Children's Media

The main idea of this article is to consider internet platforms as a special form of studying foreign language. This article presents the internet platforms as different modes of education and include numerous creative teaching methodology and techniques.

Kinder zeichnen schon sehr lange. Und es ist schwer vorstellbar, dass sie es nicht in jeder Kultur getan haben, die den allgemeinen Gebrauch von Ritzinstrumenten oder Stiften und Formen der bildlichen Repräsentation kannte. Dennoch ist die ›Entdeckung‹ der Kinderzeichnung ein genuin modernes Phänomen. Seit dem 16. Jahrhundert ist ein Interesse der professionellen Maler am Phänomen Kinderzeichnung nachweisbar, aber erst in den 1880er Jahren werden die graphischen Versuche der Kinder zum Gegenstand wissenschaftlicher Reflexion. Die »Kunst der Kinder« etablierte sich in der Folge als ein wichtiges Instrument der Entwicklungs- und Intelligenzpsychologie, der Pädagogik und Psychoanalyse. Die Wissenschaften vom Kinde erschlossen das Zeichnen als ein Mittel der Kommunikation, welches Dispositionen, Bedürfnisse und Konflikte dokumentiert, die das Kind selbst (noch) nicht sprachlich artikulieren kann. Mehr noch als das Spiel oder die Phantasie- und Lügengeschichten soll die Kinderzeichnung seither Auskunft geben über Entwicklung, Intelligenz und Raumwahrnehmung, über psychische Veranlagung und psychoanalytische Ätiologie. Das Zeichnen wurde damit als Instrument einer Normalisierung des Kindes in Dienst genommen. Die Experimentalisierung der Kinderzeichnung brachte aber auch ein neues Verständnis der anthropologischen Funktion des Zeichnens hervor, das uns bis heute begleitet: Sie hat den Blick dafür geschärft, dass es sich schon bei der harmlosesten Kritzelei um ein Medium der Subjektwerdung des Kindes handelt, das es ihm ermöglicht und erleichtert ein erkennendes, denkendes und handelndes Subjekt zu werden.

Representations of childhood and playing spaces are the focus of my analysis of three film adaptations of Erich Kästner’s “Emil and the Detectives”. Erich Kästner’s novel is a so-called Berlin novel for children. Therefore, the different filmmakers took up the challenge to create the feeling of an international metropolis where a group of children is chasing an evil robber. In the three German adaptations, this happened very differently and always in the context of the times. 1931 focuses on the modern, noisy and frantic metropolis where the children find latitude in urban wasteland. The Berlin of 1954 finds itself as a city between heaps of ruins and new public housing. And in 2001, Berlin is a multicultural megacity where girls rule and everything is possible. However, in 2001, the children are much more limited in their freedom of movement.

Children and the media - kids and Technology combo
Today, technology for kids is a source of learning and entertainment, and in a pinch when parents have to get dinner made or take a few minutes to answer emails, a terrific babysitter.
For school-age kids, technology can be a double-edged sword. There are countless benefits that can be garnered from using technology: Computers can be used to do research, play online math games, and improve language skills. Television (and DVDs) can offer educational programming such as documentaries and other educational materials. And even video games can encourage developmental skills such as hand-eye coordination (and some motion-controlled active games on the Wii or Xbox with Kinect can promote physical activity such as dancing). But all these electronic devices can also have some distinct disadvantages as well. Here are some reasons why technology should be limited for kids and how to do it.
Reasons for Limiting Kids’ Exposure to Technology

