Child Actors Research Articles

The mutual influence of parent-child maladaptive emotion regulation on posttraumatic stress following flood exposure.

Decades of disaster research support the influence parents have on their children's adaptation. Recently, research has shifted to focus on disasters as a whole family experience. Using the actor-partner interdependence model, this study examines maladaptive cognitive emotion regulation strategies in parents and children and how these strategies influence their own and one another's posttraumatic stress symptoms (PTSS). The present study includes 485 parent-child dyads who experienced the 2015-2016 Texas floods. The majority of parents identified as mothers (66.3%), with a male child (52.8%) whose average age was 13.75 years. Mplus was used to identify the models and evaluate differences between each cognitive emotion regulation strategy across parent-child dyads in the high disaster exposure group compared to all other levels of exposure (other-exposure). Odds ratios examined differences not captured by the actor-partner interdependence model. Support for interdependence was found for the other-exposure group, suggesting parents and children mutually influence each other's PTSS by their own cognitive emotion regulation. No interdependence was found in the high-exposure group. However, high-exposure child actor effects were found for self-blame and other-blame, and child partner effects were only found for self-blame. Parent actor effects were only significant for catastrophizing and parent partner effects for catastrophizing and rumination. Odds ratios for the high-exposure group found that only child self-blame influenced parent PTSS, and only parent rumination and catastrophizing influenced child PTSS. Implications for supporting families after disasters are discussed. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Portraits, Puppets, Trees: Versions of the Body in John Lyly's Plays

Abstract: This essay explores the constitutive role of a set of key objects—portrait, puppet, and tree—in conceiving ideas of the boy actor's body in the plays of John Lyly. Drawing on materialist theory, the essay argues that across Campaspe, The Woman in the Moon, Endymion , and Love's Metamorphosis , these three objects provide a particularly generative point of reference for Lyly's explorations of the relationship between his authorial control, the body of the boy actor, and the material resources of his playhouse. As I read these three moments in which the child actor and prop interact to create an ambiguous, unfixed object-body, I think through how the potentially rebellious nature of Lyly's materialist stage might serve as a catalyst for his meditations on the particular conditions of his own early modern authorship and his acts of authorial creation more broadly.

Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea

This article examines two adaptations of Euripides’ Medea by Australian-born directors/playwrights Simon Stone (2020) and Anne-Louise Sarks with Kate Mulvany (2012). With a focus on the child actors who played Medea’s sons in each production, the article examines the ways in which their performances contributed to the affective impact of each work. Emphasising the modalities employed by each director to transpose the tragedy for the contemporary theatre stage, particularly providing the child characters with greater prominence in their respective versions than Euripides did, the article argues that the particularly ‘realistic’ performances of the children at once ruptured Medea as a tragedy while accelerating its post-tragic force in a contemporary theatre context. The realism of the children’s performances operated as the driving force behind making the tragic lynchpin of the play – their murders – all the more intensely felt. Case studies of each production are provided while situating these works within the broader contexts of children in performance for adult audiences in contemporary theatre.

Don’t Forget to Like, Follow, and Regulate: An Argument for the Expansion of Protections for Child Social Media Influencers

Child social media influencers, colloquially known as “kidfluencers,” have skyrocketed to fame alongside the growth of social media. However, traditional child labor laws do not consider online influencing “work” or these kids to be “child performers.” Thus, these children do not receive any form of legal protection for their presence online, leaving them open to exploitation and severe harms. This Note explores the lack of protection provided to kidfluencers, ultimately proposing a new federal labor law to expand child actor protections to kidfluencers. Part I of this Note provides a brief history of the landscape by reviewing landmark Supreme Court cases on the rights of the child, detailing the introduction of child labor laws and child actor protections, and surveying the meteoric rise of social media and “family vlogging” in the field of child labor. Part II explores the potential harms that kidfluencers could face due to the lack of regulation in the “family vlogging” field. Part III proposes a reform for the current legal schema to protect child influencers, ultimately culminating in a new federal labor law expanding current protections to protect child actors and introducing a privacy aspect to preserve children’s right to consent.

