Child Audience Research Articles

An examination of factors related to the co-construction of pedagogical documentation in early learning settings

This study examined factors that influence and are influenced by the co-construction of pedagogical documentation by educators and children in early learning settings. Throughout a 6-month period, seven early childhood educators were asked to co-construct documentation with children and with a child audience in mind. Using interviews, questionnaires, site visits, document sampling, and a child focus group, data were collected and then analysed using a thematic-analysis approach within a social-constructivist research paradigm. Results show the value of co-constructed pedagogical documentation as a means for reflective practice and intentional programme planning which highlights the importance of providing supports and opportunities for co-constructing pedagogical documentation at both a preservice and inservice level.

Bringing network science to primary school

AbstractSeveral papers have highlighted the potential of network science to appeal to a younger audience of high school children and provided lesson material on network science for high school children. However, network science also provides a great topic for outreach activities for primary school children. Therefore, this article gives a short summary of an outreach activity on network science for primary school children aged 8–12 years. The material provided in this article contains presentation material for a lesson of approximately 1 hour, including experiments, exercises, and quizzes, which can be used by other scientists interested in popularizing network science. We then discuss the lessons learned from this material.

The Witch in the Closet: Disney's Frozen as Adaptation and Its Potential for Queer and Feminist Readings

The Witch in the Closet: Disney's <i>Frozen</i> as Adaptation and Its Potential for Queer and Feminist Readings

‘Ages five and up’: Alien toys for children and the question of horror’s histories

This article considers the children’s toys made by Kenner for the original release of Alien (1979) and argues that they present a challenge to some of the most frequently repeated assumptions about the horror genre and its history. Specifically, the article questions the ‘natural’ association between horror and transgression, and the genre’s supposed separation from child audiences, noting the way these assumptions become tangled with notions of quality. The article historicizes Kenner’s Alien line in the context of the 1970s toy industry and the rest of children’s culture, including film franchises, where horror and monster adventures were popular children’s entertainment. The article then matches these findings to an analysis of Alien’s original critical reception, suggesting Alien as a text held between coexisting definitions of horror in 1970s culture: a genre for all-ages entertainment, as defined dominantly across pop culture, but also a (film) genre where emerging intensity was allowed by the newly introduced R rating. The article thus argues for the need to question traditional histories of horror and re-examine their limiting assumptions about children, transgression and quality. Moreover, the article highlights the need to look beyond single media industries when exploring the cultural expression of the horror genre and of ‘canonical’ texts, especially where franchise relationships are involved.

Acceptability of Subtitle on “Charlie and the Chocolate Factory” Film

This study aims to determine how acceptable a subtitle is for a film with a PG-Rating. This study was conducted using a descriptive qualitative research approach. The object of this study is a popular film, watched by children. The human instrument is used as a research instrument; the researchers determine study focus, data sources, obtain data, analyze data, interprets data, and draws conclusions. The data is from the subtitle of the film 'Charlie and the Chocolate Factory' on 'Netflix.' The note-taking approach is used to collect the data from subtitle texts, ensuring that the data is correct. The data includes subtitle timing, characters, source language, and target language. The data is analyzed based on the measurement of a translation's level of acceptability. This study findings show that some translations in the film 'Charlie and the Chocolate Factory' are still unacceptable and less acceptable for a PG-Rating film with child audiences.

Realization of Modern Children's Musical "Frog Masha" by O. Spiliotti in the Context of the Youth Subculture

The author considers the process of directing a modern children's musical "Frog Masha" in accordance with the requests and interests of the young audience of the information technology era. The relevance of the study lies in the need to outline the milestones of rethinking the modern children's repertoire in musical theater in accordance with the specifics of the perception of art works by a certain age category. The purpose of the study determines the specific directorial approaches in the implementation of the musical on children's themes, taking into account the peculiarities of the modern subculture of the younger generation. The research methodology was chosen as a comprehensive cross-sectoral approach based on the synthesis of methods: 1) observation and processing of results in order to identify the specifics of the perception of children's audience; 2) genre-stylistic in order to outline the specific features of modern children's musical; 3) interpretive and experimental in order to determine their own directing techniques in the implementation of the project. The scientific novelty is substantiated, which involves the definition of the director's concept in solving vocal-instrumental, spatial-scenographic and plastic-choreographic aspects of modern children's musicals with the actualization of the problem of replacing real life with virtual one. Evidence is provided that the ideological and thematic content of the art project raises the topical issue of the subculture of the younger generation, when real life gaining the necessary material experience is replaced by virtual perception, illusory due to the exaggeration of information technology. The specifics of compositional construction of the project are determined, which organically combines the multi-genre music structure of the musical with the characteristics of the personalities, their rational actions into a single integral spectacle, able to emotionally influence the young viewer's choice of new media in his life. In the process of realization of the art project the author's directing techniques were found: combination of the real world with the virtual in the scenographic solution of the play; synthesis of polygenre vocal-instrumental component with different plastic-choreographic components in solving artistic images of characters; interactive form of interludes as a kind of bridge between the parts of the musical. The author predicted the need for the latest research on the impact of information technology on the artistic practice of musical theater, which requires further directorial research and experiments in solving children's issues, which would meet modern challenges and current realities.