Who says a girl cannot be pretty and smart at the same time? In girl power cartoons, girls who are both brilliant and beautiful abound. Through such depictions, girl power texts offer girls cultural support by suggesting they can be feminine, intelligent, strong, and empowered—that they can have it all. This is a significant cultural change: Earlier cartoons rarely focused on powerful, smart girls, and so something new is afoot. American culture is permeated, however, with conflicting messages about what it means to be a girl. Girls are told that they are able to do anything; they are even told that they are smarter than boys. But they are also taught that producing normative femininity through the skillful consumption of commodities is essential to their female identities. The girl power media charged with supporting girls is itself one source of these conflicting messages: girl power’s emphasis on the feminine implies that femininity is a pre-requisite for girl power, and that only those who look “girlish” are offered cultural support. Furthermore, the production of femininity promoted by girl power makes the movement more palatable and less threatening to patriarchal norms. The intelligent girls in girl power texts take pains to demonstrate their normalcy through elaborate performances of femininity. In the process, however, their intelligence is rendered less visible. This suggests that girls can be smart, but that they should think twice about showing it. This essay explores how texts like Kim Possible, The Powerpuff Girls, and Totally Spies have contributed to the proliferating depictions of extraordinarily intelligent girls who are pretty, perfectly “nice,” and therefore non-threatening. These brilliant girls expend extraordinary energy making their intelligence palatable, and it is troubling to see them confine their appearance and behaviors within strict heteronormative boundaries. However, their efforts to do so can also be read as a subversive strategy: Because of their feminine appearances and their pleasant natures, when these girls use their intelligence to change the world around them, their efforts are warmly received. Only rarely do girl power cartoons feature girls who refuse to conform, such as the title character of Daria—and such girls face serious social consequences. These girls’ depictions reflect and contribute to the socialization of girls in U.S. society, for girls rely on the media texts they consume as arbiters of social norms.

تهدف الدراسة إلى رصد وتوصيف طبيعة الموروث الثقافى المتضمن فى برامج الأطفال التليفزيونية وصحف الأطفال، وأثر التعرض لـ برامج وصحف الأطفال على الموروث الثقافى للطفل،والدراسة وصفية اتبعت منهج المسح، واعتمدت فى جمع البيانات على استمارتى تحليل مضمون للبرامج والصحف، واستمارة استبانة، واتبعت الدراسة أسلوب الأسبوع الصناعى فى سحب عينة الدراسة التحليلية لبرامج الأطفال التى تبثها قناة ماجد مدة دورة برامجية مدتها ثلاثة شهور بدأت من 1/9/2019 لـ 30/12/2019، وعينة الصحف تمثلت فى مجلة نورالصغير التى تتوجه للمرحلة العمرية 3 لـ 5 سنة خلال 12 عدد من إصدارات المجلة من شهر يونيو 2019 بداية إصدارها لغاية شهر مايو 2020 ، وأسئلة استبانة موجهة للآباء والأمهات عن خصائص العينة وطبيعة تعرضها لهذه البرامج ومقدارها (252) مفردة على سكان محافظة الدقهلية (مدينة/ قرية

Correro, C., (2018). Panorama de la literatura infantil digital en España. En R. Barbosa da Silva, P. Gobira e F. Marinho  (Eds.), Múltiplas interfaces: livros digitais, criação artística e reflexões contemporâneas. Belo Horizonte: Scriptum [ISBN: 978-85-9494-019-3].

A free childhood Children should grow up in a free environment, where they are respected as individuals, and where they can pursue the activities, which they have a natural interest in. First of all because this is what makes children happy. And secondly, because this is one of the best ways to ensure that they grow up to become competent and responsible adults, who can take care of themselves, their fellow human beings and the rest of our old, blue planet.

Resumo: O presente artigo propõe-se a analisar a história e percurso do conteúdo infantil na TV brasileira, lançando também um olhar ao atual espaço que ele ocupa em nosso mercado de televisão. Para tanto, leva-se em consideração três importantes marcos legislativos que afetaram direta e indiretamente este tipo de produção, são eles: Lei do Cabo, Resolução 163 do Conanda e a Lei 12.485, a Lei da TV Paga.
Palavras-chave: CRIANÇAS; PROGRAMAÇÃO; HISTÓRIA; TELEVISÃO; INFÂNCIA.

