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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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Includes bibliographical references.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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Foster, Ludovic. "Narratives of tomboy identity in fiction and film : exploring a hidden history." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65458/.
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This thesis is an exploration of the tomboy figure across a range of literary and cinematic texts from the nineteenth century to the present day. The tomboy may seem to be a familiar cultural archetype, but my study also examines lesser-known, often marginalised aspects of the figure, with the intention of bringing to light new dimensions of tomboys and what they signify. Reaching beyond well-known stories, I have looked at tomboy representations outside the Eurocentric and North American versions, bringing in examples from the Caribbean, South America, Asia, and from within the postcolonial diaspora. Exploring these various hidden tomboy histories has meant engaging with work on how the tomboy figure might ask us to rethink settled notions of childhood gender identity, of the queer child, and the very concept of childhood itself as a queer temporality. Moving from a study of Wuthering Heights and nineteenth century children's fiction, I consider more recent tomboys in a small number of international films (drawing here on concepts of embodiment, materiality and the sensuous experience of cinema) before investigating how tomboy figures relate to questions of ethnic subjectivity in novels by Jamaica Kincaid and Catherine Johnson. By covering such a wide range of historical periods, genres and texts, the aim is to trace the complexities of the tomboy, a child figure that has always had strong connotations of gender transformation and gender rebellion, and is often associated with a playful and empowering otherness while conversely carrying with it the suggestion of reaffirming patriarchal, binary gender identities.
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Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
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This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.
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Tanski, Karen Martin. "The Concepts of Mother in Children's Stories in Translation from Print to Visual Media: A Content Analysis." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4783.
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The purpose of this research was two-fold. First, this thesis sought to uncover the implicit concepts associated with mothers in children's stories. Second, this thesis attempted to chart changes in portrayals of mother when translated from print to a visual medium. This research maintains that the concepts of mother in children's stories contain cultural ideals that are related to society's evolving perceptions of mother. Eighteen mother/surrogate mother portrayals were analyzed in 15 novels and 15 videotapes. Each portrayal was coded according to marital status, range of behaviors, 41 individual behaviors within five categories, and the amount of storytime. The results of this thesis reveal that the two most frequent behaviors associated with the role of mother in both media and print are authority and nurturance. The research also found that mother portrayals, when translated to film and television, displayed less dominant and less supportive behaviors than in print versions. Of the 41 individual behaviors coded in both novels and videotapes mothers in films and television were found to display less ability and more affection than their print versions. In conclusion, this study found that mother portrayals, when translated to film and television, may be altered to increase their mass audience appeal.
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Bergman, Angelica. "Happily Ever After : A Linguistic Study of the Portrayals of the Female Characters in One Old and One New Disney Film." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40858.
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This study seeks to answer the following research questions: which stereotypical linguistic profile characteristics and/or typical linguistic profile characteristics, if any, can be found in the old film and the new film respectively? Does the time difference between the films seem to have affected the female characters’ language use, if so in what way? Works by Lakoff (2004), Coates (2004) and Holmes (2013) are used to create a profile for stereotypical female speech and a profile for typical female speech. These profiles are applied to the transcripts of two Disney Princess films; one old film representing the classical Disney Princess films, and one new film representing the modern Disney Princess films. In order to suit this study all non-conversational utterances such as singing, and non-human utterances, are removed from the transcripts. The features are counted and then converted to frequencies of 1 feature per 100 words, in order to account for the differences in amount of words uttered. The results show that stereotypical features as well as typical features are present in both films. However, the old film contains more stereotypical features than typical features, and the new film contains more typical features than stereotypical features. Therefore, it would appear that the old film presents a more stereotypical image of women than the new film. Furthermore, the results indicate that power relations, and not just gender differences, play an important role in both films. The importance of these power relations would benefit from further investigation in future studies.
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Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.
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Haraldsson, Frida. "Skånepågen blir dialektlös pojke? : En adaptionsanalys av Nils Holgerssons underbara resa genom Sverige, transformeringen från bok till film." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-82480.
