Family Audience Research Articles

할리우드 상업 애니메이션 속 사회의제 표현 분석 - 브래드 버드 감독의 <아이언 자이언트>(1999)를 중심으로

Unlike Live-action Hollywood movies Hollywood animation movies have rarely expressed social agenda because they have been produced primarily for family audiences. In 1999, a feature animation directed by Brad Bird, “The Iron Giant” was released by a big studio, Warner Brothers. The director conveyed the strong message of humanity through the friendship between a lonely boy and a robot, created as a war machine and embodied it in beautifully animated images. This film expressing serious social agenda has been considered a classic masterpiece despite its box office failure. By studying the directing intention of this classic animation that emotionally expresses heavy social agenda, I hope to contribute to the advancement of the somewhat stagnant Korean feature animation industry for its the diversification of subject-matters.

Elaine Goodale Eastman’s Yellow Star as Counter-Narrative for American Indian History-Telling

AbstractIn 1911, Elaine Goodale Eastman, longtime editor of writing by her husband, Indigenous writer Charles Eastman (Ohiyesa), published Yellow Star, a narrative for white family audiences. Both the Eastmans’ already-troubled marriage and their parenting of mixed-race children illuminate the text, as does their history of linked authorial experiences. Anticipating twenty-first-century battles over competing historical narratives about Indigenous peoples in school curricula and public discourse, Yellow Star’s depiction of history-in-the-making underscores intersections between the domestic and the public, as well as between communal lived experience and larger social issues. The text simultaneously claims a potential role for young people’s literature in the cultural construction of historical understanding. Eastman’s main character, Stella/Yellow Star, arrives in a fictional New England village as an orphan of the Wounded Knee Massacre. Determined to continue valuing her Indigenous community, Stella models both a particular brand of assimilation and resistance to its would-be totalizing power. Before returning west to teach children of her tribe, she also articulates an alternative historical voice. Yellow Star draws on Eastman’s background as a white woman involved in assimilationist education. Progressive in her commitment to on-reservation learning rather than boarding schools, Goodale Eastman was nonetheless implicated in white culture’s racial hierarchies.

‘All Together Now’: “Yellow Submarine” (1968), The Beatles, and Children’s Film

This article examines The Beatles’ classic animated film, Yellow Submarine (dir. George Dunning, 1968) in terms of its appeal to multi-demographic audiences. While it has become de rigueur to argue in favour of Yellow Submarine as an artefact of the late-1960s counter-culture, its status as a children’s film has largely been overlooked. This article will argue that Yellow Submarine invites, and is able to sustain, a range of interpretations, particularly regarding its dual status as a quintessential film for children and family audiences, and as a much more adult-oriented production that captures the revolutionary spirit of the period. While Yellow Submarine embodies aspects of late-1960s British and North American culture, the author argues that the narrative transcends national cultural specificities and attempts to appeal to universal human desires and emotional states through its balancing of utopian consensus and cultural diversity, and through the galvanizing presence of The Beatles.

Collecting the personal: stories of domestic energy and everyday life at the National Museum of Scotland

Energise is one of ten award-winning new galleries at the National Museum of Scotland in Edinburgh. Aimed at a family audience, it explores the sources, generation, distribution and use of energy and questions how science and technology may transform how we power our lives in the future. This short case-study account details three objects in Energise around which we adopted a focus on personal stories that tell us about the experiences of users and developers.

Disney's Dilemma: Public Response to Pixar's Soul

Disney's Dilemma: Public Response to Pixar's <i>Soul</i>

Non-Human Kids of Kiddie Lit: Marjorie Kinnan Rawlings’s The Yearling and the Cultural Construction of Animal Narratives as Children’s Literature

