Children's Films Research Articles

Animasyon Filmlerinin Çocuğun Epistemolojik Gelişimine Etkisi

This study aimed to explore the effects of information types in animated films on 6th-grade middle school students' learning skills. The study was carried out with 70 volunteer students who attended a public middle school in a village in Oğuzeli district of Gaziantep in the 2019-2020 academic year. The participant 6th-graders were from low socio-economic families. The study was designed in an embedded pattern, which was one of the mixed-method approaches. There were 24 students in the experimental group in which animated movies were watched, 23 students in the placebo group where children's films were watched, and 23 in the control group where Turkish lessons were taught without films. The qualitative data about student and researcher experiences were included in the experimental process. The quantitative data were analyzed using a pre-test, post-test, and follow-up test and case study methodologies. The study adopted a 3x3 quasi-experimental design, including experimental, control, and placebo groups. The quantitative data were collected with an Information Types Assessment Tool (ITAT), developed by the researcher and verified by expert opinion. The qualitative data were collected with The Assessment Form for the Information Types (AFIT), a semi-structured interview form, and student and researcher diary. The experimental process lasted for 12 weeks, including the pre-test and post-tests. The follow-up test was conducted at the end of the experimental process and six weeks after the post-test. The research results indicated a significant difference in post-test scores of those who watched the animated movie. There was also a statistically significant difference in favor of the experimental group in the post-tests. It was concluded that animated films had a meaningful and permanent effect on students' learning information types. Besides, following the data related to student diaries and interviews revealed that the experimental group students could permanently learn the types of information through animated films and enjoyed such lessons

Books Received

Books Received Mark I. West Adapting Superman: Essays on the Transmedia Man of Steel. Edited by John Darowski. McFarland, 2021. Superman as a character made his debut in 1938, in the pages of a comic book, but this character soon began appearing in other media, including film, television, radio, and video games. The essays in this volume explore how these various adaptations have shaped the evolution of the character of Superman as well as his place in society. A Companion to Children's Literature. Edited by Karen Coats, Deborah Stevenson, and Vivian Yenika-Agbaw. Wiley-Blackwell, 2022. Part of the Blackwell Companions to Literature and Culture Series, this collection includes 34 original essays on a wide variety of topics related to children's literature and culture, including folklore, fiction for children, picture books, poetry, fairy tales, children's films, graphic novels, and children's information books. The collection is organized into the following four parts: "Early Works," "Twentieth-Century Developments," "Contemporary Trend and Texts," and "Ways of Reading." Teaching to Exceed in the English Language Arts: A Justice, Inquiry, and Action Approach for 6-12 Classrooms. By Richard Beach, Ashley S. Boyd, Allen Webb, and Amanda Heartling Thein. Routledge, 2022. Intended for pre-service and in-service language arts teachers, this book includes material that relates directly to the teaching of literary texts intended for children. The authors pay particular attention to children's authors of color. The book also includes information on integrating drama activities into the teaching of literature. [End Page 331] Copyright © 2023 Children's Literature Association

REVISIVITING THE CHILDHOOD THROUGH SELECTED CHILDREN’S FILMS IN MALAYALAM

The image of a child has long been employed for ideological objectives in national cinemas all throughout the globe. The representation of children and childhood in cinema is an open dialogue in the field of children's films. Disney films portrays children in ideal family and societal situations, making Disney films acceptable to the broader public as representations of conventional children and family ideals. Those kinds of films may have an impact on promoting an idealised picture of childhood since millions of people across the world watch them. Similarly, according to Giroux (2004), Disney films combine an ideology of enchantment with an aura of innocence, which is built around children's learning and development of themselves and their world, yet they tend to have traditional views on socio-cultural aspects around them. Children in early British silent films were depicted as self-representation, in contrast to their innocent appearances in Hollywood films. Children can be found as the central focus of the narrative in Malayalam films such as “Manjadikuru”, “Ottal” and “101 Chodyagal”. Children are shown in these films in a real world with complex challenges, destabilising the idea of the "innocent child." The researcher examines how the selected Malayalam children’s films help to reinforce and negotiate ideological and social codes interlacing gender, sexuality, class, and caste.

