable Story Texts with Children's Film Assistance for Grade VII in Junior High School 6 Tambusai Utara Rokan Hulu Riau, 2018/2019." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 2, no. 3 (July 29, 2019): 433–47. http://dx.doi.org/10.33258/birle.v2i3.380.

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This research deals with the development of teaching material in writing fable story texts with children's film assistance for grade vii in junior high school 6 Tambusai Utara Rokan Hulu Riau, 2018/2019. Teaching material of fable story text with children's film assistance are designed according to the development and age of students so that they can contribute to the emotional and moral development of students. The sample of this study were 32 students of seventh grade of in junior high school 6 Tambusai Utara Rokan Hulu Riau. The conclusion was teaching material with children's film assistance which developed can train students to learn independently with minimal help from the teacher. The role of the teacher is only as a facilitator who guides and directs students to learning fable story texts.
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Wonderly, Monique. "Children's film as an instrument of moral education." Journal of Moral Education 38, no. 1 (March 2009): 1–15. http://dx.doi.org/10.1080/03057240802601466.

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Lester, Catherine. "The Children's Horror Film: Characterizing an “Impossible” Subgenre." Velvet Light Trap 78 (September 2016): 22–37. http://dx.doi.org/10.7560/vlt7803.

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Lee, Sung-Ae, Fengxia Tan, and John Stephens. "Film Adaptation, Global Film Techniques and Cross-Cultural Viewing." International Research in Children's Literature 10, no. 1 (July 2017): 1–19. http://dx.doi.org/10.3366/ircl.2017.0215.

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Adaptation is often a transcoding into a different set of conventions, and here we argue that print to film adaptations introduce and depend upon a bundle of conventions and techniques which are already globalised and hence facilitate cross-cultural understanding more than print media might do. Films for children and young adults seldom reach a cross-cultural audience, but we contend that this is a consequence of uni-directional globalisation rather than any barriers constituted by the films themselves. In an analysis of narrative conventions and cinematic techniques in film adaptations from China, South Korea and Japan we show that cinematic features enable boundary crossing and ensure childhood experiences are intelligible cross-culturally. These features are broadly of two kinds: elements of narrative, especially global scripts, and cinematic techniques of cognitive and technical kinds. Scripts, whether of general types such as a children's film structure or cause-and-effect structure, or thematic types such as the triumph of the underdog, are widely recognisable. We examine conceptual metaphors, which are intrinsic to human cognition, the visual strategy of emotional mirroring, and film as a metonymic mode which sustains a deeper significance while requiring minimal decoding activity on the part of viewers and promoting mutual understanding between cultures.
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Dissertations / Theses on the topic "Children's Film"

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Kauklija, Natalie. "Masculinity in Children's Film : The Academy Award Winners." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74858.

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This study analyzes the evolution of how the male gender is portrayed in five Academy Award winning animated films, starting in the year 2002 when the category was created. Because there have been seventeen award winning films in the animated film category, and there is a limitation regarding the scope for this paper, the winner from every fourth year have been analyzed; resulting in five films. These films are: Shrek (2001), Wallace and Gromit (2005), Up (2009), Frozen (2013) and Coco (2017). The films selected by the Academy of Motion Picture Arts and Sciences in the Animated Feature film category tend to be both critically and financially successful, and watched by children, young adults, and adults worldwide. How male heroes are portrayed are generally believed to affect not only young boys who are forming their identities (especially ages 6-14), but also views on gender behavioral expectations in girls.
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Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S." Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.

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Thesis (M.A.)--University of Kentucky, 2002.
Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).
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Bulman, Jeannie Hill. "Developing a progression framework for children's reading of film." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/8710/.

