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Journal articles on the topic 'Children's Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 April 2022

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1

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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6

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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8

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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9

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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11

Aisbett, Kate. "Production of Australian Children's Drama: Is There a Future?" Media International Australia 93, no. 1 (November 1999): 41–50. http://dx.doi.org/10.1177/1329878x9909300106.

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To mark the twentieth anniversary of the introduction of the children's programs classification scheme (1979–99), the Australian Broadcasting Authority, the Australian Children's Television Foundation and the Australian Film Finance Corporation commissioned a joint research project on C classification programs. The research investigated trends in programming over the 20 years of the classification scheme and current issues related to the financing of children's programs. This paper explores current developments in the production and broadcast of children's television in Australia and the place of regulation in facilitating the community's desire for quality Australian children's programs.

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12

Septianti, Fitria, and Nur Hafidz. "Strengthening Children’s Religious And Moral Values In Shamil And Dodo Cartoon Film." Child Education Journal 3, no. 1 (May 25, 2021): 64–77. http://dx.doi.org/10.33086/cej.v3i1.2109.

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The current era of education for children is experiencing a moral crisis in the aspects of religious and moral development. Religious and moral values of children will be formed through interaction and environmental responses to an active five-sensory performance system. Cartoon films are a strategy for developing children's creativity. By presenting imaginative, interactive, and fun story events through the behavior and attitudes of the characters in cartoon films. The cartoon film Syamil and Dodo became a cartoon film by NCR Production which was made to educate children because it was rich in Islamic educational values and religious and moral values which were suitable to stimulate early childhood. The problem in this research is: "How is the strengthening of religious and moral values in the cartoon film Syamil and Dodo?". The research analyzes the strengthening of religious and moral values in the cartoon film Syamil and Dodo. This type of research is library or Library Research using the cartoon film Syamil and Dodo as the primary data source in this study. Meanwhile, secondary data were obtained from journals, books, and previous thesis. The data collection technique in this research is documentation by observing footage from the cartoon film Syamil and Dodo. Based on the research conducted by the author, the cartoon film Syamil and Dodo is a cartoon film suitable for watching early childhood, the film contains religious and moral educational values for children aged 4-6 years. Strengthening the Syamil and Dodo cartoons can be a medium to reflect and actualize how to properly instill religious and moral values for children in the scope of family and school education.

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13

Roberts, Andrew. "Robert Shail, The Children's Film Foundation: History and Legacy." Journal of British Cinema and Television 14, no. 3 (July 2017): 394–96. http://dx.doi.org/10.3366/jbctv.2017.0380.

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14

Flanagan, Victoria. "Animality and Children's Literature and Film. By Amy Ratelle." International Research in Children's Literature 9, no. 1 (July 2016): 100–102. http://dx.doi.org/10.3366/ircl.2016.0186.

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Hoffner, Cynthia, and Joanne Cantor. "Factors affecting children's enjoyment of a frightening film sequence." Communication Monographs 58, no. 1 (March 1991): 41–62. http://dx.doi.org/10.1080/03637759109376213.

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16

Russell, David L. "You're Only Young Twice: Children's Literature and Film (review)." Lion and the Unicorn 25, no. 3 (2001): 436–41. http://dx.doi.org/10.1353/uni.2001.0036.

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Fraustino, Lisa Rowe. "Animality and Children's Literature and Film by Amy Ratelle." Lion and the Unicorn 41, no. 3 (2017): 409–12. http://dx.doi.org/10.1353/uni.2017.0036.

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18

Michel, Eva, and Claudia M. Roebers. "Children's knowledge acquisition through film: influence of programme characteristics." Applied Cognitive Psychology 22, no. 9 (December 2008): 1228–44. http://dx.doi.org/10.1002/acp.1431.

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Sedney, Mary Anne. "Maintaining connections in children's grief narratives in popular film." American Journal of Orthopsychiatry 72, no. 2 (2002): 279–88. http://dx.doi.org/10.1037/0002-9432.72.2.279.