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Selma Lagerlöf's story about Nils Holgersson, The wonderful Adventures of Nils (1906-1907), is unique in several different ways. It was innovative for its time and it was the first school book written as a story, which makes it an interesting foundation to build an essay upon. The essay examines Selma Lagerlöf's novel about Nils Holgersson compared to Dirk Regel's film adaptation (2011). Both the novel and the film are divided into two parts and only the first part of the book is compared to the first part of the film. Adaptations are common in today's society, a common type of adaptation is when a novel transform into a film but it can also be when a poem becomes music or a play turns into a film. The essay discusses what happens when a medium is transformed into another medium. The essay also has a pedagogical perspective and asks what happens when a didactic school book is adapted into a film. The view on children in Lagerlöf's time is discussed in relation to the view on children that prevails in today's society. When it comes to characters, I’m interested in seeing how Nils Holgersson is portrayed in the book versus in the film. The method used is Linda Hutcheon's and Siobhan O'Flynn’s adaptation analysis which focuses is on various factors that affect an adaptation. Regarding theory, I will use both Thomas Leitch’s adaptation theory and Maria Nikolajeva's children's literature theory. The results show that Lagerlöf's Nils Holgersson is a character who has few qualities. In the beginning he is bad and at the end of the story he becomes good, he develops through the story and is thus a flat but dynamic character. In Regel's version, Nils Holgersson is a complex character from beginning to end and he does not develop, he is thus a round but static character. The didactic perspective it is not as prevalent in the film compared to the book, but some episodes can be understood as having an educational message, which I interpret as a reference to the source medium.
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Suby, Carl. "Representative Biodiversity: The Ecosystem of Cartoon Network." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/4.
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As a capitalist organism the television program, as explained by Todd Gitlin, uses its slant to sell itself to advertisers with similar leanings on contemporary social issues to maintain its flow of revenue. However, this concept of slant does not account for the broader network, which, like the singular program, cultivates a catalog of programming into a singular slanted message becoming an ecosystem of shows relying on each other to maintain viewership. The successful televised ecosystem will then be home to programs who enjoy long runs and display an easily recognized shared slant. As an example of the televised ecosystem, this thesis explores seven animated programs from Cartoon Network including The Marvelous Misadventures of Flapjack,Regular Show, Adventure Time, The Amazing World of Gumball, Steven Universe,We Bare Bears, and Craig of the Creek.Recognizing the programs ranging in release from 2008 to 2018, Cartoon Network’s ecosystem is highlighted for its evolving display of progressive representations of race and gender and presenting them to a child audience.
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Shortall, Amanda Young. "Hongse (the color red)." Scripps College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,12.
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The video begins with a black and white wedding photograph from the mid 20th century of an Asian American wedding party with the women in cheongsams and the men in western suits. A male narrator states the importance of the bride. A stain (still in black and white) spreads from bottom of frame rising over the brides face. Color video now shows a tree with a clothesline and a woman hanging a sheet on the line. Asian instrumental music begins. The mother softly describes singing a song to her daughter that her mother sang to her, and then sings the song. A woman folds, tears, or knots a white sheet, intercut with brief flashes of a red stain, while a professional recording of the same children’s rabbit song plays as the lyrics appear in English. Finally the white sheet lies on the table and the red stain appears and spreads across the sheet.
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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.
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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Hanna, Olsson. "Harry Potter and the Fat Stereotypes." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79683.
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In the field of research within film studies which consider how aspects such as gender or race affect the portrayal of a character, the aspect of characters' body sizes are not always taken into account. By analysing the fat characters in the popular children's and young adult film series about Harry Potter, I bring attention to the fact that the use of stereotypes is significant in these characterisations, and further contributes to the marginalisation of this particular group of people. I looked specifically at what the characters had in common with each other, and if they adhered to already established stereotypes concerning fat people, and found that the one thing they all share is a lack of academic or intellectual skill to varying degrees, which is in line with the common stereotypes of fat people as dumb. I further analysed the differences between the fat men and fat women in the series, and found that fat men were a far more common occurrence than fat women, and that fat girls did not even exist in these stories. This is not surprising, as the exclusion of fat women and girls is abundant in mainstream culture.
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Parry, Becky. "Movies teach movies : exploring what children learn about narrative from children's films." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574538.
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In this thesis I focus on children's engagements with moving image media in order to understand the role of film (and children's films in particular) in children's developing understandings of narrative. Using a collaborative and creative research methodology I invited six children in Year 5 to create stories in a variety of forms, including short films. I examined the children's understandings of narrative as expressed in their multimodal productions in the light of reader response and narrative theories. I also drew on data from interviews, the children's photography and a questionnaire to explore the role of film in the children's home and school identity and literacy practices. I demonstrate that the films the children encountered provided them with imaginative spaces in which they could create, play and perform familiar and unfamiliar, fantasy and everyday narratives. This narrative play was closely connected to identity and literacy practices (Marsh, 2005; Moje and McCarthey, 2002). Family was key to the support and encouragement of this social play (Marsh, 2005) and, at school, the playground was also key. However in the literacy classroom, some of the children encountered a discontinuity between their experiences of narrative at home and those that were valued in school. I present storied accounts of the developing identities of the children in the research group, in relation to film. I then demonstrate the distinct and complex understandings of narrative the children were able to express in spaces into which children's film and popular culture were explicitly invited. Here, I focus on children's understandings of both the characteristics of narrative across modes and on the kineikonic mode of film Burn and Parker (2003). Finally, I reflect on the challenges facing children whose primary experiences of narrative are embedded in moving image media when their experiences are not given opportunities for expression in the classroom
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Hoffman, Sarah G. "Not Just Entertainment: Hollywood Animation and the Corporate Merchandising Aesthetics and Narratives for a Children’s Audience." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490966620486322.