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This longitudinal case study explores children’s reading of film and identifies a progression, which was demonstrated by a group of Key Stage 2 children over a period of three years. I have been working in the field of visual literacy and film for many years and have recognised the potential of the inclusion of film in the primary curriculum through research and my role as a Senior Teaching and Learning Consultant for CfBT (Centre for British Teachers) in Lincolnshire. Within this role, I took part in the ‘Reframing Literacy’ project (Bearne and Bazalgette, 2010) which was the starting point for this research, through which I aim to empirically test their findings. One of my main intentions for the outcomes of this research is to provide an accessible study for primary teachers, in order to support them in their consideration of film as a text within the curriculum. This case study uses a range of methods, such as observation, semi-structured interviews, analysis of children’s responses to tasks such as storyboarding, and innovative methods developed through the identification of questions. A cohort of nine year 3 children (of mixed ability within Literacy) were identified and their responses to film were tracked over the research period. It was felt that saturation point was reached at the end of the second year, therefore I wrote a series of intervention sessions to explore a greater depth of analysis in order to extend the progression in the third year. All visits were filmed and the data analysis was structured around Braun and Clarke’s (2006, p.16) phases of thematic analysis. This study also examines how the skills and understanding required to read film can support the reading of print, and vice versa, in an ‘asset model’ approach (Tyner, 1998). I consider the place of film, both in school and out of school contexts and also offer a series of steps of progression, which teachers could use as a benchmark to track progress and inform next steps in learning. In conclusion, my findings illustrate the importance and relevance of the inclusion of film (as a text in its own right) in the primary curriculum, which is appropriate to the needs of a learner in the 21st century.
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Pallitt, Nicola. "Gender identities at play : children's digital gaming in two settings in Cape Town." Doctoral thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/10635.

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This thesis investigates children's gaming relationships with peers in out-of-school settings, and explores their interpretation of digital games as gendered media texts. As an interdisciplinary study, it combines insights from Childhood Studies, Cultural Studies, Game Studies, domestication and performance theory. The concept ludic gendering is developed in order to explain how gender "works" in games, as designed semiotic and ludic artefacts. Ludic gendering also helps to explain the appropriation of games through gameplay, and the interpretation of gendered rules and representations. The study expands on audience reception research to account for children's "readings" of digital games. Social Network Analysis (SNA) is used to study gaming relationships. Combining SNA with broadly ethnographic methods provided a systematic way of investigating children's peer relationships and gendered play.
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McKean, Jamoula. ""Doesn't he know who I am?" : Lebanese children's civil war : film, history, philosophy." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6452/.

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The thesis uses the theories of Giorgio Agamben in three major works: Homo Sacer, State of Exception, and Infancy and History, in conjunction with a seminal work by Paul Ricoeur Memory, History, Forgetting, to explore the narrative films of three Lebanese directors. Agamben writes about the bio political body which must declare itself as under the total subservience of the sovereign in order to attain its rights to citizenship. He points to the relationship of language acquisition and the socialising aspect of infancy. Ricoeur’s theories are based on the narrative and the functional aspects of memory. These films are made from the child’s point-of-view, and span the years of the Civil War, from 1975- 1990. Based on events in the capital city Beirut, these largely autobiographical films outline the circumstances of the war. The directors provide a visual portrayal demonstrating that language and gesture, within time and space, are particularly important when raising issues and debates around the relationships between the private and the public. The perspective of the social and political structures lead to an exploration of the importance of the placement of the pre pubescent child within this environment. Gender roles, in particular the relationship of fathers to sons within the patriarchal society, help to demonstrate how the cycle of power transmission may be subverted.
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Wallenrodhe, Nicole. "Addressing "non suitable" films in school : A Case study on Flickan, mamman och demonerna and the film pedagogic conditions." Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-160861.

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The idea of what is suitable for children depends on the understandings and expectations of what childhood is and should contain. While "suitable" films have been praised for their obvious pedagogic function, "non-suitable" films (such as popular and violent films) have also managed to emerge into the film pedagogic context with varying arguments, e.g. that film education should reflect the reality of the youth or that children will see the films anyway and need guidance.     This thesis explores a contemporary Swedish example of a contested children's film that was produced for school cinema but classified as harmful for children under the age of fifteen by the Swedish Media Council. By situating the case in relation to film pedagogic history and aspects from  the use of violent films in the 1980's, the study shows how the film pedagogic discourse can be influenced by an anxiety concerning the "child's best".  The study enhances the significant role of "enthusiastic teachers" and  the importance of considering the current film pedagogic conditions.
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Bernard, Kaitlin. "Between Reality and Realism: CGI and Narrative in Hollywood Children's Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19879.