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20

Eisenberg, Nancy, Richard A. Fabes, Ivanna K. Guthrie, Bridget C. Murphy, Pat Maszk, Robin Holmgren, and Karen Suh. "The relations of regulation and emotionality to problem behavior in elementary school children." Development and Psychopathology 8, no. 1 (1996): 141–62. http://dx.doi.org/10.1017/s095457940000701x.

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AbstractThe relations of regulation and emotionality to elementary school children's problem behavior was examined. Parents and teachers reported on children's problem behavior. One parent and teachers rated children on various measures of regulation (including resiliency) and emotionality; children's baseline heart rate and facial reactivity were assessed; and physiological and facial distress and gaze aversion while viewing a distress film sequence were measured. In general, low regulation, negative emotionality, and general and positive emotional intensity predicted problem behaviors. Teachers' reports of negative emotionality and regulation interacted in their relation to problem behaviors, with regulation apparently buffering the effects of moderate and high negative emotionality. Baseline heart rate and facial distress were related to low levels of problem behavior, and gaze aversion during the distress film segment was associated with low levels of problem behavior.

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Koyama, Reiko, Yuwen Takahashi, and Kazuo Mori. "ASSESSING THE CUTENESS OF CHILDREN: SIGNIFICANT FACTORS AND GENDER DIFFERENCES." Social Behavior and Personality: an international journal 34, no. 9 (January 1, 2006): 1087–100. http://dx.doi.org/10.2224/sbp.2006.34.9.1087.

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A newly developed questionnaire revealed that there are four factors in adults' perception of children's cuteness: childlike behavior, children's imitation of adults, adults' protective feeling toward children, and children's physical attributes. Eighty-four childless undergraduates and 72 adults with at least one child watched a film of a five-year-old boy and girl dressed either in boyish clothes or girlish, and then assessed their cuteness using the questionnaire. The results showed that participants rated equally their feeling of children's cuteness regardless of having or not having their own children. Among the four factors of cuteness, childlike behavior seemed to operate most strongly.

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Conrich, Ian. "Kitchen Cinema: Early Children's Film Shows in London's East End." Journal of British Cinema and Television 2, no. 2 (November 2005): 290–98. http://dx.doi.org/10.3366/jbctv.2005.2.2.290.

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Ayun, Primada Qurrota. "REPRESENTASI SUKU PAPUA DALAM NARASI FILM ANAK." SOSFILKOM : Jurnal Sosial, Filsafat dan Komunikasi 14, no. 01 (December 7, 2020): 31–38. http://dx.doi.org/10.32534/jsfk.v14i01.1512.

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Film merupakan salah satu media massa, fungsi dari media massa adalah menyampaikan informasi dan sebagai media pendidikan. Film anak, secara tidak langsung mampu menghadirkan sebuah representasi, penggambaran terhadap realitas melalui narasinya.. Film “Denias - Senandung di Atas Awan” dan “Di Timur Matahari”, merupakan film yang mencoba menggambarkan representasi Suku Papua. Teori yang digunakan di dalam penelitian ini adalah Materialist Film Theory by Siegfried Kraucauer dan Representation of Stuart Hall. Penelitian ini merupakan penelitian kualitatif dengan menggunakan naratif teks milik Murphet dan alur cerita milik Stanton. Hasil dari penelitian ini menunjukkan bahwa Suku Papua direpresentasikan sebagai sosok masyarakat yang termarginalkan, minoritas, bersifat etnosentris, dan berbeda dengan suku yang lain di Indonesia. Namun, Alenia Picture berusaha menawarkan hadirnya sosok Suku Papua yang baru, yaitu suku yang terbuka, diperhatikan dan mendapatkan hak berupa pendidikan serta kehidupan yang damai. Film is one of the mass media, the function of the mass media is to convey information and as a medium of education. Children's films, are indirectly able to present a representation, a depiction of reality through its narrative. The films "Denias - Senandung di Atas Awan" and "Di Timur Matahari", are films that try to portray the representation of the Papuan Tribe. The theory used in this research is Materialist Film Theory by Siegfried Kraucauer and Representation of Stuart Hall. This research is a qualitative research using Murphet's narrative text and Stanton's storyline. The results of this study indicate that the Papuan ethnic group is represented as a marginalized, minority, ethnocentric society, and is different from other ethnic groups in Indonesia. However, Alenia Picture tries to offer the presence of a new Papuan ethnic figure, a tribe that is open, cared for and has rights in the form of education and a peaceful life.