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Ebner-Zarl, Astrid. "„Das ist mein absoluter Lieblingsfilm!“ Zu den Kino- und FernsehheldInnen von 10- bis 12-Jährigen aus Geschlechterperspektive." Technische Universität Dresden, 2018. https://tud.qucosa.de/id/qucosa%3A31430.
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Der vorliegende Beitrag präsentiert die Ergebnisse einer Analyse von Kinderaufsätzen, die 10- bis 12-Jährige über ihre Lieblingsfilme verfasst haben. Der Schwerpunkt der Analyse liegt auf einer Genderperspektive: Welche Identifikationsfiguren, Themen und Interessen von Mädchen und Buben bilden sich in den Aufsätzen ab? Wie gehen die Kinder mit Geschlechterstereotypen um? Die Ergebnisse zeigen ein hohes Maß an Facettenreichtum und Individualität in den Aufsätzen – über die Geschlechtergruppen hinweg. Manche Tendenzen und Muster zeichnen sich in der einen Geschlechtergruppe stärker ab als in der anderen, augenfällige Unterschiede liegen mit wenigen Ausnahmen im untersuchten Sample aber nicht vor. Auch auf Geschlechterstereotype greifen die Kinder beim Schreiben nur selten zurück.
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Talero, Álvarez Paula. "WHY KATNISS EVERDEEN IS OUR FAVORITE FEMINIST – AN ANALYSIS OF THE HEROINE OF THE HUNGER GAMES FILM SAGA AND HER RECEPTION BY YOUNG FEMALE SPECTATORS." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5583.
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THROUGH THE FIGURE OF FICTIONAL CHARACTER KATNISS EVERDEEN, THIS DISSERTATION STUDIES HOW THE FILM INDUSTRY SIMULTANEOUSLY ENTRENCHES AND DISRUPTS GENDER, SEXUAL, AND RACIAL NORMATIVITIES. THE PROJECT USES TEXTUAL ANALYSIS AND PARTICIPANT RESEARCH TO ANALYZE HOW THE FILMS AND NOVELS OF THE HUNGER GAMES SAGA ENCAPSULATE BOTH DOMINANT AND ALTERNATIVE CONCEPTIONS RELATED TO FEMININITY, MASCULINITY, WOMANHOOD, AND MOTHERHOOD. IT ALSO EXPLORES IF AND HOW THE FEMALE HEROINE CAN BE READ AS FEMINIST AND PRODUCES A SENSE OF EMPOWERMENT. I CONCLUDE THAT ALTHOUGH THE INDUSTRY IS PRODUCING NEW MODELS OF WOMANHOOD THAT CHALLENGE TRADITIONAL GENDER ROLES, IT STILL PERPETUATES ROMANTIC IDEALS AND IDEALIZES THE HETEROSEXUAL NUCLEAR FAMILY AS THE ULTIMATE PATH TO FULFILLMENT FOR WOMEN. THE RESULTS OF THE PARTICIPANT RESEARCH SHOW THAT WHILE YOUNG WOMEN ARE CRITICAL OF CERTAIN ASPECTS OF THE SAGA, OVERALL THEY VALUE HAVING STRONG FEMALE CHARACTERS IN FICTION TO WHOM THEY CAN RELATE.
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Watkins, Tamara. "(Re)Mediating the Spirit: Evangelical Christian Young Adult Media." VCU Scholars Compass, 2017. https://scholarscompass.vcu.edu/etd/4796.
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"We are in the world, but not of the world," a maxim frequently spoken in evangelical Christian culture, provides insight into how these individuals view their relationship with secular culture. They presume to share the same temporal plane with secular culture, but do not participate in it. In this dissertation, I explore whether the division between evangelical Christian culture and secular culture is as clear as this aphorism implies. To facilitate this investigation, I examine media Christian content creators created for an American evangelical Christian young adult audience in the early twenty-first century, specifically focusing on novel-length fiction, comics and graphic novels, and video games. Guided by a methodology informed by structuralist and poststructuralist theories, I uncover patterns in these media. I conclude that the boundaries between evangelical Christian culture and secular culture are less distinct than might first appear, which indicates significant contact and influence between these cultures.