Can sports cartoon watching in childhood promote adult physical activity and mental health? A pathway analysis in Chinese adults

Physical activity is essential to maintain physical and mental health. Unfortunately, insufficient physical activity has become a common phenomenon worldwide in the past decade, and the absence of interest in physical activity is assumed a reason. Therefore, strategies for fostering interests and promoting public engagement are in need. We conducted a questionnaire survey during September 2021 that involved 1202 adults to capture data on sports and relevant cartoon watching experiences during childhood; Intensity and frequency of physical activity, depression (PHQ-9), and anxiety (GAD-7) during adulthood. Structural equation modeling was employed to examine pathways between watching sports cartoon in childhood and physical activity and mental health in adulthood. The results suggest that childhood sports cartoon watching may have indirect and positive impacts on adult physical activity and, in turn, on mental health. Childhood sports experience is a critical mediator role linking childhood sports cartoon watching, adult physical activity, and adult mental health. In conclusion, watching sports cartoon may help cultivate sports interests and promote children's participation in sports, and the sports experiences may be a continuous and beneficial factor that connects childhood and adulthood. These findings indicate a framework to understand the durative positive impact of cartoons and maybe other children's film and television works.

Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology since the 1990s by Noel Brown

Reviewed by: Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology since the 1990s by Noel Brown M. Tyler Sasser (bio) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology since the 1990s. By Noel Brown. Edinburgh University Press, 2021. Our narrative for Hollywood animation generally goes as follows: European fairy tales inspired the Gold Age of early Disney princesses, all of which are white, traditionally beautiful, kind to animals, helpless, prone to singing, and longing for domestic responsibilities and wedded bliss with Prince Charming until The Little Mermaid (1989) instigated the so-called Disney Renaissance, whereby Disney princesses obtained some agency while remaining still mostly white, still traditionally beautiful, still kind to animals, still singing, and still longing for wedded bliss. Then came Frozen (2013), which somewhat subverted these patterns. In a very general sense, we have thought about Hollywood [End Page 121] animation as being synonymous with Disney and basically rebranding the same princess archetype. Noel Brown's Contemporary Hollywood Animation complicates this scholarly narrative for those movies produced since The Little Mermaid. Therefore, instead of a single, sustained argument, Contemporary Hollywood Animation blends a nuanced history of American animated features with clear analysis of thematic patterns and how such patterns "recapitulate the values, beliefs, hopes and fears of the nation" (1). The first chapter alone warrants the need for university libraries to procure a copy of the text, as it will need to be included in all syllabi dealing with Disney, children's film, or any part of contemporary cinematic animation. Brown empirically tracks significant production trends in Hollywood animation and contextualizes them in terms of business, aesthetics, and influence. A few examples include the enormous increase in the annual number of full-length features released (roughly seven in the early 1980s compared to more than seventy in the past five years) (3); the commercial impact of Star Wars (1977) in terms of marketing a franchise via ancillary products (kidvids, theme parks, books, toys, etc.), often which outshines box office earnings; the transition away from cel animation and towards CGI; and the shift away from adapting children's classics to producing original screen plays. As evidenced in this opening chapter, unlike contemporary scholarship on animation by Chris Pallant, J. P. Telotte, Christopher Holiday, Eric Herhuth, M. Keith Booker, Deitmar Meinel, and Lilian Munk Rösing, Brown offers a "comprehensive introduction to Hollywood animation since the 1990s that encompasses celanimated, computer-animated and stop-motion traditions of filmmaking, examines major formal, ideological and industrial trends, and relates films to social and cultural developments in the United States" (39). Having demonstrated major changes in the industry since the 1990s and the hybrid methodology adopted in the text, Brown turns towards the dominant theme in mainstream animation: family and kinship. In other words, Brown finds in several contemporary movies not only somewhat diverse depictions of family but also that the focalization now often includes that of both young and older characters. While contemporary animation has "only gone so far" in its acknowledgment of LGBTQ+ families (55), representation of diverse family structures has progressed. First, there has been a normalization of single-parent homes, surrogate, and extended family units, and a narrative of "reconstruction of damaged or incomplete families" (39). Second, the traditional American (or Western) convention of the isolated hero moving towards some self-obtained goal has been partly supplanted by the now more common narrative of a family, traditional or otherwise, collectively working to obtain goals (67–77). Such shifts speak to other changes as well, such as the replacement of diegetic songs that dominated early animation, themselves based on 1930s Hollywood musicals, in an effort aesthetically to [End Page 122] make these contemporary family films appear more realistic. Further, expansions on how these films depict family speaks less to aesthetical shifts and more to studios' attempts strategically to market their product to adult demographics in that these films dually address child and adult audiences (43–47). Hence, the movies reposition the focalization of characters to embrace both old and young points of view, to emphasize adult themes such as the cyclization of life, and to include characters who find pleasure in watching their children grow and become like them. Yet...