Abstract: The present article is a research on the history and course of children's content on Brazilian TV, casting a glance on the space that its occupies in our television market. To do so, it leads to the issuance of three legislative indicators that affect the direct and indirect to this type of production, are: Cabo's Law, Resolution 163 of Conanda and Law 12.485, Pay TV Law.
Keywords: Children; Programming; History; Television; Childhood

DE ALLÁ PARA ACÁ es una serie documental infantil ganadora del Concurso Nacional del INCAA “Series Documentales para ser emitidas por canal Paka Paka (2014)”. La serie forma parte de la grilla de contenidos del primer canal educativo y público diseñado por el Ministerio de Educación de la Nación Argentina. La propuesta documental representa una herramienta educativa y de comunicación innovadora desarrollada a partir de un trabajo interdisciplinar entre la comunicación, la animación, el audiovisual, y la sociología de las migraciones.

La serie cuenta la vida cotidiana de niños y niñas migrantes que residen en la ciudad de Córdoba (Argentina), y retrata la diversidad y la hibridez cultural de la ciudad desde la mirada y vivencia de los niños. Busca representar los relatos de los niños migrantes, sin caer en los estereotipos, simplificaciones o visiones folckorizantes de las culturas de nuestra Latinoamérica y del resto del mundo.

DE ALLÁ PARA ACÁ es una propuesta dinámica, atractiva y reflexiva que permite al público infantil de entre 8 y 12 años acercarse a los conceptos de diversidad, interculturalidad y migración desde la mirada de los protagonistas de la serie: desde niños para niños. La serie no está dirigida exclusivamente a niños que han experimentado un proceso migratorio, ya que plantea temas transversales vinculados a los desafíos propios de la infancia: la relación con los otros, la convivencia, los vínculos, la integración, la discriminación, etc.

Palabras claves: niños migrantes, interculturalidad, identidad, material educativo, migración infantil.

שידורה בערוץ הילדים של סדרה תיעודית בשם "המתבגרים" עורר ב-2015 סערה ציבורית. המחקר האיכותני במאמר זה, המתבסס על ראיונות עם יוצרי הסדרה, על הטקסט הטלוויזיוני ועל פרסומים ציבוריים מעלה כי "המתבגרים" הציפה בחברה הישראלית מחלוקות עמוקות בנושא הגבולות הלגיטימיים של התקשורת לילדים בכלל, ושל העיסוק במין ומיניות בפרט. הדיון הציבורי חשף את הקונפליקט בין תפיסות עולם שונות, שמרנית וליברלית, לגבי התקשורת הפונה לילדים. מבחינת התפיסה השמרנית, אותה ביטאו קבוצת הורים ומספר חברי-כנסת, הטלוויזיה לילדים נועדה להיות בידי ההורים, המבוגרים והממסד כלי לשליטה בידע אליו נחשפים ילדים; לביסוסן של תפיסות הגמוניות; ולשימור טאבו תרבותי, כמו, למשל, מניעת שיח פתוח במיניות.
לעומתה, תמכה העמדה הליברלית, שהציגו אנשי ערוץ הילדים, האסדרה ובית המשפט, בילדים כ'בעלי זכויות', שזכותם לקבל מידע אמין ועובדתי באמצעות התקשורת ולהיות שותפים בדיון פתוח במיניות של עצמם. הסדרה אכן שודרה; אך ספק אם נסללה הדרך להתגברות על הטאבו החברתי.

"Thanks to their huge market success, animations from The Disney Company and blockbuster franchises like Harry Potter have dominated 'family film' production. Yet there is a long, varied and largely untold history of films made for 'family' audiences of adults and children outside the United States, and of non-Disney family films in Hollywood.

Family Films in Global Cinema is the first serious examination of films for child and family audiences in a global context.  Whereas most previous studies of children’s films and family films have concerned themselves solely with Disney, this book encompasses both live-action and animated films from the Hollywood, British, Australian, East German, Russian, Indian, Japanese and Brazilian cinemas.  As well as examining international family films previously ignored by scholars, the collection also presents a fresh perspective on familiar movies such as The Railway Children, The Nightmare Before Christmas, Babe, and the Harry Potter series.

Coinciding with a surging critical interest in children’s culture, Family Films in Global Cinema brings together film and television critics and historians, children’s literature scholars and folklorists. Contributors interrogate the generic aspects of family films, analysing their key formal and thematic characteristics, revealing their commonalities and variations across social and cultural borders, questioning what makes them enduringly popular for adults as well as children, and underlining their enormous richness and diversity."