Context Matters as Racialization Evolves: Exploring Bias in Preservice Teacher Responses to Children

This study explores preservice teacher attributions to children’s behaviors portrayed in specific emotion-laden school scenarios. Participants included 178 preservice teachers from three universities. The preservice teachers viewed video vignettes of Black and White child actors in six different school scenarios. Our team constructed two themes from the preservice teachers’ narratives about what they saw: (a) context matters (i.e., different scenarios activate different preservice teacher attributions), and (b) racialization evolves (i.e., preservice teachers make different attributions about Black and White boys engaged in the same behaviors). Findings underscore the importance of teacher education and professional development for novice teachers that address racial bias in attributions of student behaviors.

When I grow up… I don't want to be broke: The problems with child actor trust fund requirements

AbstractChild actors have consistently been treated as typical minority laborers, with all of their earnings legally belonging to their parents. After many child actors were left with scraps at the end of their minority, Coogan's law was enacted in California to require parents of child actors to withhold some of their earnings in a trust. However, almost a century after Coogan's law was passed, there are still many child actors left with nothing. This Note proposes to both enact further union regulations to protect child actors in every state, and also to raise the required amount withheld from fifteen percent (15%) to fifty percent (50%).

(Not So) Minor Encounters: Little Amal from The Jungle to The Walk

Abstract: How do we comprehend the scale of contemporary Syrian child displacement, much less represent it theatrically—and ethically? In this essay, I explore how the Good Chance Theatre has continued to try, through the evolving figure of Little Amal, an unaccompanied Syrian girl who appears in two transnational performances, The Jungle (2017) and The Walk (2021). Drawing on interviews with directors, actors, and puppeteers, I argue that both productions renegotiate the adoptive gaze Western European and North American audiences usually impose upon Syrian refugee children. The eight locally cast child actors that played Little Amal across The Jungle ’s original tour produced a Brechtian doubling of performances that complicated violent spectatorial relations, while The Walk ’s twelve-foot-tall puppet of Little Amal resists adoptive logics’ reliance on humanitarian tropes of liminality and minority. Complicating hegemonic binaries of insider/outsider, seeing/being seen, and even life/death, The Jungle and The Walk invite Euro-American onlookers to reconsider their relation to the refugee ‘crisis,’ undercut the individual logic of adoption, and call for a collective response. Little Amal’s (not so) minor encounters, I find, lay bare the inherent theatricality of the current refugee rights paradigm as applied to displaced peoples of all ages. Reclaiming the figurative and embodied potential of the Syrian child refugee, Amal reveals mass displacement to be a shared human phenomenon: already lived by so many, and looming for all.

‘Generational Drag’: All-Child Performances in the Seventeenth and Nineteenth Centuries in Britain

Separated by almost three hundred years and by significant developments in the construction of childhood as an identity distinct from adulthood, the early seventeenth and late nineteenth centuries stand out as periods of intense and popular activity by child actors, and specifically by companies of child actors who played adult roles and deliberately juxtaposed the age categories of performer and character. While much excellent period-specific work has been accomplished during the last twenty years on early modern boy actors and on the ‘infant phenomena’ of the Victorian stage, there has as yet been no attempt to compare children’s professional performance during these two periods. This article contrasts the repertoire of the boy companies of Jacobean London with that of the children’s opera companies who toured the UK and Ireland throughout the 1880s performing comic operas such as H.M.S. Pinafore and Les Cloches de Corneville. It also explores what it meant for children to perform as adults during these two periods, and what the latter reveals about the historical construction and policing of age categories.