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Kahn, Leslie Heinz. "Exploring and Supporting Children's Math Talk." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1225%5F1%5Fm.pdf&type=application/pdf.
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Walker, Hannah Smith. "Moving beyond broadcast and traditional pedagogy making a children's documentary for the new media landscape /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2008/walker/WalkerH1208.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Cindy Stillwell. Why don't we ride zebras is a DVD accompanying the thesis. Includes bibliographical references (leaves 29-34).
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Ndlovu, Khulekani. "Mediated visibility, morality and children in tabloid discourse." Doctoral thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32952.
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Media studies has recently witnessed an upsurge in theoretical and empirical work that investigates the moral-ethical implications of the mediation of suffering. The research focus has largely been limited to representations of distant suffering by global media to audiences in the Global North. Contrary to the above, this work focuses on the mediation of suffering by media in the Global South. This study is underpinned by the understanding that suffering is also a proximal (local) phenomenon and mundane (everyday) phenomenon. It is against this backdrop that this work uses the B-Metro tabloid's mediations of child abuse in Bulawayo, Zimbabwe as a case study. The study espouses a holistic view of mediation where mediation is the social circulation of meaning across the moments of production, text and reception. Roger Silverstone's concept of proper distance is used to evaluate the extent to which the BMetro's representations of child maltreatment are successful in engendering an ethic of care among its readership. Methodologically, the study triangulates focus group data about the context of production, with a textual analysis of the child abuse stories and focus group data about the reception of the same. Findings from the context of production point to an overreliance on legal, social and cultural elites for news about child abuse. Data shows that B-Metro journalists are torn between compassion and institutionalised compassion fatigue about child abuse. Findings also point to the prevalence of a gendered perception of child abuse among the journalists. Textual analysis data revealed that the editorial discourse identifies the ethic of care and the ethic of voice as being instrumental in the fight against child abuse. Further, the texts exhibit a patriarchal, gendered and heteronormative conception of child abuse. Reception data shows that it is more plausible to think of media users' responses as being located along a continuum whose range spans compassion fatigue and an ethic of care. A typology of witnessing is used to capture readers' responses to the mediations of child abuse. The tabloid genre was found to be simultaneously enabling and disabling the successful activation of an ethic of care. The thesis concludes by advancing a dialectical view of mediation that explores the equivalences and ambivalences between the moments of production, text and reception.
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Karlsson, Nordqvist Rebekka. "Gender Roles Via Hedging in Children’s Films." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-16216.
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Smith, Sarah J. "Angels with dirty faces : children, cinema and censorship in 1930s Britain." Thesis, University of Strathclyde, 2001. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21168.
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Over the last two centuries, a succession of childhood pursuits has been blamed for deterioration in children's health, morality, education and literacy, as well as increases in juvenile delinquency, yet there has also been a constant voice in opposition to these charges. In Britain this debate reached something of a climax in the 1930s, due to the massive growth of cinema and its huge popularity with young people. This thesis aims to explore all aspects of the controversy surrounding children's cinemagoing in the thirties, with a particular focus on the mechanisms used to try and control or contain children's viewing, together with an assessment of the extent to which these mechanisms were successful. Its main arguments are that while concerns about child viewers motivated the development of film censorship practices in Britain and elsewhere, the debate is too complex and varied to be seen as a straightforward moral panic. In addition, it argues that, despite the attempts of the BBFC and others, children were essentially the regulators of their own viewing, as they frequently subverted or circumvented the largely ineffectual mechanisms of official cinema regulation. Moreover it suggests that, in a period when school, home and even leisure tended to be strong on discipline, the cinema was colonised by children as an alternative site of recreation. Matinees in particular were the birthplace of a new and somewhat subversive children's culture, which only started to be `tamed' with the introduction of more formal children's cinema clubs towards the end of the decade. Finally, the productive nature of the debate surrounding children, cinema and censorship is explored in a cases tudy of the 1930s MGM Tarzan films, which assesses the extent to which issues relating to the child audience may have helped to shape a genre.
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Mariush, Kristina. "Dutch Children´s Film : Mirrored Power Structures or Subjective Representation?" Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75428.
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This essay goes through the structures of discourse within Dutch children’s film with the aim of finding a pattern of progressions between the 1980s and the 2010s in the representation of youngsters. The theoretical framework is set by Michel Foucault’s The Order of Discourse.