Introduction: Children's Films and Family Films; Noel Brown and Bruce Babington

PART I: QUESTIONS OF IDENTITY

1. Ladies and Gentleman, Boys and Girls: Babe and Babe: Pig in the City; Bruce Babington
2. 'A film specially suitable for children': The Marketing and Reception of 2001: A Space Odyssey (1968); Peter Krämer
3. 'Why Can't They Make Kids' Flicks Anymore?': Willy Wonka and the Chocolate Factory and the Dual-Addressed Family Film; Adrian Schober
4. 'This is Halloween': The History, Significance, and Cultural Impact of Tim Burton's The Nightmare Before Christmas; James M. Curtis

PART II: THE CHILD AND THE FAMILY

5. Sabu, the Elephant Boy; Jeffrey Richards
6. The Classical Hollywood Family on Screen: Living with Father and Remembering Mama; Bruce Babington
7. The Railway Children, and Other Stories: Lionel Jeffries and British Family Films in the 1970s; Noel Brown
8. 'Luke, I am your father': Toys, Play Space, and Detached Fathers in Post-1970s Hollywood Family Films; Holly Blackford

PART III: CINEMA AND STATE

9. 'Films to Give Kids Courage!': Children's Films in the German Democratic Republic; Benita Blessing
10. Post-Soviet Parody: Can Family Films about Russian Heroes be Funny?; Natalie Kononenko
11. A Brief History of Indian Children's Cinema; Noel Brown

PART IV: NATIONAL IDENTITIES

12. Brazilian Children's Cinema in the 1990s: Tensions Between the National-Popular and the International-Popular; Mirian Ou and Alessandro Constantino Gamo
13. Narrative, Time, and Memory in Studio Ghibli Films; Tom Ue
14. Dark Films for Dark Times: Spectacle, Reception, and the Textual Resonances of the Hollywood Fantasy Film; Fran Pheasant-Kelly"

Рассматриваются детско-родительские отношения в контексте гаджетизации, интернетизации с позиций теории информационного общества М. Кастельса и фрейдо-лакановского психоанализа. По результатам проведенной авторами фокус-группы с родителями детей, являющимися активными пользователями смартфонов, планшетов, компьютеров, прочих девайсов и медиаконтента, выявлены позитивная роль и негативные последствия подобной активности для детей и развития, функционирования детско-родительского взаимодействия в целом. Выделены типы детско-родительских отношений, опосредованных использованием гаджетов в воспитании и социализации детей.

32 Billion Dollars- That is the estimated revenue of human trafficking in the world. A large chunk of these are vulnerable children. Human Traffickers have launched a full-scale hunt on children. Pedophiles and child porn Industry which are flourishing like never before (thanks to the cheap and easy internet) has added fuel to the child abduction and trafficking. Children are an easy target for these predators and traffickers as they are naïve and vulnerable.

This article draws on a memory-­‐work project on the childhood experiences and memories of pornography in Finland to argue that the autobiographical younger self used in these reminiscences is a creature distinct from the cultural figure of a child at risk, and that the forms of learning connected to pornography are more diverse and complex than those limited to sexual acts alone. The notion of an asexual child susceptible to media effects remains detached from people's accounts of their childhood activities, experiences and competences. By analyzing these, it is possible to critically reexamine the hyperbolic concerns over the pornification and sexualization of culture.

The very phrase, ‘Listen with Mother’ conjures up an image of the archetypal domestic radio audience, while effortlessly connecting modern media consumption with more traditional forms of storytelling  - and listening. This chapter takes the title of the iconic BBC radio children’s programme, Listen with Mother (1950-82) as the starting point to consider the act of listening in the practices and representations of childhood in the modern media age. The subtitle, ‘Cultivation of Children’s Radio’, refers to both the development of children’s radio as a genre, and to the ways in which children’s radio sought to ‘cultivate’ its listeners and their listening skills. Significantly,  children are not exhorted to listen to Mother, but to listen with her. Moreover, the maternal voice is no longer the intermediary channel for children’s engagement with the written word. That role is taken over (albeit temporarily,) by a less ‘familiar’ voice,  and the mother’s role is to be an intermediary for her children’s engagement with the broadcast word, a new hybrid of the written and the spoken, the public and the private.