This paper combines the perspectives of animal studies and reception theory to trace the audience shift of narratives foregrounding interactions between adolescent boys and animals published in the US in the first half of the twentieth century. More precisely, it argues that a text’s focus on human–animal bonds can result in its “kiddification,” a term explained by Beverly Lyon Clark as trivialization that leads to dismissal. We argue that the reasons for this shift include the solidification of the boy-and-his-dog convention in the 1940s as an example of formula fiction for juveniles, combined with the simultaneous proliferation of animal movies geared towards a family audience. The case under scrutiny is Marjorie Kinnan Rawlings’s novel The Yearling and its film adaptation from 1946. Despite the book’s initial success among general audiences (awarded the Pulitzer Prize in 1939), with time Kinnan Rawlings’s novel became “kiddified” and then passed into oblivion, rarely discussed by critics who deem it undeserving of attention and unread by contemporary juveniles, who perhaps find the book difficult, long and tedious (Groff, Harper’s, https://harpers.org/archive/2014/01/the-lost-yearling/, 2014). Consequently, the foregrounding of affective human–animal bonds in the book resulted in its later association with children’s literature, which was amplified by the film adaptation as well as the publisher’s marketing strategies.

Please Touch the Artifacts: Education and Collections Departments Co-Design an Exhibit for Family Audiences to Practice Primary Source Inquiry

ABSTRACT Pack It Up! was a fully interactive history exhibit for all ages, targeting primarily families with elementary-school-aged children. It invited visitors to work collaboratively through open-ended object inquiry and primary source analysis. Collaborative exhibit design between the education and collections departments led to an exhibit that answered these questions: 1. How can an object-based exhibit be made fully hands-on? 2. How can an exhibit support young visitors to develop empathy for people from the past?3. How can an all-ages exhibit address elementary school social studies standards?Even as highly interactive exhibits become ubiquitous, in the museum field we often see artifacts and interactives as mutually exclusive. Pack It Up! made local history accessible to a unique range of audiences and learning styles without facilitation by fusing museum education and collections pedagogies. The collaboration between the collections department and the education department led to creative solutions to exhibit challenges we saw an opportunity to address. The exhibit offered a new way to use objects to teach the processes of historical inquiry to audiences of all ages.

Performance in The New Normal The experience of performing magic in a socially distanced theatrical setting.

Performance in The New Normal The experience of performing magic in a socially distanced theatrical setting.

Writing for the Family Audience

Abstract Családi Kör (1860–1880) was the leading Hungarian domestic magazine of the mid-19th period, which, under the editorship of the first Hungarian woman of letters Emília Kánya, played a major role in introducing the domestic readership to contemporary European literature and in discussing the struggle of women’s employment opportunities before a wider public. Critical studies have also suggested that it was edited and published under the influence of the German Gartenlaube (1853–1944), the journal credited with embedding the journal of domestic magazine in the broader regime of 19th century print culture. Based on a close reading of the two magazines’ coverage in its European cultural historical context, this chapter offers an account of the possible connections and affinities between the two periodicals, and argues that the Hungarian magazine was significantly more daring in its politics and more systematic in its pursuit of introducing the local audience to European literary trends and works.

Informing Content and Feature Design of a Parent-Focused Human Papillomavirus Vaccination Digital Behavior Change Intervention: Synchronous Text-Based Focus Group Study.