Game Design Factor Questionerin User Experience Analysis on Selera Nusantara Game

Game products are one of the media to provide pleasure, satisfaction and knowledge for users. Game Selera Nusantara is a game product created by a game studio in Yogyakarta, namely Gambir Studio, created with the aim of providing pleasure, satisfaction and knowledge to its users. In order for the goal of the Selera Nusantara Game to be achieved, a game design by a user-centered game designer is needed. Game Selera Nusantara is a game with the Casual genre that has a target audience of children and teenagers with the main goal of introducing Nusantara cuisine. The good aim of the Selera Nusantara Game which introduces the culture of the archipelago is the basis of this research by assessing the quality of the game so that it can be accepted by the target audience optimally. The User Experience method with Game Design Factor Questionaire and compared with the results of interviews with game designers from Game Selera Nusantara used in this study provides an analysis of the quality of the game quantitatively. The results of the analysis show that Game Selera Nusantara has a high score on the criteria of Game Goals, Game Mechanism, Interaction, Fantasy Game, Narrative, Sensation, Game Value, Mystery, Flow, which is more than 90%. This means that the Selera Nusantara game has been able to fulfill the goal of providing pleasure, satisfaction and knowledge to its users in accordance with the design of the game designer.

Image-based malicious Internet content filtering method for child protection

Children and teenagers are among Internet users and they encounter harmful data in the global network. Young users often become the potential victims of pornographic images. Avoiding pornographic images harmful to the child audience is an important research task in the field of detection, computer vision and multimedia. Malicious content can be prevented using various methods. Current paper presents a ChildNet model that filters harmful image content. The pixels of the digital images are used as a data source for recognition of nudity in the images. For each class, a multi-layer deep neural network architecture with five convolution blocks is developed to study the color patterns of undesirable image pixels. The developed neural network consists of 21 layers; the size of the filters is specified as (3 × 3). The filter's size is reduced to increase the accuracy of pixel recognition. The efficiency of the proposed method is tested on real datasets for evaluation purposes and the superior results are obtained from the proposed method in comparison with classical CNN.

ПОЕТИЧНІ Й ПРОЗОВІ ТВОРИ МИКОЛИ ВІНГРАНОВСЬКОГО В АНГЛОМОВНИХ ПЕРЕКЛАДАХ

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

MEDIA TRAUMA AND POSTTRAUMATIC STRESS DISODER SYMPTOMS IN CHILDREN

The acute issue of the lack of high-quality diagnostic methods for assessing the level of post-traumatic stress disorder (PTSD) and its symptoms, especially psychodiagnostic scales of war traumatization for a child audience is discussed. Based on the analysis of international studies, a forecast was formulated regarding the 40–60% level of PTSD manifestations in Ukrainian children of the war, including among those who are Ukrainian refugees in different countries. Analysis of the symptoms used to diagnose PTSD and complex PTSD gives reason to suggest that the role of media traumatization is underestimated. Children receive media trauma as a result of exposition of the media content covering traumatic war events. It is necessary to take into account the age periodization of media risks to determine the role of media trauma in the complex assessment of exposure to stressors. An analysis of the sets of methods recommended by authoritative professional associations has been carried out, which increases the awareness of the urgent need to create domestic psychometric norms for children of different ages (a minimum of three age categories determined by various psychological mechanisms of media risks). Based on global analogues, which determine the loss of learning material by children with PTSD of about 60% due to cognitive problems (concentration of attention, reduced memory, difficulty in forming new skills), an approximate estimate of the expected socio-economic impact of PTSD on the educational system of Ukraine is given, which was an additional burden on the budget of about 5 billion hryvnias per year according to the most minimal level of expectation of PTSD among schoolchildren and students (10%) with a corresponding increase significantly when the national level of symptom manifestation will be more. It is proposed to consider the PTSD impact orientir as a basis for assessing the moral damage caused by the war to the educational system as a result of the change in children’s conditions due to the collective trauma of the war. The results of studies by Ukrainian scientists on the role of early diagnosis of PTSD and timely services show that the manifestation of PTSD symptoms reduces by 2 times. A conclusion was made about the urgent need to create remote technologies for the diagnosis of PTSD symptoms in children of different age categories, and the prospects for further research were outlined.