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Gemie, Sharif, and Louise Rees. "Representing and Reconstructing Identities in the Postwar World: Refugees, UNRRA, and Fred Zinnemann's Film,The Search(1948)." International Review of Social History 56, no. 3 (July 8, 2011): 441–73. http://dx.doi.org/10.1017/s0020859011000198.

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SummaryThis article analyses Fred Zinnemann's 1948 film,The Search, setting in the context of displaced persons in post-1945 Europe. We concentrate on Zinnemann's treatment of the United Nations Relief and Rehabilitation Administration (UNRRA), arguing that this is central to the film. We also consider the film's references to Americanism, Zionism, gender equality, and children's wartime experiences.

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Noviana, Fajria. "Adaptasi Cerpen Chuumon no Ooi Ryouri Ten Karya Miyazawa Kenji Menjadi Anime Karya Shibuichi Setsuko." Japanese Research on Linguistics, Literature, and Culture 1, no. 1 (November 27, 2018): 1–15. http://dx.doi.org/10.33633/jr.v1i1.2131.

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This paper is the result of a qualitative descriptive type of literature study. The purpose of this study was to describe what changes Shibuichi Setsuko made in the Chuumon no Ooi Ryouri Ten anime as an adaptation work from Miyazawa Kenji's children's short story with the same title. In addition, it also describes what pedagogical values are contained in this adaptation work. The method used is a comparative method to compare the anime version of the Chuumon no Ooi Ryouri Ten narrative with the short story intrinsic element. Meanwhile, based on the four main points of teaching Seikatsuka or life environment studies that applied in Japanese elementary schools, pedagogical values of this anime can be reveal. As a result of the analysis of Shibuichi Setsuko's creative adaptation, four changes were found in the anime version. The four changes lie in the number of characters, characterizations, plot stages, and location setting. Whereas as a result of the analysis of pedagogical values, it is known that this anime fulfills the four main points of the Seikatsuka. This is parallel with Altman's assumption about children's films which suggest that children's film viewers are expected to get teaching, morality, and understanding of identity as a pedagogical experience to improve the quality of life from what they watch. Keywords: adaptation, anime, children's short stories, pedagogical values

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Williams, Bruce. "Two Degrees of Separation: Xhanfise Keko and the Albanian Children's Film." Framework: The Journal of Cinema and Media 54, no. 1 (2013): 40–58. http://dx.doi.org/10.1353/frm.2013.0000.

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Bruce Williams. "Two Degrees of Separation: Xhanfise Keko and the Albanian Children's Film." Framework: The Journal of Cinema and Media 54, no. 1 (2013): 40. http://dx.doi.org/10.13110/framework.54.1.0040.

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RITTER, GRETCHEN. "Silver Slippers and a Golden Cap: L. Frank Baum's The Wonderful Wizard of Oz and Historical Memory in American Politics." Journal of American Studies 31, no. 2 (August 1997): 171–202. http://dx.doi.org/10.1017/s0021875897005628.

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L. Frank Baum's The Wonderful Wizard of Oz was an instant success when it was published in 1900. Baum's quirky and imaginative tale of the girl from Kansas and her friends was complemented by W. W. Denslow's accomplished illustrations to produce the best-selling children's story of the 1900 Christmas season. After years of failed endeavors, the book brought Frank Baum personal prosperity. It also launched a long-lived and highly successful series of children's books based on the Oz theme. There were theatrical and cinematic productions as well, the most famous of which was MGM's 1939 film The Wizard of Oz starring Judy Garland. Indeed, the film eventually came to displace the original Oz tale as the work to which imitators referred. But the books, and especially the first book, continue to have a popular presence among lovers of Oz.

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Kreider, Tim. "A.I.: Artificial Intelligence." Film Quarterly 56, no. 2 (2002): 32–39. http://dx.doi.org/10.1525/fq.2002.56.2.32.

