Family Movies Research Articles

Pengaruh Media Pembelajaran Terhadap Kemandirian Belajar dan Keterampilan Menulis Teks Drama

Students' ability in writing drama text is influenced by several factors that occur in learning. The purpose of the study was to determine the effect of learning media and students' independence in learning on the skills of writing drama texts of students in class XI of SMAN 21 East Jakarta. This research used experimental method. The population in this study were all students of class XI of SMAN 21 East Jakarta. The research sample was conducted using Purposive Sampling technique as many as 60 students who were divided into two groups, where 30 students learned using family movie drama media and the other 30 people learned using conventional media. The instruments used in this study are: Learning independence questionnaire and drama text writing skill test. The results showed that the use of family film drama media gave better results in the aspects of learning independence and drama text writing skills. The use of conventional media makes students learn through several stages or indirectly. The use of family film drama media is recommended in learning to write drama texts because it can provide a direct picture and increase students' learning independence and motivation

Characters and Characterization in Up Movie: Philosophical Value Obtainment

This research aimed at finding out main characters and characterization in a family movie entitled ‘Up’. It is intended to give explanation about the main character namely Carl, Ellie, Russel, and Muntz as portrayed in the movie. The objectives of this research are to identify and analyze these four characters as they are considered the major characters in the movie. During data collection, an arm-chair method consisting of several steps were carried out; they are watching the movie, writing its transcription, reading the transcription, analyzing it, and categorizing the transcription into each relevant character. The data were later analyzed using interactive analysis through data reduction, data display, and data verification. The result shows that there are four characters considered as the major characters in this movie, they are Carl, Ellie, Russel, and Muntz. Carl is a character who gives loyalty value; Ellie depicts companionship value; Russel shows te vlaue of bravery; and Muntz shows a rather antagonistic value, which is greed. In conclusion, this movie is a good object to study as a source of learning, especially for young children and family movies. Keywords: Movie Analysis, Philosophical Values, Protagonists, Antagonists, Characterizations

The types of idiom in the addams family movie

This study is aimed to analyze the type of idiom in The Addams Family Movie. The data source of this study was taken from The Addams Family Movie transcript. This research used a descriptive qualitative method in analyzing the data. The theory of type of idioms by Seidl & McMordie (1988) was used to analyze the types of idioms found in The Addams Family Movie. As a result there are 9 pieces of data that contain idiom expression. They belong to 4 phrasal verb type (4 data) and 5 key words with idiomatic uses type (5 data).

Social orienting and initiated joint attention behaviors in 9 to 12 month old children with autism spectrum disorder: A family home movies study.

According to the Social Motivation model children with autism show deficits in social orienting (looking at faces and responding to name) at the end of their first year of life. In this model, those deficits are both the earliest behavioral consequences of an alteration in the dopamine reward system balance and the foundation of the social impairments that characterize this neurodevelopmental disorder. The current study tests two of the main predictions of this model: that social orienting deficits are the first behavioral manifestation of autism, and that they are developmentally related to joint attention deficits. We retrospectively analyzed family home movies of 9- to 12-month-old infants, 29 of whom were later diagnosed with autism and 16 of whom were typically developing. After confirming that the videotapes of both groups were similar in content of the scenes recorded (contexts, type of social activity, etc.), we compared their social orienting (social gaze and responding to name) and joint attention behaviors (gaze alternation and gestures). No significant differences between groups were found in looking at faces, but the group with autism showed deficits in responding to name and initiations of joint attention (IJA). Looking at people was not significantly correlated with IJA behaviors, but response to name was. The lack of group differences in looking at faces between 9 and 12 months, and the existence of IJA difficulties in the ASD group without concurrent impairment in looking at faces, do not support predictions of the Social Motivation model. LAY SUMMARY: Various theories have been proposed to explain the emergence of autism symptoms early in life. This study tested two key predictions of the Social Motivation model. Comparing family movies of children 9- to 12-months-old later diagnosed with autism or with typical development, we did not observe difficulties in looking at other people's faces but children with autism responded to name and used gaze and gestures to direct the adult's attention to events of interest less frequently. This absence of difficulties in looking at faces does not fit with what the Social Motivation model of autism predicts and therefore we must develop alternative explanations.