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This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.
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Trowell, Melody Cukor-Avila Patricia. "A test of the effects of linguistic stereotypes in children's animated film a language attitude study /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3605.

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Stephenson, Amanda. "The constructions of authorship and audience in the production and consumption of children's film adaptations." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/393687/.

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In the public consumption of film adaptations of popular children’s literature, which is, particularly in relation to the popular press, influenced by the marketing communications of the filmmaking team, the discursive negotiation of author and audience constructs is pivotal in the endeavor to side-step or manage the seemingly unavoidable discourses of fidelity. In this, child audiences are imagined and constructed in a variety of ways; however, these constructions generally have very little to do with actual children and much more to do with how the filmmakers wish/need to manage and negotiate the significance of both book and film authors. This area is largely unexplored in adaptation studies, for whilst the topic of fidelity proliferates the discipline, its function as a marketing tool - as well as its links to how author(s) and audience(s) are imagined and constructed - needs further investigation. What is clear in the following case studies is that the representations of audience(s) vary depending on the culturally understood personas of the author(s) at hand, therefore as the representation of the various book and film authors shift from case study to case study, so does the representation of the audience. In Harry Potter and The Philosopher’s Stone, J.K. Rowling is deemed to be the primary authorial presence, and the audience are imagined as a cohesive, loyal group of avid readers. In Charlie and the Chocolate Factory, Tim Burton and Roald Dahl are equally significant (despite the lack of Dahl’s physical presence) because they are both deemed to be outsiders, much like the audience members are all (implicitly and paradoxically) also deemed to be. In The Chronicles of Narnia: The Lion The Witch and the Wardrobe, Andrew Adamson is unable to compete with the emotional attachment many adult journalists and critics have to the book, and the result of this is that the discursive presence of the child audience is largely absent. All of these films were within a few years of each other, yet the ‘child,’ childhood more generally, and the intended audience are all constructed in very di erent ways demonstrating that what is important to those promoting (and often those consuming) a film is a solid author construct, and any discussions of children or child audiences only serves to validate these author figures.
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Lester, Catherine. "The children's horror film : beneficial fear and subversive pleasure in an (im)possible Hollywood subgenre." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/90706/.

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This thesis investigates the children’s horror film in Hollywood cinema. Children are typically thought of as being innocent and vulnerable, and horror – usually considered a genre for adult viewers – is one area of the media from which children are often thought of as needing protection. However, evidence shows that children’s viewership and enjoyment of horror films dates to least as early as the 1930s, while violent imagery has been used as a pedagogical tool in fairy tales, cautionary tales and other children’s stories for centuries. The number of horror films made specifically for and about children in US cinema has been steadily increasing since the 1980s, with recent releases including Coraline (2009), ParaNorman (2012) and Frankenweenie (2012). Despite this, scholarship dedicated exclusively to this rich and intriguing area is scarce. One intention of the research, explored predominantly in Chapter One, is to chart the development of this subgenre in Hollywood, explore how it differs aesthetically, formally, narratively and thematically from ‘adult’ horror, and how it mediates its content in order to be recognisably ‘horrific’ while remaining ‘child-friendly’. Following the review of scholarly literature in Chapter Two, the thesis is then divided into three case study chapters which focus on how horror films which are both addressed to a child audience and about child characters utilise iconography and conventions of the horror genre to represent specific fears and desires associated with children and childhood. Chapter Three examines texts which feature ‘monstrous’ children. These child characters’ ‘monstrosities’ are presented in a way that can be read as pleasurable and potentially cathartic for a child audience. As such, these representations largely subvert the common depiction of children as demonic antagonists in adult horror films. The chapter is also framed by societal fears that children may become ‘monstrous’ threats should they be exposed to horror in order to argue that these films offer critiques upon the relationship between children and the horror genre. Chapter Four explores texts from the late-1980s to early-1990s in which children must protect themselves and their communities from evil vampires, witches, and other monsters. These predatory ‘risky strangers’ are read as reflecting contemporaneous concerns about child abuse which were particularly prevalent during this period in the US. As such, the chapter queries whether these texts address adults’ fears about or for children more than actual children’s fears. Chapter Five examines films set in the home, which is presented as an uncanny and threatening space in which to address childhood fears and anxieties concerning maturation, independence, identity formation and familial relationships. It is argued that by facing their fears, the child protagonists of these films undergo beneficial experiences and emerge better prepared to face life ahead. This thesis argues that children’s horror films, by providing safe and pleasurable spaces in which to experience fear, can be read as offering positive and beneficial experiences for child viewers. Far from being ‘unsuitable’ for children, the imagery and conventions of the horror genre are in fact highly suited to addressing the fears and experiences of childhood. Simultaneously, however, this thesis questions the problematic ideological aspects of children’s horror films which may be ‘bad’ for children: that is, in showing children how to overcome their fears, what, or who, do these films imply children should be afraid of?
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Books on the topic "Children's Film"