The central questions for this chapter, then, are how early radio remediated earlier forms of storytelling for young children and how fears of the unruly (infantalised and feminized) mass audience connect with fears of as-yet uncivilized children. It will explore how the audience, listening at home, listening with mother, is domesticated both literally and figuratively and how, paradoxically, the spectre of the innocent child, listening in to programmes not designed for their ears, has haunted broadcasting policy from the earliest days.

The article takes its basis in D.W. Winnicott's theories of play and transitional space to argue that Stagnation-era sound recordings and animated films found a devoted audience of both adults and children because, like Winnicott's good-enough mother or therapist, they created the conditions for playing: they did not merely narrate play, but also embodied, invited, and enacted it. Fishzon looks closely at the performative and analytic functions of Vladimir Vysotskii's popular musical adaptation of Alisa v strane chudes (Alice in Wonderland, 1977), which employed and served as a play framework or analytic session. Vysotskii's broadly circulated, well-known work enabled Brezhnev-era citizens to dream a new habitus and ideology at a time when irony and playing were becoming increasingly difficult. While opportunities for paradox narrowed in Soviet official discourse and printed fiction after the Thaw, children's records and animated films shaped critical imaginations and made space for subjectivity.

Silencing doesn’t always refer to the removal of sound; it can also refer to the overwriting of a narrative or a recontextualization of events. Instead of removing a narrative – censorship that then leaves a gap to be questioned – changing the dialogue, inserting a new narrative, or changing the circumstances of remembering the events in question can reshape, obscure or even erase memories or associations of trauma.
Consider, for example, the juxtaposition of lullabies and trauma in Disney films, specifically “Aloha Oe” in Lilo and Stitch, “Baby Mine” from Dumbo, and “You’ll Be in My Heart” from Tarzan. All three of these lullabies are situated in these films in the context of some sort of physical or emotional violence or trauma: in Tarzan the song helps to re-establish a sense of home after the audience witnesses the death of the eponymous character’s human parents; in Dumbo the lullaby recontextualizes the rather violent situation of the caged/enslaved elephants; and “Aloha Oe” is sung by Nani to Lilo in Lilo and Stitch to soften the trauma of their family being broken up by a government agency. 
However, music from Disney soundtracks exists both within the context of the films and outside of it: they are decontextualized as part of compilation albums, lullaby albums, played on the radio, and are incorporated into children’s choir and school concerts. Memory of music is complicated, and as Disney often plays lullabies over very sad moments, it is important to examine how the songs function in different spaces both within and outside of the films, and how the viewer then constructs meaning in between these varied contexts.
As these songs are featured elsewhere, the songs become removed from the association they have with their particular placement in the films, and the connotations associated with them change. In effect, we can see through these instances, not only how music might shape perception and memory, but also, how memory of trauma or violence can be obscured.

The media are playing an important role in childrenns daily lives, whether measured in terms of family income, use of time and space, or importance within the conduct of social relations. Curiously, there is a notable discrepancy between the high levels of public concern over children and young peoplees use of new media and the minimum of empirical research conducted thus far. Although, children are often left out of populationn surveys, in Europe Kelly,. " lso in " lbania, the use of new media from children and young has conduct to undertake some studies related to this domain. Referring to this study we aim to understand the perception of children, parents and teacher about the effects that new media create the children life. The methodology used is a qualitative one based in 20 semi structured interviews with parents and teacher and in a focus group of children age 12-15 years old. Through this study we aim to know more about the new media; the way of use, activities and their negative or positive social effects on children. The conclusions of this paper are: the social media are constantly present in children life of now days; the most use are: Instagram, Facebook, Snapchat. They use new media and social media for entertainments, home works, conversations and socialization. Also, parents and teacher try to controlling in distance the way that the children use media. They try to protect them from different derange. Most of parent and teacher think that the only one positive effect of new media in their children life is the possibility to take information that can help children with home works.