The influence of audio visual language on film style : Focused on the Work His and her spring

Film category is the most basic image form of film. The reason for the difference of the basic types of films is that, as for the ontological characteristics of art, films use audio-visual language to form image narrative methods and attributes. Family movies, which focus on exploring family emotions, are usually simple and touching, concerned about society, introspective and reflective, and full of humanism. With objective lens to record the ordinary life of the characters in the play, taking the social hot events as the blueprint, integrating the director

Setting Psikologis Tokoh pada Film Nanti Kita Cerita Tentang Hari Ini (NKCTHI)

The study aims to understand the psychology setting of the figure on a family movie that was released in January 2020 with the title later we're Story of today (NKCTHI). This research uses primary data sources in the form of text and images contained in the soft copy of NKCTHI movies and secondary data obtained from documents, journals and other records. Primary Data is used as a description analysis material by researchers. That is focused on the setting, the setting of the place, the time or the atmosphere that is then attributed to the psychology theory of Sighmund Freudh namely Id, Ego and Super ego. The results of this research show that, a condition of setting the place, time and atmosphere affects the psychological of a person ranging from his subconscious to the output produced by his own behavior control in the scope of Id, Ego and Super ego.

Tindak Tutur Ibu Dan Anak Dalam Film Keluarga Susah Sinyal

This article aims to find out the types and functions of speech acts of mother and child contained in the family movie with the title Susah Sinyal. This study uses a qualitative approach. The method of data collection used is the method of listening with a free and involved way of reading and note taking techniques. The data source in this study is in the form of speech by mother and child in the family movie with the title Susah Sinyal. The results showed that mother and child speech acts in the family movie with the title Susah Sinyal can be classified based on the type and function of speech acts. In terms of the types of speech acts that are found include: locutionary act, illocutionary act and perlocutionary act. Meanwhile, in terms of speech act functions found include: assertive, directive, expressive, commissive and declarative.

561 Impact of Support Group for Teen Burn Survivors

Abstract Introduction The recovery of a burn survivor continues long after the physical wounds are healed. Peer support groups offer survivors an opportunity for psychosocial recovery, particularly in the areas of self-acceptance, changes in perspective, and identity. Multiple published studies have found group support to be beneficial. We identified a need to provide a separate teen burn survivor support group to optimize engagement and to address specific age appropriate discussions. Methods The support group included female burn survivors 14–17 years of age. The group sessions were facilitated by a child life specialist and a burn nurse. Meetings were held on the same evenings as adult support groups to allow parents of the teen survivors to attend the adult meeting. During the first meeting, participants were given the opportunity to share topics they would like to discuss, and these were incorporated into the curriculum. Topics specific to teens included identity issues, body image, peer relationships, and what it means to be a burn survivor advocate. Additional outings have been incorporated such as family dinners and movie nights. After 15 months, participants were surveyed on their overall experience. Results The group was established in February 2018 and has had a steady participation of teen burn survivors. All teen burn survivors completed the participation survey. All teens strongly agreed their experience was positive, felt more connected to the other participants through the group activities, felt accepted by the other group members, and would recommend the teen support group to other teen burn survivors. Teens rated positive results for learning about themselves as a burn survivor, changing their perspective on their recovery, and the importance of participating in a support group. Conclusions Teen burn survivor support group has been shown to be a sustainable method to support these burn survivors and provide them with an opportunity for psychosocial recovery. Applicability of Research to Practice By sharing our experience with a teen burn survivor support group, we hope to inspire other burn centers in developing ways that their facility can meet the needs of burn survivors.

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.

Emotional investments: Contemporary Polish romantic comedy and neoliberalism

Emotional investments: Contemporary Polish romantic comedy and neoliberalismThe author of the article argues that neoliberalism, along with its attendant economic and social ideas, has affected romantic comedy’s politics of emotion and consequently its narrative and formal strategies. The article analyzes two recent romantic comedies, Nigdy w życiu Never Again in My Life, dir. Ryszard Zatorski, 2004 and Listy do M. Letters to Santa, dir. Mitja Okorn, 2011 as exemplifying neoliberal “adjustments” of Polish romantic comedy, specifically employing the conventions typical of family movies. The author claims that generic hybridity of Polish romantic comedy is facilitated by the central position of family in the Polish socio-cultural discourse, whereas simultaneously the use of family-movie conventions serves the purpose of enlarging the target audience and, thus, maximizing the financial return. As Never Again in My Life and Letters to Santa demonstrate, proper management of individual emotions is necessary in order to invest one’s human capital with a low risk. Hence, instead of a union of two people leading to the emergence of a nuclear family, neoliberal romance comes into fruition in a corporation-like environment.