Second Chance Summer by Sarah Kapit

Reviewed by: Second Chance Summer by Sarah Kapit Ally Byerly Kapit, Sarah Second Chance Summer. Holt, 2023 [240p] Trade ed. ISBN 9781250860903 $17.99 E-book ed. ISBN 9781250860897 $10.99 Reviewed from digital galleys Ad Gr 5-7 It's hard for twelve-year-old Maddie Simmons to not feel like a side character in her own life when her best friend is famed child actor Chloe Winters. However, after a rather spectacular public humiliation during their school's production of The Music Man exposes the deep fissures of their friendship, Maddie decides to put their relationship behind her and focus on her future career as a screenwriter. Her efforts to distance herself from Chloe, unfortunately, come to nothing when she winds up bunking in the same cabin as Chloe for a summer at performing arts camp. Meanwhile, in the wake of recent professional rejections, Chloe struggles to define herself outside of her career and her mother's lofty ambitions. She hopes a summer away at camp will remind her of why she fell in love with acting, but her ongoing stand-off with Maddie and her growing feelings for her costar, Sasha, leave her mired in drama both on and off the stage. The story's dual narration handily illustrates the many ways relationships can feel completely different to its parties and the pitfalls of conflating ignorance with malice. Maddie and Chloe's struggles to redefine their friendship realistically models the give and take of a maturing relationship, emphasizing the importance of boundaries. The plot, however, is sometimes a victim of its own desire to play it safe. The dialogue between its preteen characters is so squeaky clean it feels inauthentic, and though Kapit's efforts at intersectional diversity are to be applauded, the short novel is spread too thin to effectively delve into its myriad subjects, including body diversity, queer relationships, and invisible disabilities. Imperfections notwithstanding, the novel earnestly implores its readers not to define their futures by past precedents. Copyright © 2023 The Board of Trustees of the University of Illinois

The love song of Nelly and Marion: Céline Sciamma’s Petite maman (2021)

ABSTRACT Céline Sciamma’s fifth feature film, Petite maman, premiered at the Berlin Film Festival in March 2021. Shot in autumn 2020 during the COVID-19 pandemic, it is a brief film (72 mins) and a return to the work with child actors which typified Sciamma’s first two features, Naissance des pieuvres (2007) and Tomboy (2011). After the death of her grandmother, a child, Nelly (Joséphine Sanz), helps her parents clear out her mother’s childhood home. She meets another girl of her own age in the woods, Marion (Gabrielle Sanz), who turns out to be her mother as a child. Petite maman offers space for love and care between mothers and daughters and opens out feminist perspectives on memory and grief. Drawing on representations of the mother as a child in Roland Barthes, Sophie Calle and others, as well as discussion of memory and secrecy in the work of Anne Dufourmantelle, this article explores the reimagining of love between mothers and daughters in Petite maman.

Kidfluencers and conundrums

As the internet rapidly evolves and its wide influence expands, the Canadian government (as well as many other nations) have struggled to create and enforce policies that protect people online. This has become especially problematic as digital spaces used by children are constantly growing, and even more so as these children become active participants in not only the consumption but also the creation of internet content, leaving them vulnerable to privacy breaches and labour exploitation. Child Internet stars, or kidfluencers, are a vulnerable group that has relatively no legislative protection. Although the United States has laws to protect child actors from financial exploitation, these laws do not address other forms of abuse or the privacy of these children, and no laws exist in Canada or the United States to protect online child performers from the exploitation of their private lives and labour (Geider 2021 pg. 29). Instead, the responsibility falls to parents to ensure their kids are safe and protected when producing content online, but when the abuse stems from the family, no one is there to protect children from their parents. In the absence of concrete regulation, the onus falls on the platforms themselves to regulate and remove content that exploits children; however, content regulation has its own drawbacks. The Canadian government has the opportunity to act as an international legislative leader by putting forth legislation that requires platforms to cooperate with a national child digital welfare service to ensure fair treatment and compensation for this new generation of internet stars. This paper outlines various issues in regulating child based content as well as suggests possible policy solutions.

The non-professional child actor in neorealism: Interview with Alfonso Bovino1

This interview with Italian former child actor Alfonso Bovino, who most famously appeared in the second episode of Roberto Rossellini’s neorealist classic Paisà (Paisan) (1946) elicits recollections from him about his time working with Rossellini. It covers his ‘discovery’ by Rossellini in his home town of Maiori, and his move to Naples, where he remained for several months to shoot the episode. This introduction contextualizes the interview and reflects on some key themes: these include the significance of the child performer to neorealist cinema, the circumstances of the film’s production, some important methodological questions regarding the status of memory and testimony so many years after, and what it is exactly that interviewers or readers are hoping to access when they speak to an actor or other artist, especially so many years after the film’s production.