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Norlin, Margareta. Children's film in Sweden. Stockholm, Sweden: Swedish Institute, 1990.

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The Library Film Party: Activities with Children's Classic Films. Santa Barbara, California: Libraries Unlimited, 2011.

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Ratelle, Amy. Animality and Children's Literature and Film. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168.

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Yi, Ok-kyŏng. Chosŏn yŏnghwa: Yesul, t'ellebijyon'gŭk, kirok, kwahak, adong = Korean film : feature film, TV drama, documentary, science film, children's film. P'yŏngyang: Chosŏn Yŏnghwa Such'uripsa, 2012.

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International Children & Youth Film Festival "Kinotavrik" (2nd 2002 Sochi, Russia). II Mezhdunarodnyĭ festivalʹ detskogo i i͡u︡nosheskogo kino "Kinotavrik", Sochi, 1-10 noi͡a︡bri͡a︡ 2002 goda =: II International Children & Youth Film Festival in Sochi "Kinotavrik.". Sochi: [s.n.], 2002.

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Children's film in Europe: A literature review. Frankfurt am Main: Peter Lang, 2010.

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Davide, Boero, ed. Letteratura per l'infanzia in cento film. Recco, Genova: Le mani, 2008.

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Kim, I︠U︡liĭ, I︠U︡lii︠a︡ Rutberg, and Garri Bardin. Gadkiĭ utënok: Polnometrazhnyĭ mulʹtfilʹm. [Russia]: Kinostudii︠a︡ "Staĭer", 2010.

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Maksimov, Ilʹ︠i︡a. Karlik Nos. S.l: s.n., 2003.

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Valut︠s︡kiĭ, Vladimir, and Leonid Kvinikhidze. Mėri Poppins, do svidanii︠a︡. Moskva: "Krupnyĭ Plan", 2011.

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Book chapters on the topic "Children's Film"

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Donald, Stephanie Hemelryk, and Noel Brown. "Children's Film Culture." In The Routledge International Handbook of Children, Adolescents, and Media, 93–100. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003118824-13.

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Ratelle, Amy. "Animal Virtues, Values and Rights." In Animality and Children's Literature and Film, 18–40. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_2.

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Ratelle, Amy. "Contact Zones, Becoming and the Wild Animal Body." In Animality and Children's Literature and Film, 41–64. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_3.

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Ratelle, Amy. "Ethics and Edibility." In Animality and Children's Literature and Film, 65–89. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_4.

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Ratelle, Amy. "Introduction." In Animality and Children's Literature and Film, 1–17. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_1.

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Ratelle, Amy. "Science, Species and Subjectivity." In Animality and Children's Literature and Film, 90–116. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_5.