The use of mobile interactive technology, in museum settings, has the potential of providing young audiences engaging and enjoyable learning activities. As museum visitors are increasingly looking for entertaining experiences inside museums, the dichotomy between learning and entertainment is blurring. In this paper, we present the Ocean Game, a treasure-hunt based mobile game in which 9-10 years old children search and collect a plethora of marine animals and learn about their key characteristics in the context of the Natural History Museum of Funchal (NHMF), Portugal. In this study, our aim was to fuse engagement and entertainment by offering a gaming experience in line with the learning goals of the museum. To evaluate the overall enjoyment and the information that was gained by the children, we compared the performance of players that were engaged with the Ocean Game with the performance of children taking a traditional guided tour. Analysis of the data supports our initial supposition, as children preferred to explore and enjoy the museum space through a gamified approach. Nevertheless, several shortcomings were found in the informal learning aspects of the game. Discussion and future work sections will tackle next steps regarding these issues.

Nancy Drew scholarship continues to be active, 85 years after the teen detective first made an appearance on the American juvenile fiction scene. Given Catherine Driscoll's premise that perceptions of girlhood can be used as a marker of cultural identity, the iconic teen can be seen to evolve over the years, to reflect the changing landscape of American childhood. Here, I investigate the transition of Nancy Drew into the digital age, examining the computer game Labyrinth of Lies, put out by the company Her Interactive, where Nancy must solve a series of thefts at an art museum of antiquities, in Greece. What happens to the character of Nancy Drew, when a child player " inhabits " the role along with her? By close analysis of the various choices the player gets to make within the framework and boundaries inherent in the game, the changing role of Nancy Drew, and the implications of such changes, will be explored.

It is clear that in these days video games are big part of children. Violent video games are the most popular ones.  Authorities have two different attitude about violent video games: it has affect on children’s behavior or not. People who play video games, they want to know can violent video games affect children’s behavior badly or is it have bad affects on their body, mentally and physically.

This paper examines how a popular series like Suzanne Collins' The Hunger Games trilogy can motivate students to improve their language and literacy proficiency by extensive reading. Moving on from there, we argue a thoughtful and collaborative deep reading of The Hunger Games can broaden as well as change perspectives; for without being openly didactic, the series is sufficiently multilayered to provide meaningful booktalk in the classroom and to trigger engaged debate. Recognising that the degradation of non-human nature through human action has become a major theme in education, we argue that the intentionally interdisciplinary approach of ecocriticism towards a literary text can be a contribution to global issues education in the English as a Second Language (ESL) and English as a Foreign Language (EFL) classroom. We offer an ecocritical examination of The Hunger Games, not as an ideal or model reading, but rather aiming to promote ecopedagogy and further critical discussion and creative language activities in the secondary ESL/EFL classroom and student teacher seminar. To illustrate an ecocritical reading, we trace the classical literary tropes of apocalypse, pastoral and wilderness and reflect on the trilogy's multilayered approach towards the relationship between the human and the non-human. Finally, we suggest how critical issues such as consumer manipulation, media and celebrity culture can well be discussed with reference to The Hunger Games trilogy.

This article summarises the results of an IZI study on which children's news topics interest German children the most and who should present the news. In 2020, n=837 German children between the ages of 6 and 13 from a representative sample were surveyed in face-to-face interviews (paper and pencil method).