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Theodosiou, Gabriella. "Mnemonic Techniques for Improving Young Children's Prose Learning: Providing versus Constructing Illustrations." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1141%5F1%5Fm.pdf&type=application/pdf.
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Krauss, William. "Children of the War." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/790.
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In 1948 post-war Berlin, a mother, whose son was stolen from her during the war, implicates the woman that the Nazis gave him to in a Soviet spy ring, but soon realizes that her son's adoptive mother might be able to give her son a better life than she can and her actions put him in mortal danger.
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Azad, Sehar Banu. "Lights, camera, accent examining dialect performance in recent children's animated films /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456287167/viewonline.
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Colombani, Elsa. "Contes gothiques, Tim Burton : de Vincent à Miss Peregrine’s Home for Peculiar Children." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100090.
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Le cinéma de Tim Burton se reconnaît par des codes thématiques et des images si aisément identifiables que le nom du cinéaste a donné naissance à l’adjectif « burtonien ». Que signifie au juste ce qualificatif ? Cette thèse se propose de démontrer que si la signature de Tim Burton est reconnaissable entre toutes, c’est qu’elle porte l’héritage des gothiques littéraire et cinématographique. Burton s’en empare pour les transformer, adoptant une double stratégie d’adhésion et d’inversion des tropes du genre. Afin de définir ce gothique burtonien, nous étudions dans un premier temps le croisement entre l’humain et le monstrueux, un questionnement directement hérité du Frankenstein de Mary Shelley et de son adaptation éponyme par James Whale en 1931. Nous analysons ensuite la géographie de l’espace burtonien et sa représentation d’une société cruelle et machinique dont les personnages doivent s’extraire pour survivre. L’art émerge comme un moyen de survie ambivalent qui nous mène à considérer la création artistique du cinéaste lui-même, bâtie comme les grandes œuvres gothiques sur un brouillage des frontières, entre la vie et la mort, le passé et le présent, le rêve et la réalitéThe films of Tim Burton can easily be recognized by their thematic codes and identifiable images so much so that the director’s very name has given birth to the adjective “Burtonian”. But what does it qualify exactly? This dissertation proposes to demonstrate that Burton’s signature is particularly recognizable because it inherits from gothic literature and film. Burton tackles and transforms gothic tropes using a double strategy of adherence and reversal. To define what we call the “Burtonian gothic”, we first study the crossing between the humane and the monstrous, an issue directly inherited from Mary Shelley’s Frankenstein and its film adaptation by James Whale in 1931. We analyze then the geography of the Burtonian landscape and its representation of a cruel and mechanical society from which the characters must escape to survive. Art emerges as an ambivalent means of survival which leads us to consider the artistic creation of the filmmaker himself, built like great gothic works on blurred frontiers, between life and death, past and present, dream and reality
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Wibawa, I. Gusti Agung Ketut Satrya. "The representation of children in Garin Nugroho’s films." Curtin University of Technology, School of Media, Culture and Creative Arts, Faculty of Humanities, 2008. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=128367.
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The image of the child has always been used for ideological purposes in national cinemas around the world. For instance, in Iranian cinema representations of children are often utilized to minimise the political risk involved in making radical statements, while in Brazilian and Italian cinemas children’s portrayal has disputed the idealized concept of childhood’s innocence. In Indonesian cinema, internationally acclaimed director Garin Nugroho is the only filmmaker who has presented children as the main focus of narratives that are oppositional to mainstream and state-sponsored ideologies. Yet, even though his films have been critically identified as key, breakthrough works in Indonesian cinema, no research so far has specifically focused on the representation of children in his films.Consequently, because Garin Nugroho has consistently placed child characters in central roles in his films, the discussion in this thesis focuses on the ideological and discursive implications of his cinematic depiction of children. With the central question regarding the construction of children’s identities in Garin’s films, the thesis analyzes in detail four of these films, dedicating an entire chapter to each one of them, and with the last one being specifically addressed in cinematic essay form. The films discussed are Surat untuk Bidadari (Letter to an Angel, 1993), Aku Ingin Menciummu Sekali Saja (2000), Rindu Kami Padamu (Of Love and Eggs,2004) and Daun di Atas Bantal (Leaf on a Pillow,1997).
The textual analysis of films that is carried out is framed by two key ideas: firstly, Garin’s position as an auteur and, secondly, the specific ways in which he deploys representations of children against mainstream discursive constructions in Indonesia. Following the argument that Garin has used a form of ‘strategic intervention’ to explore particular political issues in Indonesia (Hanan 2004), the thesis identifies ways in which Garin deconstructs children’s images and provides alternatives to dominant discourses on childhood in Indonesia. Through the analysis of selected films, the thesis reveals that while the identities of children are constructed in his films against the idealized image of Indonesian children, they are also utilized by him to convey more broadly his political views about Indonesia.