A film discourse on emotions, exemplified by the Pete Docter’s animated film for children “Inside Out”

This paper discusses the conceptualization of anthropomorphized emotions in children’s animated films, using the example of the Polish (dubbed) version of Pete Docter’s production Inside Out (2015). This is a new issue that has not been developed in the fields of film studies, linguistics, and media linguistics. It is placed in the wider context of film discourse, with particular emphasis on the visual-verbal layer and educational function. In a film treated as a media message, all dimensions of film discourse are fulfilled. The basic research unit is a statement extracted from an audio track, functioning in a specific situational context and associated with a visual code. Children perceive the world filtered by characters’ experiences, knowledge, and emotions. They accept their point of view, which is revealed both in visual and verbal layers. The audiovisual nature of the message forces us to adopt a broad multimodal research perspective. Since the research has an interdisciplinary nature and is within the framework of media linguistics, attention is focused on those elements of cinematic work that the viewer (child) is able to decode: the narrator’s person, the coexistence of visual and verbal codes, and the principle of contrast. The elements indicated interpenetrate and thus create an integral cinematic picture of emotions. The analysis showed that the film fits into the medial (cinematic) discourse about emotions. Due to its audiovisual capabilities, it has great potential in demonstrating and explaining complex emotional states, often difficult to understand by the intended recipient of the film. Its uniqueness is evidenced by the fact that it does not so much appeal to the emotional sphere of the child audience, but anthropomorphizes emotions. It depicts the world and situations that are impossible to imagine due to child-specific cognitive deficits.

Modern Children's Musical "Frog Masha" by O. Spilioti in the Context of Director's Modeling of a Creative Art Project

Peculiarities of modern development of performing arts in the conditions of paradigm change, transformation of value orientations are considered. The author pays attention to such factors: the influence of mass culture on theatrical repertoire in general and children's in particular; the role of innovative, digital technologies in updating the content of children's performances, their scenographic solution. The urgency of rethinking children's issues is revealed. The ways of searching for new directorial approaches and means of stage expression in accordance with the realities of today are determined. The source and analytical basis of the research are analyzed and systematized in the context of: the influence of present-day socio-cultural challenges on the metamorphoses of children's repertoire; director's searches and experiments in modern interpretations of children's performances; application of the synthesis of traditional and innovative means of expression in accordance with the psychology of the child's perception works of art. The purpose of the research is substantiated — create an experimental model of children's musical performance through the prism of director's innovations in the synthesis of arts and means of expression in accordance with the requests, interests and possibilities of perception of this age. The research methodology is outlined, which provides for the use of problem-analytical method to clarify modern requirements for children's repertoire; genre-stylistic — for the director's substantiation of his own project concept; socio-psychological — to create characteristic portraits of characters; experimental modeling, interpretive — to determine the concept of the director's idea of the play. The libretto of N. Torzhevskoi's musical "Frog Masha" and the concept of O. Spiliotti's musical drama with the addition of director's remarks are analyzed. The ideological and thematic analysis in the context of the construction of the composition and architecture of the play in accordance with the theatrical aesthetics of today. The main features of the characters that designate the logic of their actions are determined; their socio-psychological portraits are created, which are associated with the personal traits of people of different ages and social status. The author considered the modern scientific and creative achievements in the traditional and innovative artistic as well as figurative solution of the play discovering the influence of the latter on the nature of mise-en-scène. The necessity of specific directorial approaches to the selection and implementation of priority themes, related to the needs and demands of children's audiences, the psychology of their perception of art works is proved. The scientific novelty of the research is determined — to outline the director's concept of modernization of children's repertoire in the conditions of modern possibilities of the theatrical stage. This article outlines certain vectors of further research on the topic in the context of metamorphoses of children's musicals, due to the search for new directorial approaches to the original synthesis of means of expression.