Конструирование идентичности в детском кинематографе: опыт кино СССР и практика современной России

The article is devoted to the formation spectator-child's identity problem by cinematography means. The authors rely on the social constructionism position. The position allows us to talk about the socio-cultural reality construction by cinematography means: about the creation of an artistic and symbolic world model. The values or ideology system guidelines developed within the framework of the USSR ideology and meeting the tasks socio-political, socio-economic structure is the model based. Cinematography, namely children's cinema, aimed at an educational role, broadcasts these attitudes, including the values of patriotism, diligence, collectivism, etc. In this way, the forming the child's identity (Soviet identity) process is “launched”. After the USSR collapse, cinematography develops under the globalization processes influence: there is a rejection of ideology and the spread of postmodern cultural values. The development of the information environment and the change in the socio-economic system dictate the development of a new language of cinema, which is becoming an actual research field. The expose of the child-viewer's constructing identity specifics on the basis of a comparative the Soviet era and modern Russia children's films is the study purpose according to the authors of the research. The study was conducted on the material of films with similar fairy tale plots, which are analyzed from the position of the following parameters: plot construction, the hero image, the expression used means, as well as the value-semantic attitudes of culture transmitted by the artistic and figurative film production system. The study showed, that modern cinema, unlike the USSR cinema, demonstrates a rejection of binary thinking, does not claim to be clear on the author's position and establish any final meaning of the work, refers to new topics (consumer society, feminism, power) and values (individualism, hedonism, priority of the material over the spiritual).The visual aspect prevails among artistic means to the detriment of the verbal and semantic aspects for a reason the digital culture and computer graphics development. A new socio-cultural reality is constructed, and, consequently, a new child identity in such a cinema space in this way. The “new viewer” is forced to navigate in the meanings multiple stream and images, relying on his own unstable experience.

Integration of language, psychology, and technology and the concept of independence learning in reading characters in indonesian children's films as media and learning materials in character building for elementary school students-indonesia

The purpose of this research is to integrate psychology, technology, and language in reading the characters in Indonesian children's films as media and learning materials for character building for elementary school students in Indonesia. This research design uses mixed methods. The source of research data is sourced from elementary school students' learning activities in Indonesian subjects using Indonesian children's films as media and learning materials. Data were collected using questionnaires, interviews, and focus group discussions. Respondents of this study were elementary school teachers as many as 98 teachers. Qualitative data were analyzed by interpreting techniques and presented in the form of descriptions, while quantitative data were analyzed by calculating the average student learning outcomes presented in the form of percentages. The findings of this study are twofold, namely, the findings of this study are twofold, namely by using Indonesian children's films as a medium as well as a source of learning and learning materials can shape students' character and improve student achievement.

Inovasi Taman Bacaan Masyarakat (TBM) Pena Ananda Dalam Memberikan Layanan Informasi Kepada Masyarakat di Tengah Pandemi Covid-19

The government's policy to respect and avoid crowds in the form of killing the spread of the corona virus that occurred throughout 2020, had an impact on system changes in various aspects of public services and information to the public. Likewise, the service at the community reading park (TBM) has the main function as a means of independent learning for the community and as a support for informal education programs. This study aims to determine the innovation of TBM Pena Ananda in providing information services to the public through various innovative activities and services that are online. This research method uses descriptive qualitative methods with data collection techniques through observation, interviews and documentation. The results showed that the innovation of information services to the community at Pena Ananda TBM was carried out through system changes from offline to online such as exclusive writing training activities, poetry day echo talk shows, online reading rally, garbage magic from home, group talk, children's song creation workshops, writing creative, happy home learning August, 21st century children's talk room, vibrant pandemic with children's songs, children's films in the industrial revolution, thought process together, discussion together, junior writing class online, educational article writing competition, volunteer talk through applications zoom.