עשר שנים לאחר המיפוי הראשון של ייצוג מגדרי בטלוויזיה לילדים בישראל, מבקש המחקר הכמותי הנוכחי לבחון מחדש את ייצוגי המגדר בארץ. כחלק ממחקר בין-לאומי בשמונה מדינות נבחנו שלוש שאלות מרכזיות: הראשונה מתייחסת למאפייני תוכניות הטלוויזיה לילדים בכללם; השנייה מתייחסת למאפייני הייצוג המגדרי של הדמויות הבדיוניות; והשלישית, שהיא חידוש ביחס למחקר הקודם, מתייחסת למאפיינים המגדריים של צוותי ההפקה של התוכניות עצמן.
הממצאים הושוו בהצלבה בממד הזמן (2007 לעומת 2017), ובממד המרחב השידורי (ישראל לעומת מדינות אחרות, גופי שידור ציבוריים לעומת גופים פרטיים וגלובליים).
המחקר בחן שבעה ערוצי ילדים מרכזיים בישראל בסתיו 2017 :ערוץ הילדים, ניקלודיאון, דיסני, זום, הופ!, ניק' ג'וניור והטלוויזיה החינוכית הישראלית )טח"י(. מכל ערוץ נדגמו שני ימי שידור, סה"כ 213 שעות, שבהם 666 תוכניות (633 תוכניות בדיוניות) ו-625,2 דמויות (568,2 דמויות בדיוניות).
קווי המתאר המגדריים שעלו מן הניתוח מגלים כי חלה ירידה של 6.2% בייצוג של דמויות נשיות, כאשר בהשוואה בין-לאומית ישראל מוקמה במקום האחרון בשיעור הדמויות הנשיות. למרות שיפור בכמות הפקות המקור (עלייה של כ-8%), הרי עדיין מעל 4/3 מהתוכניות ששודרו היו מחו"ל. בדומה למתרחש בעולם, רוב מוחלט (95%) מן התוכניות היו בדיוניות (fiction), תוך היעלמותן הכמעט-מוחלטת של תוכניות לא-בדיוניות (fiction-non). מיפוי דימויי המגדר של הדמויות הבדיוניות גילה ירידה במספר הדמויות האנושיות ומנגד עלייה במספר המפלצות והיצורים המיתיים. בקרב הדמויות האנושיות נמצא ייצוג עודף של לבנים והמשך של ייצוג מגדרי סטריאוטיפי, שבו דמויות נשיות מונהגות על ידי בנים, רזות ומצייתות לציפייה החברתית להיות "ילדות טובות". מיפוי מאחורי הקלעים של התוכניות גילה כי גברים דומיננטיים יותר במקצועות הבימוי והיצירה, ואילו נשים תופסות מקום מרכזי יותר בתחום ההפקה
והתסריטאות. הדיון בממצאים אלו עוסק בקשר שבין דימויים לבין יוצריהם ובהשלכות
הפוטנציאליות על מגדר, ילדּות והתבגרות בישראל.

OPEN ACCESS: https://link.springer.com/content/pdf/10.1007/s12208-021-00287-2.pdf

This paper suggests a model that considers the effects of the children’s attitude toward Public Service Announcements—PSAs (measured through the likeability of PSAs) on their behavioural intention to eat fruits and vegetables. The suggested model was tested through an empirical analysis conducted with children aged 8 to 11 and the data were analysed through partial least squares – structural equation modeling (PLS-SEM) multigroup analysis. The findings indicate that the positive emotions PSAs generate and PSA credibility mediate the effects of the children’s perceived likeability of PSAs on their behavioural intention to eat fruits and vegetables. Overall, understanding the connections between PSA likeability, positive emotions, PSA credibility and behavioural intentions can facilitate the development of further social advertisements aimed at children covering healthy eating. Therefore, the findings of this study are relevant for non-profit organizations, government institutions and advertisers interested in creating effective social messages aimed at children.

From the BBC Proms to Bernstein's Young People's Concerts, initiatives to promote classical music were a pervasive feature of twentieth-century musical life. Their goal was rarely just to reach a larger and more diverse audience; many also sought to teach a particular way of listening designed to help the public "appreciate" music. This book examines for the first time why and how music appreciation had such a defining and long-lasting impact-well beyond its origins as a late-Victorian, liberal project in music education. Putting new archival research into dialogue with social, political and cultural histories, it traces the networks of musicians, composers, critics, philanthropists, policy-makers and music educators who sought to shape the new markets for classical music through the central decades of the twentieth century. Both optimistic and anxious about advances in sound reproduction technologies, they worked across diverse forums and media – from concert halls to universities, from radio to cinema – to share the values and methods of music appreciation with aspirational audiences. Far more than the history of a uniquely influential movement in music education, The Art of Appreciation recounts how listening became entangled in a nexus of modern problems around citizenship, leisure and education. In so doing, it reveals a twentieth-century musical culture shaped less by radical rupture than by gradual change. At its heart was a milieu that encapsulated Britain's experience of modernity: the middlebrow.