Satire, Smut, and the Child Actor in Garrick’s Lilliput

ABSTRACT This article focuses on the ideological as well as the performative underpinnings of David Garrick’s twin comic goals in the afterpiece Lilliput (1756)—ridiculing modern folly and raising a laugh with the play’s central dirty joke. It first considers the deployment of children as a tool for satirizing adult folly and then proceeds to an examination of Garrick’s lewd humor at the expense of the child actress’s body. In studying the mechanisms of the salutary as well as the salacious laughter the afterpiece aims to evoke, we get important insights into eighteenth-century notions of childhood and can begin to reconstruct the presence of child actors in the period’s stage history.

Aynanın Öteki Yüzü: İsveçli Yönetmen Lukas Moodysson’un Daima Lilya (2002) Filminde Refah Toplumu

Lukas Moodysson is one of the leading directors in contemporary Swedih cinema. He shot his first feature film in 1998 and his last film in 2013. Totally he has eight films. He is also scriptwriter in his all films and sometimes also the pruucer. He made films which influences from his own society, thmes he experienced and themes he cared. Minimalist style, natural acting are seen in the films of the director. He has created a unique style that frequently includes child actors, focuses on human relations in his own society, and deals with growing pains and social problems. Director’s most important film is Lilya 4-ever(2002). The importance of this film is because of its harsh criticism about both Swedish society and Europe in general about human trafficking and forcing young girls into prostitution. In this study, the film will examine the appearance of the welfare society and the effect of the film on society with the sociological analysis method. As a result, the social criticism of the film led the Swedish authorities to take action within the framework of the problem, and showed the power of cinema on society.

Renia's Diary [Dziennik, 1939–1942

<i>Renia's Diary</i> [Dziennik, 1939–1942

Miss Felicia and Master Betty, a New Discovery in the Morning Post

ABSTRACT A newly discovered poem in the Morning Post, 1 February 1805, by “Felicia, aged Eleven Years” from Denbighshire, Wales, and addressed to the celebrity child actor William Henry West Betty, dubbed “The Young Roscius,” establishes this as the first publication of the poet later known as Felicia Hemans. This article discusses the circumstances of celebrity culture that solicited this publication, a 16-line ode “To the Young Roscius,” and contemplates the circumstances behind its erasure from the census and canon of her poetic works—until now.

The Last Christmas (La Última Navidad)

The Last Christmas (La Última Navidad)

PerCEIVED: Perceptions of children's emotions in videos, evolving and dynamic task.

Researchers have been studying emotion recognition skill for over 100 years (Feleky, 1914), yet technological advances continue to allow for the creation of better measures. Interest in consistent inaccuracies (sometimes described as bias) has also emerged recently. To support research in both emotion recognition skill and bias, we first describe all extant measures of emotion recognition with child actors that we have found, evaluating strengths and constraints of these measures. We then introduce a new measure of emotion understanding (Perceptions of Children's Emotions in Videos, Evolving and Dynamic task) that includes assessment of six emotions portrayed dynamically over rounds by 72 child actors, balancing child race and gender within each emotion, and certified by Facial Action Coding System coders. We provide participant accuracy and bias rates by round and within emotion, based on results from four studies (N = 477 adult participants), and report evidence for reliability over time, criterion and discriminant validity, and multidimensionality of emotion recognition from these studies. We conclude with potential uses of the measure in terms of assessing the accuracy and inaccuracies of participants, including opportunities for the study of developmental processes, individual differences, and confusions between various emotions. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Pemidanaan Terhadap Anak Sebagai Pelaku Dan Korban Dalam Tindak Pidana Pencabulan (Analisis Terhadap Putusan Hakim Nomor 8/Pid.Sus.Anak/2016/PN.Trt dan Nomor 9/Pid.Sus.Anak/2016/PN.Trt)

The application of punishment to minors as perpetrators of criminal acts of obscenity in the judge's decision does not provide a sense of justice for minors and their families as victims of obscenity. This study discusses the sentencing of minors as perpetrators of criminal acts of obscenity in cases of obscenity against child victims who are both underage in Decision Number 8/Pid.Sus.Anak/2016/PN.Trt and Decision Number 9/Pid .Sus.Anak/2016/PN.Trt dated September 6, 2016. It was concluded that the imposition of punishment on child perpetrators for the obscenity case in the Tarutung District Court Decision did not fulfill the sense of justice in a balanced manner according to the principle of proportional equality (distributive justice). Considerations for treatment and rehabilitation, as well as utility are not balanced, only for child actors. Child perpetrators are subject to maatregel, but child victims are not recovered from their trauma. Fines, compensation of any kind are not imposed on child perpetrators or their families for the costs of recovery, treatment, rehabilitation of child victims. Alternative legal sanctions for the parents of the perpetrator's child should be subject to civil liability for compensation. In order to have a deterrent effect and special prevention for parents, be careful, alert and control their children from criminal acts, continuous supervision, provide them with formal and non-formal education, and so on. The right to compensation should also be handed down by the court judge to the perpetrator even though it was not requested in the public prosecutor's indictment