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Linden, Dianne. "Reel kids, pedagogical reflections on depictions of children in twentieth century Hollywood film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0021/MQ47142.pdf.
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Davidson, Rachael. "Traditional and Non-traditional Gender Role Stereotypes in Children’s Animated Films." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3977.
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As gender stereotypes could lead to adherence to rape myths later in life, it is important to study the potential development of gender role stereotypes. Based on the theoretical approach of Bandura’s social learning, this mixed methods study sought to expand the literature on children observing gender stereotypes through film viewing. A content analysis of verbal and body language of the highest grossing animated films between 2017-2019 was conducted. The results indicated that most main characters displayed both traditional and non-traditional gender role stereotypes, which is indicative of gender role flexibility. This shows promise that there could be a moderating affect with gender role flexibility, but further research is needed. However, the results found that there was no significant difference between the amount of gender role stereotypes across all the films. It was concluded that there is still a concern for children to be indoctrinated with traditional gender role stereotypes.
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Akers, Chelsie Lynn. "The Rise of Humor: Hollywood Increases Adult Centered Humor in Animated Children's Films." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3724.
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Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increased. Furthermore, this research shows that adult male roles consistently deliver the adult humor.
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Mönefors, Berntell Agneta. "Children's voice and participation in social welfare investigations." Thesis, Linköpings universitet, Tema Barn, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-133710.
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There is a principal consent both in the convention on the rights of the child, the Swedish social service act and in “Barns behov i centrum” (BBiC, similar to the British “Looking after children”, LAC) that children should participate and have an impact on matters that affect them in relation to their age and maturity. This thesis focus on how children’s voices are recorded in social welfare files and how their participation in the investigation is constructed. I have read the interviews and the social reports of ten children, conducted by social workers in a municipality in the outskirts of Stockholm. The children’s voices in the files are a secondary voice, they are the social worker’s interpretation of the interviews with the children. I have used thematic analysis in order to answer my research questions. The result shows that all children had been able to talk to the social worker and nearly all of them were informed about why there was an investigation. The children’s stories were valued as true by the social workers and they were referred as information givers. Most of them were only interviewed orally, without support from child adaptive methods. They had very limited impact on how the investigation were conducted, how their information would be used and on the choice of intervention.
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Low, Brian John. "NFB kids, portrayals of children by the National Film Board of Canada, 1939-1989." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0022/NQ38932.pdf.
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Landberg, Jessica, and Linnea Wilén. "Kalle och Chokladfabriken –En jämförelse mellan bok och film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-89876.
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Syftet med detta arbete är att genom boken och filmen Kalle och chokladfabriken, beskriva hur Willy Wonka framställs, och hur han kan relateras till Dahls liv. Vi undersöker även vilka normsystem som blir framträdande i båda medierna samt hur Oompa-Loompiernas låtar ändrar form och hur olika aspekter beskrivs. En norm är något som definieras enligt följande: ”[…] ett normsystem anger det normala mönster som individers handlingar bör överensstämma med” (Bergström, 1990). Genom de olika medierna vi analyserat har vi kommit fram till att det finns många aspekter som omarbetats vid filmatiseringen av boken. Vårt resultat visar oss att normerna som finns i boken och filmen är baserade på samhället karaktärerna lever i samt att Wonka framställs på olika sätt beroende på vem han talar med. Vårt resultat visar även att Oompa-Loompiernas låtar ändrar karaktär samt att omgivning och personer beskrivs på olika sätt beroende på mediet som förmedlar dessa. Arbetet avslutas genom en diskussion gällande relevansen för undervisning baserad på Kalle och chokladfabriken. Under diskussionen behandlas även Dahls påverkan på boken och filmens kontext samt dess relevans i skolundervisning. Enligt Martinsson och Reimers (2014) är diskussion av stor vikt för att eleverna ska få bästa förutsättningarna för lärande. För att alla elever ska få möjlighet att utvecklas måste de få variation i undervisningen. Detta kan ske genom diskussion gällande frågor inom exempelvis normer, ironi och fantasi. En kombinerad undervisning är enligt både Skolverket (2011) och Nemert och Rundblom (2004) det bästa sättet att lära sig på och därför blir undervisning med Kalle och chokladfabriken relevant.
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Hernandez, Nieto Luz Maria [Verfasser]. "What do cartoons tell children about science? A qualitative study of the representation of science and scientists in animated television series / Luz Maria Hernandez Nieto." Bielefeld : Universitätsbibliothek Bielefeld, 2016. http://d-nb.info/1107540615/34.
