Re Research Class next Monday
Hi Year 3 and Grad Dips in Visuals and Screen Arts Please
remember there is no research class on Monday rather please complete the
following task. Instructions below are also in your course workbook. Any
queries please email.
Research Task: Design a focused reading schedule for your
project.
Provide the following;
Project Working Title
Outline concisely the key questioning within Year
Three/Grad Dip practice-based project Pressing theoretical/conceptual questions
within this key questioning (what you need to know) Keywords and search terms
for above
Using the Library, Databases, Google Scholar use
keyword/search terms and compile a list of potential sources. Where possible
preview/scan material for suitability (you may be able to do this online or in
the library)
Establish a list of at least 10 key sources to work
through that will be useful for your proposal.
Record details of sources and arrange access (interloan,
library, online)
Write a timetable for reading/note making and sourcing
further material taking into account your total work load. Include a system for
monitoring these reading/note making tasks.
Record the above information and bring to class on the
Monday 13th March
Kind regards
Ruth
Order through inter-library loan
| Title | Exploring Calvin and Hobbes: An Exhibition Catalogue Calvin and Hobbes Series | ||||||||||||||||||||
| Authors | Bill Watterson, Robb Jenny | ||||||||||||||||||||
| Illustrated by | Bill Watterson | ||||||||||||||||||||
| Publisher | Andrews McMeel Publishing, 2015 | ||||||||||||||||||||
| ISBN | 1449460364, 9781449460365 | ||||||||||||||||||||
| Length | 160 pages | ||||||||||||||||||||
| Subjects |
› › Art / Collections, Catalogs, Exhibitions / General Comics & Graphic Novels / Anthologies Humor / Form / Comic Strips & Cartoons Bill Watterston's comic strip Calvin and Hobbes was full of sly humour, masterly painting and an almost cinematic approach to framing his the action. 2 The Strange and Wonderful Return of Bill Watterston
|
Tufte, B., Rasmussen, J., & Christensen, L. (2005).
Frontrunners or Copycats?. Frederiksberg, Copenhagen, DNK: Copenhagen Business
School Press. Retrieved from http://www.ebrary.com
Children and adolescents spend considerable time on new
media. Quick to learn use of internet,
and media and consumption are to an increasing degree intertwined today. (Tufte 19)
Bibliography
Entry:
Children as Change Agents in the Pursuit of the Competencies
of the Future
Bibliography
Entry:
Communication research and broadcasting : Children and the Formal Features of Television : Approaches and Findings of Experimental and Formative Research
Meyer, M. (Ed.). (1983). Children and the formal features of television : approaches and findings of experimental and formative research. Retrieved from https://ebookcentral.proquest.com
Children’s attention to television: implications for production
Educational programming has to hold children’s attention
without needing teacher to direct it there. (Anderson,
1983)(
56)
Even more so when transmitted to homes. Children attend to those things that serve to
further their comprehension and interests.
Preschool children pay attention to portions of programs
that are comprehensible to them, and avoid portions that are difficult to
understand. (Anderson, 1983)( 57)
Consistent attention to television first appears at about
2.5 years. Attention to tv increases
with age up to 6 years and remains high until teens. Young viewers tend to listen to dialogue and narration
more when they are looking at screen than when they are looking away. Auditory features play crucial role in bringing
full attention back to program because that’s what signals something
interesting is happening. When sound
track no supportive of and integrated with video, young children don’t attend
or just attend to video. Humor increases attention and learning. Some features of television may help attract
and maintain attention to television independent of their relationship to
content. These features, such as
movement, rapid pacing, and visual special effects have relatively small
effects on attention.
(Anderson, 1983)( 58)
Bibliography
Entry:
Anderson, D.