Archiving the Future: The Uneasy Relationship between Individual Memory and Communal Artifacts in Station Eleven

Archiving the Future:The Uneasy Relationship between Individual Memory and Communal Artifacts in Station Eleven Lourdes Arciniega In Emily St. John Mandel's dystopian novel Station Eleven (2014), memory is a commodity that is traded, bartered, hoarded, and curated as both an amulet and a shield for survivors of the Georgia flu pandemic. Mandel employs a circular, and often circuitous, narrative arc to tell her story, thus mirroring the haphazard lives led by the protagonists whose control over their destinies unravels in the wake of the pandemic. The survivors' stories are told through their relationship to artifacts, and in particular to the graphic novel Dr. Eleven, whose first volume, Station Eleven, shares its title with Mandel's novel, thus creating multiple layers of textual intersection. This collaborative and relational exploration of people and objects offers an opportunity for new readings into the use of trauma, performance, and memory in dystopian fiction. Survivors in Mandel's world give value to objects based on individual emotional attachments. Mandel asks her readers to question the worth we attach to found objects in a post-pandemic world not driven by consumerism and currency. She proposes that the desirability of an object lies not in the artifact itself, but in the creative effort and application of knowledge that went into producing it. A play, a photograph, a newspaper, a book, a graphic novel, and a museum collection become vessels through which Mandel's pandemic survivors redefine themselves and the world around them. As Joanne Freed argues in her text on haunting encounters: "if fiction is to inspire new and more ethical relationships across boundaries of difference, it must first allow readers to come into contact with others through the work of the literary imagination" (31). Artifacts then become points of connection that trigger memories that haunt the survivors. These manmade pieces produce "metaphorical hauntings" that tease readers with their elusiveness (Freed 32). Moreover, cultural artifacts that link main characters' storylines occupy the middle of multiple Venn diagrams that shift and sort themselves into different images as Mandel unfolds [End Page 296] her narrative like a kaleidoscope, where the pieces share the same space but can be rearranged to form different representations. Beyond the basic necessities for survival such as water, food, and shelter, Mandel's characters crave and hoard memories of a shared culture. Her novel-a cultural artifact in itself-becomes a defence of art as an essential building block and cornerstone of all civilizations, and never more so in societies in flux, such as her post-pandemic world. In his study of trauma and witnessing, Björn Krondorfer calls attention to the importance of this authorial positioning as a starting point where "acknowledging that our roots are found in a shared historical and geographical space-a space filled with hurt betrayal and losses-we begin to bond to each other" (138). He notes the importance of artifacts in this process as societies transform "the cultural messages we have received from our familial and social networks into material representations [….] We collected, assembled, and arranged scraps of memory in response to discomfiting details of family lore and history" (132). As readers, we journey with Mandel's survivors and are witnesses to their physical and emotional reassembling of their world that arises from their restless scavenging of lost artifacts. From the opening pages of the novel, Mandel signals the importance of recurring encounters between characters and cultural objects. She begins her novel with a dramatization of King Lear and the onstage death of Arthur Leander, who plays Lear. The stage is the Venn diagram, the point of convergence where Jeevan, a paparazzo turned EMT, breaks the fourth wall to assist Arthur, while Kirsten, a child actor playing the ghost of one of Lear's daughters, witnesses the onstage death. Arthur's passing is also a knell that signals the deaths of unnamed and countless others who will disappear with the onset of a pandemic called the Georgian flu. As the flu ravages the world, Mandel calls attention to the slow fading of a society dependent on electricity for survival and communication: "Toronto was falling silent. Every morning the quiet was deeper, the perpetual hum of the...