BackgroundHuman papillomavirus (HPV) is a common and preventable sexually transmitted infection; however, vaccination rates in the United States among the target age group, which is 11-12 years, are lower than national goals. Interventions that address the barriers to and facilitators of vaccination are important for improving HPV vaccination rates. Web-based, text-based focus groups are becoming a promising method that may be well suited for conducting formative research to inform the design of digital behavior change intervention (DBCI) content and features that address HPV vaccination decision-making.ObjectiveThis study aims to explore parental HPV vaccination decision-making processes using a web-based, text-based focus group protocol to inform content and feature recommendations for an HPV prevention DBCI.MethodsWe conducted 4 web-based, text-based synchronous focus groups via Skype with the parents of patients aged 11-13 years within a large urban US pediatric clinic network.ResultsThe 22 parents were mostly female, White, non-Hispanic college graduates, and they mostly had private health insurance for their children. Approximately half (14/25, 56%) of the parents' 11-13 year old children had initiated HPV vaccination. Most parents had experience using Skype (19/22, 86%). Approximately half (8/17, 47%) of parents expressed no preference for the focus group format, whereas 47% (8/17) requested a text-only chat format and 6% (1/17) requested an audiovisual format. The three main themes from the qualitative data were barriers to HPV vaccination, facilitators of HPV vaccination, and suggestions for improving the HPV vaccination clinic experience. A total of 11 intervention content and feature recommendations emerged from the themes, including addressing HPV knowledge barriers using trusted sources, designing for a family audience, focusing on the framing of messages, reporting reputable HPV research in a comprehensible format, and expanding the clinic visit experience.ConclusionsSynchronous text-based focus groups are feasible for conducting formative research on HPV vaccination decision-making. Among well-educated and well-resourced parents, there are barriers such as misinformation and facilitators such as pediatrician recommendations that influence HPV vaccination decision-making. Parents want to conduct their own HPV research as well as receive relevant HPV vaccination advice from their child’s pediatrician. In addition, parents want an enhanced clinic visit experience that lets them access and connect to tailored information before and after clinic visits. The results gathered provide guidance for content and features that may inform a more responsive DBCI to address HPV vaccination decision-making among parents.

Does not compute: Avoiding pitfalls assessing the Internet's energy and carbon impacts

Does not compute: Avoiding pitfalls assessing the Internet's energy and carbon impacts

“Laugh! I Thought I Should’ve Died”: British Music Hall Humour and the Subversion of Childhood on The Muppet Show

Through the abundant use of the bawdy, humorous songs of British music hall, The Muppet Show delivered a potent critique of constructed notions of a protectionist childhood. Paradoxically perhaps, the music hall songs, carnivalesque comedy, and frequent depictions of sex, sexuality, and violence also did much to construct The Muppet Show’s intended “family” audience while simultaneously providing a direct challenge to its normative sanguinuptial (blood and marriage) construction. This intergenerational family audience is crucial to the child’s interpretation of The Muppet Show’s complex and contentious content, subject matter that is rarely included in media made for a solely child audience. While the musical sketches open up an interpretive space for the child to encounter, resist, and subvert the range of fluid identities hinted at onscreen, the process is simultaneously constricted by the musical-visual texts themselves and by The Muppet Show’s family-reception context. As such, this case study reveals the inherent tensions of targeting a family audience through music and television.

"Laugh! I Thought I Should've Died": British Music Hall Humour and the Subversion of Childhood on The Muppet Show

Through the abundant use of the bawdy, humorous songs of British music hall, The Muppet Show delivered a potent critique of constructed notions of a protectionist childhood. Paradoxically perhaps, the music hall songs, carnivalesque comedy, and frequent depictions of sex, sexuality, and violence also did much to construct The Muppet Show's intended "family" audience while simultaneously providing a direct challenge to its normative sanguinuptial (blood and marriage) construction. This intergenerational family audience is crucial to the child's interpretation of The Muppet Show's complex and contentious content, subject matter that is rarely included in media made for a solely child audience. While the musical sketches open up an interpretive space for the child to encounter, resist, and subvert the range of fluid identities hinted at onscreen, the process is simultaneously constricted by the musical-visual texts themselves and by The Muppet Show's family-reception context. As such, this case study reveals the inherent tensions of targeting a family audience through music and television.

Engaging Young Children and Families in Gallery Education at Tate Liverpool

AbstractBeyond Words: Engaging Young Children and Families in Gallery Education at Tate Liverpool, is a three‐year ethnographic case study that explores what happens when preschool children, parents and nursery practitioners from a Sure Start Children’s Centre, visit Tate to participate in an extended series of gallery visits and workshops with artists. This article explores the potential value and tensions of those creative and cultural experiences, particularly for young children and families, by critically examining different perspectives, discourses and possible constructs of effective creative engagement. This research contributes to the debate on ways of engaging children and families from marginalised communities in cultural visits and creative practices by opening up existing discussions on poverty, matters of inclusion, negative stereotypes and dominant educational discourses. Insights from parents are included and their feelings are related to the ‘symbolic violence’ often felt by parents and children throughout their education from lower socioeconomic backgrounds. This research explores how Tate Liverpool developed relationships with a diverse family audience, through developing relationships with children and adults over repeated visits, as an important way for offering continuity and a sense of belonging, particularly for families who may not traditionally visit art galleries. In doing so, it makes a case for galleries to be considered as democratic, inclusive and rhizomatic learning environments, where artist educators act as ‘dreamkeepers’. Dreamkeepers can offer the space for extra emotional, social and intellectual support needed for healing from educational injury and for restarting a learning journey.