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What makes A.I. Steven Spielberg's most interesting work is that it's the first of his movies to be both a children's film and a film for adults. The story for children is the one the narrator tells——Pinocchio all over again. But the story for adults is about hopeless attachments and self-delusion; every character is obsessed with the image of a lost loved one, and tries to replace that person with a technological simulacrum. It's also a film about human brutality, callousness, and greed. This is a story not about a boy who becomes human, but about the death of humanity.

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Hinkins, Jillian. "‘Biting the hand that feeds’: Consumerism, Ideology and Recent Animated Film for Children." Papers: Explorations into Children's Literature 17, no. 1 (May 1, 2007): 43–50. http://dx.doi.org/10.21153/pecl2007vol17no1art1205.

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It is the intention of this paper to explore the impact of consumerism on recent children's animated film, with a particular emphasis on some of the ways in which the medium is constructed in order to sell itself, and the effect that ideologies of consumption can be seen as having on the ideologies both embedded in and overtly conveyed through filmic texts in general and including a close analysis of Dreamworks' 2006 animated film Over the Hedge.

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Agustian, Jaka Farih, and Budi Irawanto. "STUDI RESEPSI MANTAN ANAK JALANAN TERHADAP FILM ALANGKAH LUCUNYA NEGERI INI." Capture : Jurnal Seni Media Rekam 9, no. 2 (July 27, 2018): 27. http://dx.doi.org/10.33153/capture.v9i2.2106.

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<p>Social problems in the aspect of street children in Indonesia is still difficult to solve. The Data 2017 issued by the Minister of Social Khofifah Indar Parawansa said there are 4.1 million Indonesian children who are displaced and need protection. Thus, various media attempts to provide criticisms about social conditions in Indonesia, especially through the construction of street children's films. Film of Alangkah Lucunya Negeri Ini describes social problems of street children happening in Indonesia. This study aims to explain how the reception of exformer street children in watching the film Alangkah Lucunya Negeri Ini using the method of reception proposed by Stuart Hall, namely the concept of dominant hegemony, negotiation, and opposition. The results show that informant receptions arise due to different social and cultural dimensions in life as street children in the past. The informants also made the film Alangkah Lucunya Negeri Ini as reflection based on life experience. Thus, the presence of the film gives negative stigma of street children in social relations of society. Scene of film also brings the informant to feel the pleasure of watching that is expressed through both entertaining and emotional forms. Meanwhile, audience also responded activelly to the construction of street children films in social, educational, and religious discourse. Informants who are in the dominant code express their interest in film programs motivated by behavior and social experience as street children. While informants who are in a negotiating position try to be adaptive in adjusting the message in the film, but also have an attitude of opposition as a form of rejection. While the informants who placed themselves in the opposition expressed a different attitude to the construction offered in the film program. There is an element of discomfort with the presence of street children movies in their lives.</p><p><strong>Keywords</strong>: Reception studies, social film of street children, exformer street children, audience active</p>

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Woronov, T. E. "Little Friends: Children's Film and Media Culture in China. Stephanie Hemelryk Donald." China Journal 55 (January 2006): 219–21. http://dx.doi.org/10.2307/20066165.

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Kidd, Kenneth. "Ways of Being Male: Representing Masculinities in Children's Literature and Film (review)." Lion and the Unicorn 27, no. 3 (2003): 433–36. http://dx.doi.org/10.1353/uni.2003.0034.

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Kostyrka-Allchorne, Katarzyna, Nicholas R. Cooper, Anna Maria Gossmann, Katy J. Barber, and Andrew Simpson. "Differential effects of film on preschool children's behaviour dependent on editing pace." Acta Paediatrica 106, no. 5 (February 26, 2017): 831–36. http://dx.doi.org/10.1111/apa.13770.

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Kristanto, Wisnu. "PENGEMBANGAN FILM PENDEK BERBASIS KARAKTER PADA ANAK USIA DINI." JPUD - Jurnal Pendidikan Usia Dini 12, no. 1 (April 30, 2018): 175–89. http://dx.doi.org/10.21009//jpud.121.15.