Life According to Popular Children's Films

This content analysis uses data gathered from the 150 top-grossing children’s animated films from 1990 to 2020 (based on North American theater sales) to examine the gender disparities and stereotypes in children’s media. The study shows that female characters are underrepresented in lead roles (14%), main gangs (28.1%), and speaking roles (27.2%). The central female characters are portrayed stereotypically. When female characters appear, they are more likely to be portrayed in a romantic and family relationship than male characters. However, films with a greater percentage of women writers are correlated with more speaking roles for female characters. The impact of media on children’s development is indisputable due to the way technology has become ingrained in day-to-day life. The lack of representation of female characters reinforces the stereotypical portrayals that negatively affect the self-esteem of girls and train boys to expect an androcentric world. The skewed and stereotypical portrayal of female characters fails to accurately represent the diversity of other parts of the world. While many of these films are produced in the West, they are widely distributed and consumed all over the world.

ОПЫТ ВОЗРОЖДЕНИЯ ДЕТСКОГО И ЮНОШЕСКОГО КИНО НА МАТЕРИАЛЕ ДЕЯТЕЛЬНОСТИ ДЕТСКИХ КИНОФЕСТИВАЛЕЙ И КИНОСТУДИЙ г. ТОМСКА

Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.

Tintin, du cinéma à la BD par Bob Garcia

Reviewed by: Tintin, du cinéma à la BD par Bob Garcia James P. Gilroy Garcia, Bob. Tintin, du cinéma à la BD. Desclée de Brouwer, 2019. ISBN 978-2-220-09615-5. Pp. 276. Tintin fans who share the author's passion for the Belgian cartoonist Hergé (Georges Remi) will be thrilled. Garcia explores the influence of films on Hergé's bandes dessinées. He points out that the latter were inspired at the beginning of his career by ciné-romans, comic-book retellings of silent movies with dialogue provided to accompany the images. In his own stories of the adventures of Tintin, Quick, and Flupke, Hergé revealed his admiration for the heroic antics of such silent movie figures as Buster Keaton, Laurel and Hardy, Harold Lloyd, and Charlie Chaplin. The characters they played represented the well-intentioned hero who is pursued and persecuted by villains but who manages to prevail in the end. These triumphs often entail a near superhuman and, at the same time, comic athleticism. Hergé borrowed several of their most amazing stunts, as his own heroes and their companions extricate themselves from the clutches of their evil pursuers. After the creation of talking pictures, he also emulated the verbal and physical agility of the Marx Brothers. Another source of inspiration for Hergé was the cinematic detective story, both silent and speaking. He was especially impressed by the crime-solving talents of Sherlock Holmes in his several incarnations by different actors. Holmes's example of dealing with crime and criminals by intellectual analysis was a model for Hergé's perennial hero. Tintin's official career is that of an investigative journalist seeking the truth about the nefarious activities of malefactors who threaten the liberty and well-being of humanity. Garcia also discusses Hergé's admiration for the films of Alfred Hitchcock and the parallels in their techniques. Both creators emphasized the clarity of a linear story line and sought to get the spectator or reader personally involved. Both explored the irrational side of human nature as displayed in dreams and insanity. Both studied the line separating good and evil. They also introduced an element of humor to relieve tension. In addition to the genres mentioned, Hergé got ideas from cowboy movies, love stories with Rudolph Valentino and Mary Pickford, the Our Gang children's films, and horror movies like The Phantom of the Opera. Garcia points out that Hergé also adopted a number of cinematographic technical procedures, including ellipsis, plunging perspectives, [End Page 270] travelling camera shots, and flashbacks. Hergé was always a man of his time, and the adventures of his heroes mirrored contemporary events. For example, just as outer space travel was a subject of film from its earliest days with Georges Méliès into the contemporary period, so does Tintin engage in voyages to the moon. Garcia admits that some of the similarities he finds between Hergé's books and the movies discussed might be coincidental. Hergé himself made only occasional mentions of films that had an impact on him. More might also have been said about how historical events like World War II and accusations of collaboration made against Hergé led him to redefine his hero's persona and reorient Tintin's heroic pursuits. James P. Gilroy University of Denver (CO) Copyright © 2021 American Association of Teachers of French