In this paper, we argue that censorware is one of the bogeymen that instills fear in parents whose children have access to the Internet. It is a fear that has the potential to restrict children’s autonomy and opportunities for engagement in social media. Fear regarding children’s online activities is one of the issues sur- rounding children’s Internet safety that does not appear to be situated in any par- ticular social or cultural context. Among the most popular means of monitoring children online, censorware may prove even more harmful to children’s socio- emotional wellbeing and development than any other form of monitoring (boyd & Jenkins, 2006; Cloke & Jones, 2005; Helwig, 2006; Kamii, 1991; Laufer & Wolfe, 1977; Marx & Steeves, 2010; Pettit & Laird, 2002; Rooney, 2010). Inherent in the design and use of censor- ware are structures that inhibit children’s online and offline social interactions, their ability to develop fully as social actors, and their experience of being empowered to make informed and criti- cal decisions about their lives, including choices relating to privacy. As well, reliance on surveillance-based approach- es to monitoring online activities of chil- dren (aged 5-14) may actually be leading to a greater danger: a decrease in oppor- tunities for children to have experiences that help them develop autonomy and independence. Our inquiry is located within a growing body of research that addresses the social implications of restricting, surveilling and controlling young children’s online activities versus nurturing individual autonomy through parental mentoring and critically reflec- tive software and social technology use.

Children are often the subject of photographic practice but rarely are
they thought of as photographers in their own right.

From the catalogue: 'Introducing the Children's Photography Archive' (ISBN: 978-1-912685-54-7).
You may read more about the archive and download the catalogue here:
https://childhoodpublics.org/communications/writing/exhibition-catalogues/

During the late 1920s and early 1930s, the Soviet Union experienced an upsurge in interest in children’s toys created by peasant craftspeople. Within folk art toys, two genres of primitivism with which modernity was enamored collided: native peasant culture and the minds of as-yet-unformed children. Both of these populations provided paradigmatic ‘others’ against which modern, urban Soviets could position their post-Revolutionary enlightenment. Simultaneously, Soviet adults could draw upon these primitive ‘others’ as sources for authenticity and the undiluted essence of raw human nature. In this essay, I argue that adult Soviet reception of folk art toys between Lenin’s death in 1924 and the beginnings of Stalin’s Great Purge in 1936 frequently conflated the two “primitive” populations of children and peasantry. This infantilization encouraged beliefs that rural populations were equally as malleable as clay used to make toys and equally as needing of vospytanie (upbringing) as children who played with them.

Keywords:  Toys, Soviet Union, Children’s Books, Peasants, Folk Art, Primitivism

This study focuses on the hair bow as a key element of identification and gender performance for child celebrity Jojo Siwa and her fans. Siwa is now most famous for her oversized hair bows; however, she sprung to fame with her mother in 2014 on the American reality TV show Dance Moms. This research engages with a social semiotic discourse analysis approach (Van Leeuwen, 2009) to observe how the hair bow acts as a central element of both Siwa and her fans identification. Siwa's Social media accounts include representations of both children (0-11 years old) and 'mother-fans' from America, UK, New Zealand and Australia. Jojo Siwa's Face book, You tube and Instagram official accounts, media representations and advertisements were observed closely over a 3 month period for visual and written conversations amongst fans. Keeping with social semiotic considerations of context, the hair bow also located in a history of popular culture. Close observations of the Jojo Bow suggest a celebration of exaggerated ideals of feminine performance limited to the female body. The bow also provided a means through which an idealized and exclusive mother-daughter bond was practiced and affirmed.

For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. In the end, students will have a richer understanding of Disney not only as a company, but as a cultural institution.

Per avvicinare i più piccoli a Dante (oltre i 25 lettori). Potete visitare il mio nuovo sito: https://www.danteperbambiniepergrandi.com
Spero che vi piaccia.
To bring the little ones closer to Dante (over 25 readers). You can visit my new website: https://www.danteperbambiniepergrandi.com