Television gambling advertisements: Extent and content of gambling advertisements with a focus on potential high-risk commercial messages

BackgroundIn problem gambling, recent years have seen an expansion of online gambling in treatment-seeking patients. Television advertising may promote risky gambling, and this study aimed to assess gambling-related advertisements, with respect to potentially risky messages, in a country with high rates of online gambling among treatment seekers, for online casino particularly in treatment-seeking women. MethodsA total of 144 h in six commercial television channels were studied with respect to frequency, extent and content of gambling-related advertisements, which were analyzed with respect to potentially risky messages and specific target groups, and compared with respect to legal status of gambling companies and for online casino gambling vs other gambling types. Aspects to analyze were elected theoretically and based on acceptable inter-rater agreement between the authors. ResultsNineteen percent (11–28% across different channels) of advertisements promoted gambling, with online casino being by far the most common type of gambling exposed. Messages promoting ease to gamble (including bonuses and rapid cash-out messages) and a female focus were significantly more common in online casino gambling and in non-licensed companies, whereas sports-related messages were more common in licensed companies. Gambling-related advertisements were also common in relation to family movies, and appeared even during children's programs. ConclusionsOnline casino was by far the most common type of televised gambling advertisements. Several risky messages were identified, and female gender, as well as messages promoting the rapidity and facility of gambling, were more commonly addressed by online casino companies. Public health aspects are discussed.

'So Long, Farewell’

The early 1960s created the brewing of social change before the explosion of the cultural revolution of the late 1960s. In this period, Hollywood released its first family movies, Mary Poppins in 1964 and The Sound of Music in 1965, meant to be enjoyed by children and parents alike. These two movies enjoyed a wealth of surprising success, sweeping the academy awards and establishing The Sound of Music as the top grossing film of all time, surpassing America’s beloved Gone With The Wind. Historians and contemporaries alike have questioned and offered answers as to why two movie musicals would capture the attention of the nation with such force. This thesis seeks to argue that Mary Poppins and The Sound of Music addressed fears concerning the breakdown of family life, feminine and maternal identity, questions of child rearing and provided wholesome family entertainment that the American family was seeking, while pioneering as the first films in the family movie movement.

Innovative Strength-Based Care in Child and Adolescent Inpatient Psychiatry.

Child and adolescent psychiatric units serve the highest risk, most vulnerable populations in the mental health delivery system. This article describes the integration of a strength-based approach with a traditional, medical model of psychiatric care on an acute inpatient unit. A strength-based framework allows for increased focus on exploring patients' goals, strengths, relationships, skills, and family communication within the hospital setting. The process of integration of strength-based care is described, followed by discussion of the implementation and evaluation of interventions, including mindfulness, family movie, narrative, and animal-assisted therapies. Innovative interventions led to improvement in patient symptoms, unit culture, and patient, family, and staff satisfaction. A strong emphasis on strength-based, multidisciplinary treatment has enhanced patient care, as the goals of acute inpatient admission are broadened to include more than diagnosis and medication management.

“They’re creepy and they’re kooky” and They’re Copyrighted: How Copyright Is Used to Dampen the (Re-)Imagination

“They’re creepy and they’re kooky” and They’re Copyrighted: How Copyright Is Used to Dampen the (Re-)Imagination

Reciprocity in Interaction: A Window on the First Year of Life in Autism

From early infancy onwards, young children appear motivated to engage reciprocally with others and share psychological states during dyadic interactions. Although poor reciprocity is one of the defining features of autism spectrum disorders (ASDs), few studies have focused on the direct assessment of real-life reciprocal behavior; consequently, our knowledge of the nature and the development of this core feature of autism is still limited. In this study, we describe the phenomenon of reciprocity in infant-caregiver interaction by analyzing family movies taken during the first year of life of 10 infants with ASD and 9 infants with typical development (TD). We analyzed reciprocal behaviors by means of a coding scheme developed for this purpose (caregiver-infant reciprocity scale (CIRS)). Infants with ASD displayed less motor activity during the first semester and subsequently fewer vocalizations, compared to TD infants. Caregivers of ASD infants showed in the second semester shorter periods of involvement and a reduction of affectionate touch. These results suggest that from the first months of life a nonsynchronic motor-vocal pattern may interfere in different ways with the development of reciprocity in the primary relationship between infants later diagnosed with ASD and their caregivers.