“A MAIOR FLOR DO MUNDO”: FROM LITERATURE TO FILM – A STUDY IN COMPARATIVE LITERATURE

This article is a comparative study between José Saramago's “A Maior Flor do Mundo”, published in 2001, and its film adaptation made in 2007 by filmmaker Juan Pablo Etcheverry. Based on the discussion of the similarities and differences between the text and the film, it is intended to demonstrate that a film adaptation can add value to the narrative, through the inclusion of scenarios, characters, colours and sounds, which make it more understandable in the eyes of children. After a theoretical contextualization of the concepts of comparative literature, children's literature, adaptation and film adaptation, in the first part of this article we discuss the moral messages that José Saramago intends to transmit and the importance of this literary work in the child's individual, pedagogical and intellectual development. In the second part of the article, the characteristics of both works - literary and film - are compared, namely, the plot of both stories and the creative and moral sense of José Saramago and Juan Pablo Etcheverry.
 
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ХV МІЖНАРОДНИЙ КІНОФЕСТИВАЛЬ АМАТОРСЬКОГО КІНО «КІНОКІМЕРІЯ 2020» В УМОВАХ ПАНДЕМІЇ COVID-19

Formulation of the problem is a question as for the need of amateur cinema in Ukraine. Chairman of the Board of the Ukrainian Film Academy started the press conference with such rhetorical question. Indeed, difficult epidemiological situation in the world has caused some problems for leading cultural events. UNICA's final in the UK was canceled. But in Kherson the XV Jubilee Festival "Kinokimeria" worked according to all the requirements in a remote mode. This year's festival should, under certain conditions, become a venue for the European festival UNICA 2022 and this is a proof to the European film community that the Kherson region is able to host film festivals as national so the world levels. This year is special because due to the global pandemic, it was unknown whether this event would take place at all. Therefore, the international program could not be formed, but the Ukrainian, thanks to the efforts of domestic amateurs, was presented with new films. The development of the cinema art in the era of globalization attracts the leading foreign scholars' attention. The issue of distribution and additional funding for amateur film associations and children's film studios still remains open and finds only the objection of government officials in the form of the question. But, at the same time, there is an amateur cinema that creates the image of our country over the international cultural space. The main aim of the article is to describe valuable thematic, artistic and stylistic features of Ukrainian competitive films on the jubilee XV International Film Festival "Kinokimeriya 2020". There are some applied methods such as: structural analysis, comparative, synthesis, empirical method. Conclusions and suggestions: as a result of reviewing the competition program, personal presence, confirmed the intention to hold one of the most interesting cultural events of European significance in Ukraine, as discussed in this article, the author of the study concluded that Ukrainian amateur films have the potential to compete even with professional film studios, that receive public money in the international arena.