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Ratelle, Amy. "Performance and Personhood in Free Willy and Dolphin Tale." In Animality and Children's Literature and Film, 117–38. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_6.

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Ratelle, Amy. "Conclusion." In Animality and Children's Literature and Film, 139–43. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373168_7.

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Bulman, Jeannie Hill. "Reading Film: Wider Considerations." In Children's Reading of Film and Visual Literacy in the Primary Curriculum, 205–33. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58313-6_8.

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Bulman, Jeannie Hill. "Progression in Reading Film: Visual Literacy, Knowledge of Camera and Film Production." In Children's Reading of Film and Visual Literacy in the Primary Curriculum, 123–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58313-6_6.

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Conference papers on the topic "Children's Film"

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"The Value Development and Narrative Features of Children's Film." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.53.

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Liu, Qian. "Status and Development Trend of China Children's Film under Fuzzy Comprehensive Evaluation Model." In 2016 Eighth International Conference on Measuring Technology and Mechatronics Automation (ICMTMA). IEEE, 2016. http://dx.doi.org/10.1109/icmtma.2016.153.

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Guo, Baoyu. ""Generalized Age" Tendency in Film and Television Transmission. Looking through the Decline of the Children's Play." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.99.

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Markus, Dace, and Dina Bethere. "The Impact of the Sociolinguistic Environment on the State Language Proficiency of Children from Ethnic Minorities in a Preschool Educational Institution." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.72.

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The article discusses the impact of the daily language choice of ethnic minority children on Latvian language skills in a preschool educational institution. The aim of the study is to explore the impact of the daily language choice of ethnic minority children on Latvian language skills in a preschool educational establishment, surveying the children’s parents. Within the project LAMBA (2015–2017), the researchers Olga Ureka, Dace Markus and Anna Vulane adapted a survey elaborated by Sharon Unsworth (Utrecht Bilingual Language Exposure Calculator (UBiLEC): Questionnaire and notes on Completing the Excel file) to Latvian for surveying bilingual parents. Sharon Unsworth has developed this method in Utrecht to use as a survey for parents of bilingual children. The set of questions is included in the survey which is based on the previous experience of educators and linguists in work with children. The questions included are about children’s linguistic surroundings at home, in preschool setting, in other activities and during free time. The answer options included in the tables allow to investigate parents’ opinions about children language comprehension and application quality and frequency, but in the survey tables we can obtain also quantitative data about the use of language and children’s linguistic environment. Employing UBiLEC, an internationally approbated survey adapted to Latvian for parents of bilingual children, the Latvian language skills of ethnic minority children are compared in the preschool groups where children daily use Latvian or Russian. The topicality of the issue is intensified by the requirement, in force from September 1, 2019, that in Class 1 of all ethnic minority schools 50% of learning must take place in the state language; therefore, it is important to make sure that preschool-age children are prepared for learning in Latvian. In recent years, there has been a tendency for the ethnic minority parents to enrol their children not only in the preschool groups taught in Russian, but also in Latvian. Parents’ survey data show that the ethnic minority children who attend a Latvian preschool group are linguistically ready to continue their education in Latvian or bilingually – the same as children with Latvian as their mother tongue, but if Russian is used as a language of instruction, the lack of Latvian sociolinguistic environment becomes a major obstacle for acquisition the necessary Latvian language proficiency. This research was done in National Research Programme “Latvian Language” Nr. VPP-IZM-2018/2-0002.
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Elliya, Rahma, Teguh Pribadi, and Febri Dwi Widyawati. "THE RELATIONS CHARACTERISTICS OF CHILDHOOD WITH ANXIETY OF ELEMENTARY SCHOOL STUDENTS IN ONLINE LEARNING DURING THE COVID-19 PANDEMIC." In International Conference on Public Health and Medical Sciences. Goodwood Conferences, 2022. http://dx.doi.org/10.35912/icophmeds.v1i1.19.