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This study aims to develop a character-based short film that is played by early childhood. The research method of developing the video media of this character study uses the R & D stage of Dick and Carey which is taken in 10 stages. Based on data analysis in field test, it shows that t-hitung is smaller than t-table (0.75> 2.110). Thus Ho is rejected and Ha accepted. The results show that there is a significant difference between the experimental class and the control class that using character-based film media can improve children's moral and religious abilities. Early childhood conclusions using Audio-Visual Media (FILM) are more interested and more motivated to follow lessons, especially in terms of moral and religious values (based on the basis of film, character) Key words: Medium short films, Characters, early childhood Penelitian ini bertujuan mengembangkan sebuah film pendek berbasis karakter yang dimainkan oleh anak usia dini. Metode penelitian dan pengembangan media video pembelajaran karakter ini menggunakan siklus tahapan R & D dari Dick dan Carey yang di tempuh dalam 10 tahap. Berdasarkan analisa data dalam uji lapangan, menunjukkan bahwa Thitung lebih kecil dari pada ttabel (0.75>2.110). Dengan demikian Ho ditolak dan Ha diterima. Hasil menujukkan terdapat perbedaan secara signifikan antara kelas experimen dan kelas control bahwa dengan menggunakan media film berbasis karakter ini dapat meningkatkan kemampuan anak-anak dalam bidang moral dan agama. Kesimpulan anak usia dini yang menggunakan Media Audio Visual (FILM) lebih tertarik dan lebih termotivasi untuk mengikuti pelajaran, terutama dalam aspek nilai moral dan agama (sesuai dengan basis dari film karakter). Kata Kunci: Media film pendek, Karakter, Anak usia dini

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Gliserman, Dana. "Beyond adaptation: the need for literary criticism in the reading of children's film." Lion and the Unicorn 20, no. 2 (1996): 293–95. http://dx.doi.org/10.1353/uni.1996.0018.

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Toropova, Anna. "Science, Medicine and the Creation of a ‘Healthy’ Soviet Cinema." Journal of Contemporary History 55, no. 1 (March 27, 2019): 3–28. http://dx.doi.org/10.1177/0022009418820111.

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Cinema had long been hailed by Bolshevik party leaders as a crucial ally of the Soviet mass enlightenment project. By the mid-1920s, however, Soviet psychologists, educators and practitioners of ‘child science’ (pedology) were pointing to the grave effects that the consumption of commercial cinema was exerting on the physical, mental and moral health of Soviet young people. Diagnosing an epidemic of ‘film mania’, specialists battled to curtail the NEP-era practices of film production and demonstration that had rendered cinema ‘toxic’ to children. Campaigns to ‘healthify’ Soviet cinema, first manifesting in the organization of child-friendly screenings and forms of ‘cultural enlightenment work’, soon extended to attempts to develop a new children's film repertoire based on the results of psycho-physiological viewer studies. A vast variety of pedological research institutions established during the late 1920s and early 1930s began to experimentally test cinema's effects on children with the view of assisting the production of films that could cultivate a sound mind and body. Tracing a link between the findings of pedological viewer studies and the ‘healthy’ cinema championed in the 1930s, this article sheds light on the vital role played by medical and scientific expertise in shaping Stalinist culture.

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Pearce, Laura J., and Andy P. Field. "The Impact of “Scary” TV and Film on Children's Internalizing Emotions: A Meta-Analysis." Human Communication Research 42, no. 1 (May 13, 2015): 98–121. http://dx.doi.org/10.1111/hcre.12069.

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Agajanian, Rowana. "‘Just for Kids?’: Saturday morning cinema and Britain's children's film foundation in the 1960s." Historical Journal of Film, Radio and Television 18, no. 3 (August 1998): 395–409. http://dx.doi.org/10.1080/01439689800260251.

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Leak, Jeffrey B. "Ways of Being Male: Representing Masculinities in Children's Literature and Film (review)." Children's Literature Association Quarterly 29, no. 3 (2004): 278–80. http://dx.doi.org/10.1353/chq.0.1500.