Thoughts on indigenous cultures and their encounters with children in museum education

This paper is about issues in museum education, starting from the discussion: how to discuss about indigenous histories and cultures with young children in a museum? How has this subject been dealt with? The expographic gaps are here used as the main setting to think over methodologies that help to talk about these questions. We will seek ways to understand how indigenous cultures have been represented and which points of view may help us to widen the mediations targeted to a child audience. Therefore, based on authors that discuss childhood, education and museum education, we think about potential and essential overlaps between mediation, children, and indigenous cultures and histories. key words: Indigenous Histories and Cultures; Children; Museum Education

Humouring Futurity: Avant-Garde Poetry for Children?

This essay humours the possibility of a kinder-garde, in which poets humour children so that children might humour poetry's futurity. I propose humouring as a critical approach premised on a compliant tension with a text, a subversive toleration that undermines ‘aetonormative’ seriousness and upholds ‘childish’ humour as valuable play-with-value. The Kindergarde anthology (ed. Dana Teen Lomax 2013 ) claims to translate avant-gardism for a child audience, linking its experimental poems to the experimentation of children's play. Using carnivalisation, détournement, defamiliarisation, and other forms of what Ryan Fitzpatrick and Jonathan Ball term ‘experimentation-with-humour’, Kindergarde constructs inclusive spaces for humoured subversion, in which children can sidestep oppressive adult normativity. The child's humoured humouring of adult power is discussed here by re-reading children's literature's ‘impossible relation’ (after Jacqueline Rose) in terms of Michel Serres’ ‘parasite’, Judy Little's feminist ‘humouring’ of male language, and Lee Edelman's queering of ‘reproductive futurism.’ Asserting that it is the condition of twenty-first-century poetry to be humoured – as a ‘minor literature’ (Deleuze and Guattari) with a ‘minor attitude’ (Georges Bataille) – my humouring of the Kindergarde builds toward a post-literary vision of the kinder-gardist as futurity-humourist.

‘They Are Not like […] Pamela Hódi […] Constantly Showing Off’—How Hungarian Tweens Negotiate Fame through Disney Princesses

Ever since Disney Princesses were established as a marketing brand in 2000, they have become a famous ‘phenomenon’ that has been commercially successful, popular, and adored, but one that has also received much criticism from scholars and consumers alike. Although audience research has gained increasing recognition in recent years, this field’s attention has focused mainly on the ‘West’, neglecting Eastern European—including child—audiences. Moreover, while there are several scholarly examinations of Disney Princess films, these studies mainly employ textual analysis (Escalada-Cordova 2018; Whelan 2014; Wilde 2014) rather than conducting empirical research. Instead of reading for the audiences and making assumptions about how they interpret fame from a media text, in this case Disney Princesses, it is therefore crucial to ask audience members themselves, as Sonia Livingstone observes, ‘it is established that audiences are plural in their decodings, that their cultural context matters, and that they often disagree with textual analyses’ (2008, p. 4). By drawing upon diverse scholarly works within the field of celebrity studies as well as undertaking an audience study with Eastern European—specifically Hungarian—tweens, the objective of this article is twofold. On the one hand, this paper argues that animated characters are indeed entitled to have a fame status. It does so by deploying theorisations that distinguish between heroes and celebrities (North, Bland, and Ellis 2005), celebrities and stars (G. Turner, Bonner, and Marshall 2000), and differentiate among animated characters considered as ‘celeactors’ (Rojek 2001), or as stars (Ellis 2007; McGowan 2018; 2019). On the other hand, through the analysis of audiences’ diverse perceptions of fame, illustrated by Hungarian tweens’ understanding of Disney Princesses—an enormous global media phenomenon—this article provides a key case study for the aforementioned argument while highlighting the features of celebrity culture that are specific to Hungary. Taking into account Hungarian tweens’ approaches towards Disney Princesses, while considering that Disney is claimed to have ‘immense power over childhood culture’ (Garofalo 2013) and that ‘[t]he celebrity is simultaneously a construction of the dominant culture and a construction of the subordinate audiences of the culture’ (Marshall 2014, p. 48), this paper starts revealing the diverse ways in which different cultures conceptualise celebrity notions.