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At the end of 2019 there was a national virus outbreak that was found in China, and the name of the disease was Corona virus disease 2019 (COVID-19). at school and in college is done with an daring system or online. This study was to determine the relationship between the characteristics of children and the anxiety of elementary school students in online learning during the COVID-19 pandemic in the village of Penumangan Baru in 2021.This research is quantitative research, using snowball sampling technique. The subjects in this study were children in grades 4,5 & 6 of elementary school in the village of Penumangan Baru. The independent variable is the child's characteristics, the dependent variable is anxiety. The place of research is carried out in the students' homes. The research is planned to be carried out in January-March 2021.From the study, it was found that the average age of the children was 10 years, 54.3% female, 60.6% grade 4 & 5 elementary school students attending SD 02 & 03 Penumangan Baru, with a moderate-severe anxiety level of 56.4%. When the research was conducted, students conducted online learning at home so as to assess children's anxiety, the researchers distributed questionnaires via a google form link through class groups that were assisted by parents to fill in as children's observers at home. This research is useful for SD 1,2 & 3, Penumangan Baru Village, Tulang Bawang Tengah Subdistrict, Tulang Bawang Barat Regency
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Ayuningtyas, G., and J. Tjahjani. "Children’s Fantasy and Moroccan Social Issues in Francophone Film." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296653.

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Liu, Yan. "Narrative Strategy of Death Theme in Animated Films Under Children’s Cognitive Perspective: A Case Study of Pixar Animated Film COCO." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.069.

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Nafisah, Nia, and Joesana Tjahjani. "Normative Attitudes: A Convention in Two Indonesian Children’s Films." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296683.

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Ying, Liangzhong, Peter Blanchfield, and Rebecca Stone. "A Study of Primary Children Learning Communication Skills by Making Cartoon Film." In 2010 International Conference on Computational Intelligence and Software Engineering (CiSE). IEEE, 2010. http://dx.doi.org/10.1109/cise.2010.5677158.

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Liu, Xiaoou, and Ying Hou. "Source a Renewal - Adapting the Children's Literature into the Films and Television Plays." In 2018 2nd International Conference on Management, Education and Social Science (ICMESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icmess-18.2018.93.

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Reports on the topic "Children's Film"

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Caldwell, Michael. The Occurrences, References and Projected Attitudes About LGBT Lifestyles in Children's Media: A Content Analysis of Animated Films. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.107.

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Marcos Barba, Liliana, Hilde van Regenmortel, and Ellen Ehmke. Shelter from the Storm: The global need for universal social protection in times of COVID-19. Oxfam, December 2020. http://dx.doi.org/10.21201/2020.7048.

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As 2020 draws to a close, the economic devastation caused by the COVID-19 pandemic shows no sign of abating. Without urgent action, global poverty and inequality will deepen dramatically. Hundreds of millions of people have already lost their jobs, gone further into debt or skipped meals for months. Research by Oxfam and Development Pathways shows that over 2 billion people have had no support from their governments in their time of need. Our analysis shows that none of the social protection support to those who are unemployed, elderly people, children and families provided in low- and middle-income countries has been adequate to meet basic needs. 41% of that government support was only a one-off payment and almost all government support has now stopped. Decades of social policy focused on tiny levels of means-tested support have left most countries completely unprepared for the COVID-19 economic crisis. Yet, countries such as South Africa and Bolivia have shown that a universal approach to social protection is affordable, and that it has a profound impact on reducing inequality and protecting those who need it most. In addition to the full paper and executive summary, an Excel file with the data analysed by Oxfam and Development Pathways is available to download on this page, along with an annex on the crisis in Latin America and the Caribbean.
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Your Money - educational film about money for school children in PNG, 1963, film. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_av-000048.

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What is Wealth - educational film about money for school children in PNG, 1963, film. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_av-000050.

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What is Wealth - educational film about money for school children in PNG, 1964, film (revised decimal currency version). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_av-000052.

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Your Money - educational film about money for school children in PNG, 1964-1967, film (revised decimal currency version). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_av-000049.

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