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Donofrio, Elaina C. "The Wonderful World of Gender Roles: A Look at Recent Disney Children’s Films." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3061.
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Thesis advisor: Lisa CuklanzFor my Communication Honors Program thesis for Boston College, I plan to analyze gender roles and how gender is constructed in recent children’s films produced by Disney. Since the Disney Corporation is so prominent in today’s culture and thus influential to its audience, this topic of study is very important. It impacts many people including its main target audience—children. Existing research proves that children develop their gender schemata early in life. Furthermore, the media they interact with influences children and their concepts of gender. Therefore, the way that Disney portrays gender in its children’s movies is worth analyzing since it can impact the way children develop and view gender and stereotypes
Thesis (BA) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: College Honors Program
Discipline: Communication
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Cox, Rachel E. "Plasticity in Animated Children’s Cartoons: The Neoliberal Transforming Bodies and Static Worlds of OK KO and Gumball." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7769.
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Through the study of OK KO! Let’s Be Heroes! and The Amazing World of Gumball, I argue that children’s cartoons represent and recreate anxieties toward money’s plasticity in the plasticity of the cartoon bodies and worlds. I closely examine the ambivalence towards abstraction’s plasticity in contemporary children’s cartoons to trace the neoliberal ambivalence towards money’s plasticity. While much scholarship has grappled with what can be understood as animatic plasticity, very little of it takes on the questions raised about neoliberal culture by televised children’s cartoons. Cartoons are important to study in this respect because their form allows for unbridled plasticity. Cartoons provide the artists with the freedom to create characters and worlds that are as bound or unbound to our world’s norms and natural laws, unlike in other live action moving media. It combines this with the dynamic, temporal component of moving image media. Unlike a surreal painting, cartoons are capable of dynamic movement and transformation, even in their non-moving image form as comics. However, this plastic dynamism is most fully realized in the animated form, as the characters are capable of movement and change regardless of the viewers’ presence. Contemporary cartoons like OK KO and Gumball asymmetrically mobilize this plasticity by rendering the characters’ bodies as highly plastic while presenting their worlds as comparatively static. This aesthetic practice suggests that the world cannot be reshaped for a variety of reasons, so the only thing that individuals can do is try to change themselves as necessary to accommodate it. Thus, what at first blush looks like a celebration of plasticity is in reality a celebration of mere flexibility, which enables and perpetuates neoliberal power structures. Yet these same shows simultaneously challenge the neoliberal aesthetic project in their hyper-mobilization of non-diegetic plasticity. When the shows mobilize their plasticity in a way that is not narratively impactful, such as through cutaways, inserts, or other asides, the plasticity is instead framed as comedic and thus enjoyable. This suggests that while presenting character and world plasticity as equally valid would be natural next step for animated aesthetics, the major limitation contemporary animation faces is in reality the uneven treatment of diegetic and non-diegetic plasticity.
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Rubenthaler, Steve. "Unobtrusive ballistocardiography using an electromechanical film to obtain physiological signals from children with autism spectrum disorder." Kansas State University, 2014. http://hdl.handle.net/2097/18287.
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Master of ScienceDepartment of Electrical and Computer Engineering
Steven Warren
Polysomnography is a method to obtain physiological signals from individuals with potential sleep disorders. Such physiological data, when acquired from children with autism spectrum disorders, could allow caregivers and child psychologists to identify sleep disorders and other indicators of nighttime well-being that affect their quality of life and ability to learn. Unfortunately, traditional polysomnography is not well suited for children with autism spectrum disorder because they commonly have an aversion to unfamiliar objects – in this case, the numerous wires and electrodes required to perform a full polysomnograph. Therefore, an innovative, unobtrusive method for gathering relevant physiological data must be designed. This report discusses several methods for obtaining a ballistocardiogram (BCG), which is a representation of the ballistic forces created by the heart during the cardiac cycle. A ballistocardiograph design is implemented using an electromechanical film placed under the center of a bed sheet. While an individual sleeps on the bed, the circuitry attached to the film extract and amplify the BCG data, which are then streamed to a computer through a LabVIEW interface and stored in a text file. These data are analyzed with a MATLAB algorithm which uses autocorrelation and linear predictive coding in the time domain to sharpen the signal. Frequency-domain peaks are then extracted to determine average heart rate every ten seconds. Initial tests involved four participants (student members of the research team) who laid in four positions: on their back, stomach, right side, and left side, yielding 16 unique data sets. Each participant laid in at least one position that allowed for accurate tracking of heart rate, with seven of the 16 signals demonstrating heart rates with less than 2% error when compared to heart rates acquired with a commercial pulse oximeter. The stomach position appeared to offer the lowest total error, while lying on the right side offered the highest total error. Overall, heart rates acquired from this initial set of participants exhibited an average error of approximately 2.5% for all four positions.