Artifice, Fantasy, and Exaggeration: The Boundless Limitations of Puppets

Artifice, Fantasy, and Exaggeration:The Boundless Limitations of Puppets Sean Macdonald (bio) Without a doubt, Jin Xi (1919–1997) is one of the masters of puppet animation in China. Jin Xi's "On the Distinguishing Characteristics of Puppet Films" is among the first explicit theoretical discussions of animation in Chinese. Jin Xi's theory shines a light on puppet animation production in China in the 1950s through a detailed discussion of themes and techniques in an international context, especially contemporary Czech and Russian (Soviet) puppet animation. In her 2011 study of the Quay Brothers, Suzanne Buchan bemoaned the scarcity of theory that focuses on puppet animation. Jin Xi's article adds an important theoretical statement to a growing body of work on international puppet animation.1 Puppet animation in China has been all but forgotten as part of animation's predigital past. Although cel-animated films such as Danao Tiangong (Uproar in Heaven; Wan Laiming, 1961, 1964) are deservedly celebrated as artistic and technical triumphs, Jin Xi's work is rarely discussed in or outside of China.2 A possible reason for the relative obscurity of Jin Xi in particular, and puppet animation in general, is an implicit selection process by which the Shanghai Animation Film Studio promoted cel animation over other forms. While films such as Danao Tiangong and Nezha naohai (Nezha Conquers the Dragon King, 1979) have received anniversary DVD packages, most puppet animation has been released only on VCD, including Jin Xi's masterpiece, the feature Kongque gongzhu (Princess Peacock, 1963). [End Page 114] By the time Jin Xi published "On the Distinguishing Characteristics of Puppet Films," he had already written and directed four films, including the first film in China to combine live-action actors and stop-motion puppets, Xiao Mei de meng (Xiao Mei's Dream, 1954), and Shen bi (The Magic Brush, 1956). Lauded at home as representative of minzu fenge (national style), The Magic Brush had just shared first prize for best children's film (category B, children aged 8–12) in the International Children's Film section of the 1956 Venice International Film Festival.3 This was also the first time an animated film from China won an international award.4 The year Jin Xi's article was published, 1957, was also the founding year of the Shanghai Animation Film Studio (SAFS). "On the Distinguishing Characteristics of Puppet Films" is the first article on animation by Jin Xi, whose writings constitute some of the earliest theory about this medium in Chinese. Jin Xi was born in the northern city of Tianjin in 1919. He studied in the Department of Western Painting at the Tianjin Municipal Museum of Fine Arts, which explains his references to Western oil-painting techniques in "On the Distinguishing Characteristics of Puppet Animation." Jin Xi joined the Eighth Route Army in 1937 and the Communist Party in 1938. During the Sino-Japanese War, he served various functions as propagandist and fine-arts journalist. In 1949, he joined other animators from the Northeast Film Studio (the first Communist-controlled film studio in China) to form the animation unit of the Shanghai Film Studio, which became the SAFS.5 When the first All China Congress of Literature and Art Workers was held on July 2, 1949, Jin Xi's speech on the artist Cao Zhenfeng was published in an account of the conference in the official government newspaper, the People's Daily.6 Like Jin Xi, many of the early animators at SAFS had a background in fine arts, which probably influenced their choice of neologism for animation, meishu pian (美术片), literally, "a fine-arts film."7 [End Page 115] Jin Xi's writing is distinguished from other film and animation writing during this period by its comprehensiveness. He not only discusses the literary aspects of puppet filmmaking—the way plots are derived and thematic aspects of the films—but also demonstrates interest in the technical aspects, from the camerawork down to the construction and movement of the puppets. China's revolutionary period (1949–1976) is often remembered as a time of little red books and propaganda, but from 1949 until the early 1960s and the debacle of the Cultural Revolution, the...