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Stephens, John. "Children as Filmmakers: Well-Being, Social Ecology, and Cognitive Mapping in Delhi at Eleven." International Research in Children's Literature 15, no. 1 (February 2022): 79–92. http://dx.doi.org/10.3366/ircl.2022.0432.

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Delhi at Eleven, a compendium of four short films made with video cameras by eleven-year-old Indian schoolchildren in 2012, is filmed from a child's perspective – literally, in the low positioning of the single camera, and mentally, in the nature of the close attention paid to the details of events and relationships. The films create strikingly individual images of the filmmakers' world and offer sharply observed comments on the restrictions upon subjective agency and well-being in children's lives. The children were given limited training in how to make a film and completed some exercises designed to encourage them to think about the nature of a shot, framing, sequence, order, and structure. They received some mentoring in selecting footage to include and exclude. My discussion here explores the interrelationship of cognitive mapping, social ecology, and cinematic space in these films. These four films offer perspectives on urban livelihoods, marginality, class, gender, kinship, household economy, poverty, and modernity, and are thus particularly informative about how children can map their society.

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Miller, Carl F. "‘Worth Melting For’: The Legacy of Difference and Desire in Hans Christian Andersen's ‘The Snowman’." International Research in Children's Literature 10, no. 2 (December 2017): 162–77. http://dx.doi.org/10.3366/ircl.2017.0235.

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While Walt Disney's Frozen (2013) has been prominently cited for its connection to Hans Christian Andersen's ‘The Snow Queen’ (1845), perhaps just as intriguing is the film's relationship with Andersen's lesser-known story ‘The Snowman’ (1861) – a work influenced by his desired (and doomed) relationship with Harald Scharff, a well-known dancer thirty years his junior. This article analyses Andersen's complicated usage of the snowman to illustrate alterity and inevitability, while also presenting a brief overview of the snowman's subsequent utilisation as an allegorical construct for taboo desire in international children's literature and film. ‘The Snowman’ offers a tragic resolution to the duelling concepts of difference and desire present in Andersen's own biography, and its dialectic of reality and utopia provides an existential model for the snowman's subsequent application in children's media.

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Garcia, Luana Santos Nogueira, and Maritza Maciel Castrillon Maldonado. "A (des)Construção da Concepção Hegemônica da Infância: um Estudo do Filme Alice no País das Maravilhas." Revista de Ensino, Educação e Ciências Humanas 19, no. 4 (December 30, 2018): 398. http://dx.doi.org/10.17921/2447-8733.2018v19n4p398-402.

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Este trabalho se insere em um projeto de pesquisa da Universidade do Estado de Mato Grosso denominado: “Cinema, Infâncias e Diferença: problematizando a educação, o cotidiano da escola e o currículo”. Tendo como objetivo discutir a influência do filme: Alice no país das maravilhas (1951) para entender como esta obra cinematográfica esfacela, desmonta e descontrói a idealização de infância. Ainda, se apoia no pensamento de Deleuze (2007) para demonstrar que a vida real é cheia de paradoxos, que fogem da lógica, carregando antagonismos, produzindo múltiplos sentidos e desencadeando diferentes representações. O trabalho tem como proposta metodológica a pesquisa bibliográfica e o estudo reflexivo sobre o filme de Tim Burton. Os resultados deste estudo permitem problematizar e pensar diferentes “concepções” de infância já colocadas e instituídas, que (des)compõe o sentido real de ser criança. Palavras-chave: Literatura Infantil. Infância. Paradoxos. AbstractThis work is part of a research project of Universidade do Estado de Mato Grosso denominated “Cinema, Childhood and Difference: questioning education, school everyday and the curriculum”. In order to discuss the influence of the film Alice in the Wonderland (1951) to understand how this film destroys , disassembles, deconstructs the idealization of childhood. Also, it corroborates the thought of Deleuze (2007) to demonstrate that real life is full of paradoxes that are out of logic, carrying antagonisms, producing multiple senses and triggering different representations. The work has as methodological approach the bibliographical research and the reflective study on the Tim Burton’s film. The results of this study allow to problematize and think about different “conceptions” of childhood already placed and imposed that (des) composes the real sense of being a child. Keywords: Children's Literature. Childhood. Paradoxes.