Socio-economic situation of the region as a factor in the dynamics of the institute of education in the new social reality

In the article, the authors have analyzed the problems of providing educational services during the pandemic. The position of the determination of the institution of education from the level of socio-economic well-being of the region is justified. The authors have substantiated the position on the formation of new challenges to the institute of education, caused by the formation of a new social reality in the conditions of isolation and restrictions of the communicative space. The social, economic and psychological factors of reducing the degree of satisfaction with educational services during the period of large-scale restrictions of full-time education have been considered. The problems of organizing a distant learning mode for the heads of educational organizations, the teaching staff and the children's audience have been identified. The authors consider the most significant problems to be: increasing stratification of the Russian regions, polarity of their economic condition, which reveals differentiation in the technical equipment of educational organizations and the availability of educational services and resources to provide a modern educational space; the polarity of the technical equipment of educational organizations; organizational and technical difficulties; the lack of knowledge of teaching staff about the rules of organizing video content.

Media for children: terminological frameworks and research paradigms.

The article clarifies the terminological status of the concept of "media" in the context of expanding the boundaries of social practice of its application and technological modernization of the processes of production and dissemination of mass information for children. In the work there is given the operational definition of children's media in the context of the technological paradigm, and the four components of their structures are defined: mass media addressed to children in their physical embodiment; technological channels of mass media distribution for children's audience; web platforms for broadcasting children's media content on the Internet and technical devices for reproducing information. The scientific novelty of the article lies in the consideration of media for children as a set of officially registered media that are intended for a children's audience and distribute relevant content through various technological channels and digital resources. The author proposes a theoretical understanding of the research object in a complex of three theoretical paradigms: technological, empirical-functionalist and anthropological.

”Dette skulle bli et dikt som noen skulle huske en stund”

”This was supposed to become a poem which someone would remember for a while”: Stage Art as Poetry for Children in the Theatre Performance Snutebiller, stankelben&#x0D; Abstract: Norwegian author Rolf Jacobsen’s (1907–1994) modernist poetry, originally published for adults, has been celebrated for its boldness and innovativeness. In the stage performance Snutebiller, stankelben (Snout Beetle, Crane Fly) by the Norwegian theatre group Fleece &amp; Rouge, four poems by Jacobsen are performed on stage with children as the target audience. This article studies the realization of Jacobsen’s poetry as stage art for children. Transferring the poems from book to stage involves several obvious medial transformations due to the theatre’s specific devices. By drawing theoretical inspiration from Jonathan Culler’s theory of the lyric poem’s ritualistic and fictional qualities, we ask to what degree the performance preserves the poetic qualities in the poems for the child audience. Or rather, does the theatre frame impose dramatic effects on the poems by expanding their element of fiction? The inquiry is also inspired by Margaret Meek’s and Kornej Tjukovskij’s perspectives on the relationship between children and poetic language. There is an amount of risk involved in the task of transferring poetry to the stage. In order to succeed, the actors must embrace the expressive possibilities of the theatre, which in one sense means replacing one genre with another and thus leaving the poetry behind. However, as the analysis of Snutebiller, stankelben demonstrates, the poetic may resurrect in the scenic expression, given that the performance’s embeddedness in and obligation towards the poems are strong enough.&#x0D;

Exposure of French Children and Adolescents to Advertising for Foods High in Fat, Sugar or Salt.

Food marketing of products high in fat, sugar and salt (HFSS), including television advertising, is one of the environmental factors considered as a contributor to the obesity epidemic. The main objective of this study was to quantify the exposure of French children and adolescents to television advertisements for HFSS products. TV food advertisements broadcast in 2018 were categorized according to the Nutri-Score of the advertised products. These advertisements, identified according to the days and times of broadcast, were cross-referenced with audience data for 4- to 12-year-olds and 13- to 17-year-olds. More than 50% of food advertisements seen on television by children and adolescents concerned HFSS products, identified as classified as Nutri-Score D and E. In addition, half of advertisements for D and E Nutri-Score products were seen by children and adolescents in the evening during peak viewing hours, when more than 20% of both age groups watched television. On the other hand, during the same viewing hours, the percentage of children and adolescents who watched youth programs, the only programs subject to an advertising ban, was very low (<2%). These results show that the relevance of regulating advertising at times when the television audience of children and adolescents is the highest and not targeted at youth programs, in order to reduce their exposure to advertising for products of low nutritional quality.

Kamen Rider

Kamen Rider