O Malho, a imprensa empresarial e a criação da revista O Tico-Tico.

A modernização das oficinas da revista O Malho, em 1905, levou ao processo de segmentação de impressos e a consequente organização empresarial que deu origem à Empreza O Malho e, posteriormente, a Sociedade Anônima O Malho. A criação da revista ilustrada infantil O Tico-Tico neste mesmo ano representou um passo fundamental na concretização do projeto editorial da empresa, que visava atingir a toda a família com suas revistas. A revista O Tico-Tico, ao mesmo tempo projeto intelectual e jornalístico, acabou se tornando a principal referência para a manutenção da empresa até os anos 1960. Neste artigo, nosso objetivo é refletir sobre a criação da revista O Tico-Tico como um evento importante para a organização empresarial de O Malho, por sua vez uma referência importante para a reorganização estrutural da imprensa periódica no século XX.

Democratising audience experience: making space for families in blockbuster exhibitions

ABSTRACT The art museum, as observed by Duncan, is a ‘ritual’ space ‘reserved for a special quality of attention’ materialised in a narrow set of acceptable behaviours [Duncan, Carol. 1991. “Art Museums and the Ritual of Citizenship.” In The Poetics and Politics of Museum Display, edited by Ivan Karp and Steven D. Lavine, 88–103. Washington: Smithsonian Institute Press]. In recent decades, under the auspices of the new museology, the ritualised space was challenged by institutions experimenting with new ways to present exhibitions and engage with audiences to accommodate a broad cross-section of society. This paper examines how the National Gallery of Australia (NGA) has foregrounded active, social-based art experiences in an attempt to engage family audiences within blockbuster exhibitions through the implementation of family activity rooms. While many museums have invested in dedicated family spaces and programming, the NGA’s innovation stems from its decision to incorporate such a space within the blockbuster. The paper investigates one such room to argue that its active, inclusive spaces physically and intellectually democratised the exhibition by building visitors’ confidence and knowledge.

Family event participation: building flourishing communities

PurposeFamily participation in community events and festivals is framed by certain conditions related to their ability to enhance their quality of life (QOL) and family flourishing. For communities to flourish, families must feel safe, secure, accepted and included. The research has the following aims: (1) to consider whether location is a determinant in family QOL and event participation, and (2) to identify how cultural identity and family issues may affect families' QOL and the role events play in their ability to flourish as a family.Design/methodology/approachAn integrated mixed-methods design was used derived from quantitative and qualitative traditions, including surveys, interviews and secondary data. The survey component combined Jepson and Stadler's St Albans 2015 QOL study survey with research instruments used by the Rotorua Lakes Council (RLC). The Rotorua sample included 521 valid anonymous online surveys and 11 semi-structured interviews. The RLC's Arts and Culture team provided expert advice, strategic plans and reports; secondary data were gathered from media reports.FindingsWhen comparing key Rotorua and St Albans data, the participants' responses were very similar. What appear significant are socio-economic and cultural differences and family-flourishing factors specific to Rotorua's location and population. The findings show that the biggest obstacles for families attending events are money, work commitments and family obligations. The events reflect the region's unique cultural profile and provide a distinctive identifier of place and people that create a unique small-city event portfolio.Research limitations/implicationsThis study's findings have reinforced that for small-city events to succeed and attract high levels of patronage, council and community must work cooperatively towards common goals. Our findings indicate the importance, to our participants, of emotional attachment to Rotorua's natural landscape, built environment and unique cultural heritage. Additionally, arts and culture research focusing on new-migrant and multi-generational event participation is worth further consideration for preserving Rotorua's cultural history. Perceptions within the Rotorua community of their family experience at local events are central to our ongoing research and the further successful delivery of the RLC's event portfolio.Originality/valueThis research offers a case study that serves to build further areas of inquiry into the role events play in QOL, family flourishing and maintaining indigenous cultures. Study findings have reinforced that organisations, practitioners, festivals and events succeed in attracting high levels of patronage for a small city. This study provides insights for designing culturally inclusive event portfolios that include events and festivals that target family audiences.