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Kostetskaya, Anastasia. "A New Book About Soviet Children's Literature and Cinema: Review Of: Comrade of Soviet Children's Literature and Cinema. Edition Olga Voronina. Leiden and Boston: Brill, 2020." Children s Readings Studies in Children s Literature 17 (2020): 343–51. http://dx.doi.org/10.31860/2304-5817-2020-1-17-343-351.

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Park, So-Jin. "Mothers Are Not Obtainable with Magic: The Uncanny and the Construction of Orphan Children's Desires in Yim Pil-Sung'sHansel and Gretel." International Research in Children's Literature 8, no. 1 (July 2015): 61–74. http://dx.doi.org/10.3366/ircl.2015.0149.

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Employing the main motifs of the Grimms' version, Yim Pil-Sung's Hansel and Gretel explores the trauma that three orphans suffered in their experiences at an orphanage. The orphans' circumstances represent the symbolic dimensions of desertion, isolation and deprivation, while the children are also provided with extraordinary magic power. This dual construction of the orphans' situation generates the uncanny, which reveals something hidden underneath what is seen on the surface. What is buried is the trauma of abandonment and violence, and the ‘Happy Children's Home’ in the forest is where all the main characters face their traumatic past. The uncanny is also created by the children's surprising and thus disturbing power, which subverts the normal and familiar reality by which adults usually hold power over children. The children's power is ironic, in that it is unlimited to satisfy their material deprivation, yet so powerless and limited in that it cannot provide them with their ultimate need – parental love. While this film seems to construct the orphans' absolute need of parental love and the damage to their personalities without it, it is also a thought-provoking metaphor about the long journey of recovery from repressed childhood trauma.

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basis.v5i2.776.

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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basisupb.v5i2.776.

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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.

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Subbotsky, Eugene, and Elizabeth Slater. "Children's Discrimination of Fantastic VS Realistic Visual Displays after Watching a Film with Magical Content." Perceptual and Motor Skills 112, no. 2 (April 2011): 603–9. http://dx.doi.org/10.2466/10.11.pms.112.2.603-609.

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Williams, Maggie Griffith, and Jenny Korn. "Othering and Fear." Journal of Communication Inquiry 41, no. 1 (July 24, 2016): 22–41. http://dx.doi.org/10.1177/0196859916656836.

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Television is a significant socialization tool for children to learn about their social worlds. The children's brand, Thomas & Friends, targets preschool audiences with manifest messages about friendship and utility as well as troubling, latent messages about race, ethnicity, and difference. Through critical visual and verbal discursive analyses of the film, Hero of the Rails, we expose Thomas & Friends' investment in racial hierarchies despite its broader message of friendship. We identify four ways that Hiro is “othered” in the film: (1) his glamorized description as “strange,” (2) his consistently heavily accented voice, (3) his Japanese origin story, and (4) his pigmentation and powerlessness. Using theories of “othering,” we argue that the representation of cultural difference to the preschooler audience is fearful and propagates racist discourses of yellow peril and Orientalism.

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Hasbullah, Hasbullah, and Gede Pasek Putra Adnyana Yasa. "MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”." Jurnal Bahasa Rupa 3, no. 2 (April 17, 2020): 124–29. http://dx.doi.org/10.31598/bahasarupa.v3i2.460.

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The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature study. Theories used as analysis are semiotics and postmodern aesthetic codes. The results of this study indicate that the meaning of the visual code in the animated film scene "Battle of Surabaya" namely: in the first scene, the action or action of the Indonesian government declared independence from the Dutch East Indies government as an act of the past that needed to be made; the scene is explaining the rejection of Indonesian independence, this action as the style of an animator in the sequence before and next; the final scene depicts the action of the main character (Musa) who unites the storyline sequence of the animated film "Battle of Surabaya", one of which implements the cultural value of please help as an act of popularizing Indonesian culture.

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