The problem of the color(blind): racial transgression and the politics of black performance

Catanese's beautifully written and cogently argued book addresses one of the most persistent sociopolitical questions in contemporary culture. She suggests that it is performance and the difference it makes that complicates the terms by which we can even understand 'multicultural' and 'colorblind' concepts. A tremendously illuminating study that promises to break new ground in the fields of theatre and performance studies, African American studies, feminist theory, cultural studies, and film and television studies.---Daphne Brooks, Princeton University Adds immeasurably to the ways in which we can understand the contradictory aspects of racial discourse and performance as they have emerged during the last two decades. An ambitious, smart, and fascinating book.---Jennifer DeVere Brody, Duke University Are we a multicultural nation, or a colorblind one? Problem of the Color[blind] examines this vexed question in American culture by focusing on black performance in theater, film, and television. The practice of colorblind casting---choosing actors without regard to race---assumes a performing body that is somehow race neutral. But where, exactly, is race neutrality located---in the eyes of the spectator, in the body of the performer, in the medium of the performance? In analyzing and theorizing such questions, Brandi Wilkins Catanese explores a range of engaging and provocative subjects, including the infamous debate between playwright August Wilson and drama critic Robert Brustein, the film career of Denzel Washington, Suzan-Lori Parks's play Venus, the phenomenon of postblackness (as represented in the Studio Museum in Harlem's Freestyle exhibition), the performer Ice Cube's transformation from icon of gangsta rap to family movie star, and the controversial reality television series Black. White. Concluding that ideologies of transcendence are ahistorical and therefore unenforceable, Catanese advances the concept of racial transgression---a process of acknowledging rather than ignoring the racialized histories of performance---as her chapters move between readings of dramatic texts, films, popular culture, and debates in critical race theory and the culture wars.

Stakeholders' Perspectives on the Recommendations of the President's New Freedom Commission on Mental Health

Stakeholders' Perspectives on the Recommendations of the President's New Freedom Commission on Mental Health

Surgical Safe Harbors: The Family Movie Act and the Future of Fair Use Legislation

Surgical Safe Harbors: The Family Movie Act and the Future of Fair Use Legislation

Deconstructing Moral Rights

One of the most noteworthy developments in transnational copyright law over the past twenty years has been the adoption of statutory moral rights regimes in a number of countries that had previously ardently rejected the civil law concept of moral rights as completely alien to their legal tradition, including the United States, the United Kingdom, Australia, Ireland, and New Zealand. The standard scholarly reaction to these developments is to ask what they mean for the two classic questions of comparative moral rights law, namely whether the common law countries fulall the requirements for moral rights protection under international law and whether the common law countries provide a degree of protection comparable to that available in civil law countries.1 In this context, the enactment of statutory moral rights appears to be simply another factor to be considered when measuring the substantive level of moral rights protection in the United States, just as the Supreme Court’s recent Dastar decision,2 the copyright management information provisions of the Digital Millennium Copyright Act of 1998,3 or the Family Movie Act of 20054 are factors

Clearing Clearplay’s Name: Tracing the Legitimization of Digital Movie Editing Technology

By passing the Family Entertainment and Copyright Act of 2005 (“FECA”) on February 1, 2005, Congress resolved an ongoing dispute over whether non-copyright holders may commercially edit movies for home viewing. This Act contains a section called the Family Movie Act, which states that software that enables viewers to mute or skip parts of a movie does not violate the motion picture studios’ copyrights. FECA essentially declares that the handful of companies that develop this software to filter out content have won the battle in conference rooms, court, and the Capitol. This Note traces the history of the edited movie industry and its fight for legitimacy, with special focus on the manufacturers of software that filters out language, violence, and sex during movies. Section II focuses on the development of the edited movie industry, Section III on a recently resolved civil case between edited movie companies and movie directors and studios, and Section IV on resolving the legal issues before the court in this civil case. Section V covers the development and passage of FECA and criticizes the way Congress has handled the edited movie debate while proposing a different approach.