“Tune in to the Affirmative”: The Family Channel and the Politics of Positive Programming

The Family Channel, which evolved out of Pat Robertson’s Christian Broadcasting Network, created a new brand of family television and redefined the “family audience” in the 1990s. The channel capitalized on the vacuum produced by the major networks’ pursuit of advertiser-friendly demographics, and created a safe space for traditional family television viewing. By promoting “positivity” as its brand and relying on the nostalgic appeal of older television properties, the Family Channel became the first cable channel to build a “values-based” brand and audience. The Family Channel normalized an ideologically conservative model of commercial family television in an expanding cable landscape, and capitalized on social conservatives’ discontent with mainstream television content. This article analyzes the branding, programming, and public-facing statements of the channel’s executives to reveal how the Family Channel implicitly and explicitly connected this new “family audience” with the ideology and politics of social conservatism.

Интеграция экологических подходов в проектирование деятельности архитектурно-этнографического музея

The article presents some results on еру environmental strategic approach for the development of the Khokhlovka Architectural and Ethnographic Museum (a branch of the Perm Regional Museum), which is located on an area of 35 hectares, 40 km from Perm. The museum's territory has no nature reserved status, but is included in the group of objects of regional cultural heritage. Since 2010, the museum has been gradually implementing its environmental strategy, which began with the development of an excursion aimed at the museum landscape and ecosystems. Over the past ten years, activity guides on traditional nature management and natural features of the area were published for family audiences, as well as open-air environmental exhibition have been installed as a site specific. At least, an original concept of the slow «EcoPicnic» festival dedicated to nature observation and introduction to eco-technologies of the past and future has been created.

Current Trends in Tamil Cinema and its Impact

The “CINEMA” is a mesmerizing word for the Tamil Audience and it is ruling the hearts and houses for more than 100 years. The larger than life images have played a major role in the socio, political and cultural lives of the people of Tamil Nadu. The images have participated in all emotion of the audience, when the nation was fighting for freedom, the images have spelled “Vanthe Matharam”, during the festival the images have sung “Unnaikandu Naan Aada… Ullasam Pongum inba Deepavali”, during the world war the images have narrated “Andhanal”. When television was entered, the cinema has embarrassed and made television as supplement screen. When people had communal riot, the cinema presented “BOMBAY”, at the time of water scarcity the screen offered “Thanneer Thanner”, when we were at romantic mood it screened “16 Vayathinile”, to empower the women and to criticize the male domination it showed “Pudhumai Pen”, it punished the pannyar in Uthiri Pookkal, exposed the life of the innocent tribals in “Mullum Malarum” it brought the historical characters to proximity like “Veera Pandiya Kattabomman”, “Raja Raja Cholan”, It was created docu-fiction on the lives of ethnic groups as “Devar Magan”, “Madhurai Veeran”, “Chinna Gowndar” and “Kala”. Above all the cinema has provided five Chief Ministers to Tamil Nadu assembly. After the implementation of New Economic policy the cinema has faced many obstacles. The satellite television has offered more than 100 channels, the conventional cinema has changed from celluloid to digital, sports become as the core entertainment for the young ones, family audiences have moved away from theatre, ticket prices went up, Mobile brought the digital content to the palm of young audience in spite of all these challenges, the cinema multiplexes have increased, the film productions also have increased in numbers, new film makers are coming in and the Tamil film business have widened its wings to the international spear. The Tamil films are continued to be in the goodwill of Tamil People with the changing screen formats provided by the AMAZON PRIME and the NETFLIKS.