ФІЛЬМИ ПРО ДІТЕЙ, ДЛЯ ДІТЕЙ І НЕ ТІЛЬКИ ДЛЯ ДІТЕЙ

In Soviet times, cinema for children and adolescents received considerable attention. Already since 1924 began the regular release of children's films. In the 1930s, paintings of various genres appeared on the screen: Torn Shoe, Captain Grant's Children, New Gulliver, Golden Key, Space Flight, Castle Border, Pike Command, and others.Yes, the real heyday of cinema for children and adolescents came during the "Thaw" period. There are various tapes on the screen - modern, historical subjects, fairy tales. At the same time, so-called "problem films" appear. It all began with the infamous "Rose Boys": "In Good Time" (1956), "Noisy Day" (1961).Soviet cinema was filled with new themes, problems, characters, and with it grew up cinematography for children and adolescents. In the 1960s, such iconic, problematic tapes as "Sergiyko", "And if this is love?", "Three Days of Viktor Chernyshov" and others. These were movies about children, but not just for children. Then the family movie comes into play.Movies of the 1970s - 1980s are even more problematic. "Movies of moral concern", so you can define the films "Other People's letters", "Scarecrow", "Plumbum or Dangerous game", "Dear Elena Sergeyevna", "My name is Arlekino" and others. All the nightmare that could only be dreamed up in a horrible dream became the reality and everyday life of our existence. These films can be conditionally defined as "films of moral concern". These works, as a thin barometer, diagnose the spiritual crisis of society, and appear in the cultural space of the country in the face of serious, global social upheavals.At the same time, good, all familiar films appear on the screen: "Teacher of singing", "Car, violin and blotch dog", "Adventures of Pinocchio", "About the Red Riding Hood", "Adventures of Electronics", "Mary Poppins, Goodbye!", "The Adventures of Tom Sawyer and Huckleberry Finn", "The Guest from the Future", "The Adventures of Petrov and Vasechkin ...", and many others.After the collapse of theSoviet Union, cinema for children ended. Has the modern generation of children grown so much that they do not want to read books, watch movies intended for them? Could society's coordinates and priorities have changed so much? Or is society itself brushing aside unwanted problems? But most of all, the modern world simply does not know where it is headed, what ideals, directions of development can be offered to humankind, and above all, its youngest part. Art, in particular cinematography, not only reflects the stages, events, problems of the social history of mankind, but also warns, encourages, educates, supports during a difficult hour. And if art retreats, its place is occupied by masculinity - ersatz and palliatives of art. Musculature shapes so to speak a one-dimensional person who lives only in material needs, without noticing spiritual values. Musculature destroys personality, unifies consciousness. Through psychological processing, it imposes political stamps, social myths, household cliches through the media. A variety of shows, heartfelt conversations about the topical, television series and films of dubious quality, like a spider web, entangle a person, turning him into an obedient doll, devoid of personal thought and freedom.The process of dehumanization of art is dangerous for society, especially for its young part, since it leads to emotional and intellectual sterilization. It would not be desirable to speak banal truths, but good films about children, for children and not only for children, could make their contribution, as they said, “to the upbringing of the younger generation”. And if in doubt, it's worth turning through our movie history pages.

The Development of Teaching Material in Writing Fable Story Texts with Children's Film Assistance for Grade VII in Junior High School 6 Tambusai Utara Rokan Hulu Riau, 2018/2019

This research deals with the development of teaching material in writing fable story texts with children's film assistance for grade vii in junior high school 6 Tambusai Utara Rokan Hulu Riau, 2018/2019. Teaching material of fable story text with children's film assistance are designed according to the development and age of students so that they can contribute to the emotional and moral development of students. The sample of this study were 32 students of seventh grade of in junior high school 6 Tambusai Utara Rokan Hulu Riau. The conclusion was teaching material with children's film assistance which developed can train students to learn independently with minimal help from the teacher. The role of the teacher is only as a facilitator who guides and directs students to learning fable story texts.

MULTICULTURALISM IN ETHNIC IN CHILDREN'S POPULAR FILM IN INDONESIA POST 2010

This article discusses about multiculturalism in the popular film industry with the theme of children in Indonesia after 2010. The categorization of this popular film is based on the number of viewers. This study is intended to find many aspects of ethnic multiculturalism contained in child-theme films after 2010. The concept of children's films from Bezalgette and Stapless is used to review the children's theme films. The conclusions of this study are that multiculturalism is present in most children's films in Indonesia through various forms of moral messages, which are delivered from interactions between characters and characterizations, however the films have not succeeded in showing all multi-ethnic diversity in Indonesia yet.

Science, Medicine and the Creation of a 'Healthy' Soviet Cinema.

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

Vom Premake zum Remake: Gender-Diskurse und intermediale Bezüge in den Deutschen Verfilmungen der Kinderromane Erich Kästners by Tao Zhang