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De, Los Reyes Lozano Julio. "La traduction du cinéma pour les enfants : une étude sur la réception." Thesis, Reims, 2015. http://www.theses.fr/2015REIML014/document.
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L’objet d’étude de cette thèse de doctorat est la traduction audiovisuelle et concerne plus particulièrement la réception du doublage par le destinataire « spécial » du corpus analysé, l’enfant. Le sous-titre du travail –une étude sur la réception– révèle son caractère empirique et expérimental, dont l’objectif principal est d’analyser empiriquement la réaction du jeune public face à des solutions de traduction qui viennent régulièrement adoptées dans les doublages du cinéma d’animation. L’utilisation de certaines stratégies et techniques de traduction peuvent se rapprocher ou s’éloigner du récepteur : on cherchera à évaluer dans quelle mesure celles-ci facilitent leur compréhension, lui font rire ou pleurer et, finalement, lui amusent. Le succès d’un long-métrage pour enfants n’est aperçu aujourd’hui qu’à travers les entrées au box-office et les ventes des films sur le marché vidéo des DVD, Blu-Ray et VOD. Afin de combler ce manque, nous avons décidé de mener à bien une expérience auprès d’enfants auxquels nous avons projeté quelques extraits de long-métrages doublés en espagnol. Ils ont ensuite rempli un questionnaire apte à leur stade de développement cognitif, nous aidant à déterminer quelles informations les participants ont-ils acquises en regardant les films. On cherchera ainsi à mieux connaître la répercussion des choix de traduction les plus habituels chez les traducteurs audiovisuels de films d’animation pour enfantsAudiovisual Translation is the main subject of study of this research, evaluating more particularly the reception of dubbing by a “special” audience of the analyzed corpus, the child. The subtitle of the work –end user perception– reveals its empirical and experimental nature, our main goal being to empirically analyze the reaction of young people to some of the translation’s choices regularly adopted in dubbing animated films. Certain translation strategies and techniques may be used to reach or repel the audience: we will try to examine how they help understanding, make laugh or cry, and ultimately entertain the child.Nowadays, the only way to know if a children film is successful is by checking theaters’ box office and DVD, Blu-ray and VOD sales. In order to fill this gap, we have decided to perform an experiment with children which include the screening of some film clips dubbed in Spanish. Then, they have completed a specific questionnaire adapted to their cognitive development, which helped us to determine the information learned by the experience’s through the film. We thus seek to better understand the impact of the translation’s choices frequently made by audiovisual translators of animated films for children
La presente tesis doctoral centra su atención en el estudio de la traducción audiovisual, concretamente en el ámbito de la recepción del doblaje por parte de un destinatario final especial, el niño. El subtítulo del trabajo –un estudio de recepción– revela el carácter empírico y experimental del mismo, pues se pretende analizar empíricamente la reacción del público infantil ante algunas soluciones de traducción que se adoptan habitualmente en el cine de animación. El empleo de ciertas estrategias y técnicas de traducción pueden conllevar un acercamiento o alejamiento del producto al receptor, y no sabemos en qué medida éstas facilitan la comprensión, hacen reír o llorar y, en última instancia, entretienen.Hoy en día sólo podemos inferir el éxito de un largometraje para niños, y de su doblaje, a través de su recaudación en taquilla y de las posteriores ventas en el mercado doméstico de DVD, Blu-Ray y plataformas de vídeo por Internet. Con objeto de arrojar luz sobre este ámbito, se ha diseñado un experimento que muestra la reacción de los espectadores infantiles ante un estímulo audiovisual traducido, utilizando como sistema de evaluación un cuestionario adaptado a su desarrollo cognitivo. De este modo, se pretende obtener información acerca de la repercusión de las opciones traductológicas por las que suelen decantarse los traductores audiovisuales de películas de animación para niños
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Klinger, Lori Jean Brestan Elizabeth V. "What are your children watching? a DPICS-II analysis of parent-child interactions in television cartoons /." Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Fall/Dissertations/KLINGER_LORI_42.pdf.
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Krivda, Lynn Ann. "Beliefs Regarding Confidentiality Amongst Parents and Children Receiving Counseling Through A School-Based Mental Health Clinic." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1298%5F1%5Fm.pdf&type=application/pdf.
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