Reviewed by: Vom Premake zum Remake: Gender-Diskurse und intermediale Bezüge in den Deutschen Verfilmungen der Kinderromane Erich Kästners by Tao Zhang Sebastian Schmideler VOM PREMAKE ZUM REMAKE: Gender-Diskurse und intermediale Bezüge in den deutschen Verfilmungen der Kinderromane Erich Kästners [From Premake to Remake: Gender-Discourses and Intermedial References in German Film Adaptations of Erich Kästner's Children's Books] By Tao Zhang. Series: Studies in European Children's and Young Adult Literature; 3. Universitätsverlag Winter, 2018. 213 pages. ISBN: 978-3-8253-6661-2 From the very outset, Erich Kästner's stories have been explored in many different media, with Kästner himself participating in this intermedial rewriting. Film was one of the most important media for Kästner. The first film adaptation of Emil and the Detectives from 1931, based on a screenplay by Billy Wilder, even wrote film history because it was the first-ever full-length feature sound film for children. Since then, countless film adaptations have followed, many of them media-historical milestones. In her doctoral dissertation, Tao Zhang looks at a representative selection of Germanlanguage adaptations of four of Erich Kästner's novels for children (Emil and the Detectives, Anna Louise and Anton, The Flying Classroom, and Lottie and Lisa / The Parent Trap) from the perspective of cultural studies and analyzes them using the category of gender, "from premake to remake." Given that Erich Kästner continues to be one of the best-known German authors in general and [End Page 71] for children especially, Zhang's study is relevant far beyond German studies. In recent years, the German-language film adaptations of Kästner's books attracted a fair amount of critical attention in German studies and education. The focus, however, has been on their didactic application in classroom settings, while the filmic quality of these adaptations has remained largely neglected. And yet, the filmic dimension of these books is particularly strong and the potential for broader scholarship remarkable. This is borne out not only by the genesis of Lottie and Lisa but also by the strong presence of filmic narratives in Emil and the Detectives and its sequel. In fact, one often has the impression that the books themselves were conceived from the very beginning to be used on many media platforms, which would explain why Kästner's children's books have almost magically attracted the attention of the film industry for almost a century now, with the various adaptations always reflecting the specific aesthetic of their times. The different film adaptations reveal the changes in mentality and popular culture just as the novels themselves, so both can be viewed as historical documents of popular culture and be analyzed as such: with her gender-conscious focus on film theory and cinematographic narration, Zhang allows for a new, convincing reconstruction of gender aspects in children's film. Moreover, she addresses central questions of media change, transformation, and intermediality within the context of current scholarly debates on popular culture and children's literature and thus opens up new perspectives on Kästner's otherwise intensively studied work. Zhang's analysis of the specific referential structures between premake and remake within the context of intermedial studies is truly original. Zhang tends to have a somewhat one-sided focus on the story level concerning genderspecific character behavior and misses out on the many media-specific features of the film adaptation, which seem difficult to capture from this methodological vantage point. With a few exceptions, production and reception contexts, such as film programs, critical essays, or reviews, are not taken into consideration. Some of the detailed analyses are missing the time stamps. Despite a promising approach to the filmic portrayal of the characters, overall Zhang could have given more prominence to the film-specific formal qualities of the adaptations (such as film music, aesthetics, and cinematographic context). Given that Kästner himself actively promoted the film adaptations of his children's books, it would have been relevant to describe his role in the original film adaptations, both as scriptwriter and collaborator, in relation to gender questions. Many questions still remain unanswered; however, the results of this precise...

Інтермедіальні виміри метадраматичності: дитячий кінематограф 1960–1980-х років

The article attempts to apply the common concept of metadrama and metatheatrality, developed by L. Abel, J. Calderwood, J. Schluter, P. Hornby, S. Sviontek, K. Vieweg-Marks, and others related to dramaturgy, to the phenomena of cinema. The problem of theatricality in cinema aesthetics and the history of world cinema is touched upon. The research material is the work of the national cinema for children of the 1960s–1980s, primarily Rolan Bykov’s films (“Seven Nannies”, “Aibolit-66”, “Automobile, Violin and Blot the Dog”). Various manifestations of metatheatrality are analyzed in the films for children: “Mama” (“Rock'n'Roll Wolf»), “The Adventures of Buratino”, “New Adventures of Captain Vrungel”, “A Merry Dream, or Laughter and Tears”, film dilogy about Petrov and Vasechkin, etc. The phenomena of metacharacter (a character who is aware of himself as a character) in children's films are also explored. Characters of Rolan Bykov's films can be categorized as metacharacters: they also perceive themselves as actors, not human beings, articulate their “artificiality”, are aware of their fictional character. Manifestations of metadrama diversify film text, bring a bright game element, create an atmosphere of theatricality, carnival, festivity. Metadramatism makes the viewer think about aesthetic problems, in particular, artistic convention, the boundaries between art (“screen”) and reality (“audience”), their expansion and even destruction. Metadrama techniques contribute to the convergence of the aesthetics of cinema and theatre.