R. (1983). Children's Attention to Television: Implications for Production. In
M. Meyer, Communication Research and Broadcasting: Children and the Formal
Features of Television: Approaches and Findings of Experimental and Formative
Research (p. 336). De Gruyter Saur. Retrieved from www.ebrary.com
Tv good medium for portraying characters’ emotions and for affecting viewers’ emotions. All power of visual images, action, dialogue, and sounds can be combined using selected camera angles, editing, sequencing, music, and other production techniques to produce exceptionally powerful communication. (97)
Like all audience, children enjoy havingemotions aroused.they do not want to become scared to death, paranoid, or aggressively angry and they usually want to have the situations that evoked "negative" feelings so htey can leave teh viewing situation relaxed and happy. but most of all, youth do not want to be bored, to experience the monotony of sameness of feeling. comedic, dramatic, and educational programming, however they are experienced, are more successful with youth when they relieve them of some of the monotony of daily experience. (99)
particular cartoons provide laughter (100)
there is no need for lengthy development or elaborate explanation for viewers to understand many things a character may feel. one look at an ebullient face or a cringing body suggests much about a person's feelings. 103
in general, youth of all ages recognize positive emotions more easily than negative emotions. happiness,interest, and surprise are more frequently correctly recognized than are fear, anger, disgust ad the like. 104
preschoolers andchildren as not as likely as adolescents and adults to give such credence to the emotion arousing nature of a situation, rater they are more likely to take seriously whatever emotions people are overtly expressing. if one looks happy, one is likely to be happy. If one looks unafraid, one is likely to be unafraid. 105
those who create programming need to choose and plan carefully is they are to convey emotions accurately to youth . TV can significantly enhyance youths' experiences with emotion. 109
109
115
Like all audience, children enjoy havingemotions aroused.they do not want to become scared to death, paranoid, or aggressively angry and they usually want to have the situations that evoked "negative" feelings so htey can leave teh viewing situation relaxed and happy. but most of all, youth do not want to be bored, to experience the monotony of sameness of feeling. comedic, dramatic, and educational programming, however they are experienced, are more successful with youth when they relieve them of some of the monotony of daily experience. (99)
particular cartoons provide laughter (100)
there is no need for lengthy development or elaborate explanation for viewers to understand many things a character may feel. one look at an ebullient face or a cringing body suggests much about a person's feelings. 103
in general, youth of all ages recognize positive emotions more easily than negative emotions. happiness,interest, and surprise are more frequently correctly recognized than are fear, anger, disgust ad the like. 104
preschoolers andchildren as not as likely as adolescents and adults to give such credence to the emotion arousing nature of a situation, rater they are more likely to take seriously whatever emotions people are overtly expressing. if one looks happy, one is likely to be happy. If one looks unafraid, one is likely to be unafraid. 105
those who create programming need to choose and plan carefully is they are to convey emotions accurately to youth . TV can significantly enhyance youths' experiences with emotion. 109
Bibliography
Entry:
Aimee Dorr,
C. D. (1983). Emotions depicted on and stimulated by television programs. In M.
Meyer, Communication research and broadcasting: children and the Formal
Features of Television: Approaches and Findings of Experimental and Formative
Research. De Gruyter Saur. Retrieved from www.ebrary.com
Social TV : How Marketers Can Reach and Engage Audiences by Connecting Television to the Web, Social Media, and Mobile (1)
Nothing very useful here in regards to my research question.
7
Proulx, M., & Shepatin, S. (2012). Social tv : how marketers can reach and engage audiences by connecting television to the web, social media, and mobile. Retrieved from https://ebookcentral.proquest.com
Imagination and Play in the Electronic Age
8We realized that television was now an important environmental feature in a child’s life and one that surely must be taken into consideration as a contributor to a child’s development, especially to a child’s capacity for imagination. 59
The Properties of Television and Its Formal Features Aside from the obvious characteristics of television, its availability in the home, its use of picture and sound, its entertainment, information, and social value, television has certain properties that distinguish it from other media (Huston and Wright 1989). These conventions or formal features are: • Attention demand —the continuous movements on the screen that evoke an orienting response from us • Brevity of sequence —the brief interactions among people, brief portrayal of events, the brief commercials (10 to 30 seconds long) • Interference effects —the rapid succession of material that interferes with rehearsal and assimilation of material • Complexity of presentation —the cross-modality presentation of material (sound, sight, and printed word, especially in commercials) • Visual orientation —television is concrete, oriented toward spatial imagery
• Emotional range —the vividness of action (special effects, music, lighting). Further technological properties of television include • Use of slow-motion or speeded motion • Juxtaposition of scenes or split-screen technique whereby two scenes are placed side by side on the same screen • Use of subliminal techniques that allow two scenes to be viewed simultaneously (used often in dream sequences) • Special effects such as zooming in (the enlargement of a character or object), making things appear small, or making them grow gradually in front of your eyes (In former Wonder Bread ads, a child grows instantaneously.) • Production of magical effects involving distortions, changes in figure and ground, the rapid disappearance of a person or object • Ripple effects of words or scenes and the various fades or dissolves as one scene seems to flow into another • Use of montage to inform viewers of changes of location or passing of time, and even the particular genre (drama, documentary, cartoon, quiz show) • Chroma-key, a special camera effect, gives us the illusion that a reporter, for example, is standing in front of a famous landmark, when he or she is really in the studio and the landmark is projected on a screen behind him. • Instant replay, usually reserved for sports events, may lead children to believe that the person performed the act twice. Even color, a prominent feature of television, may have an effect on viewers. Research with adults finds that the influence of color appears in the self-reports of emotional experience, but is not apparent in any of the physiological measures such as skin conductance, heart rate, and facial electromyography (Detenber et al. 2000). People simply believe that color pictures are more pleasing and exciting than monochrome versions of the same things. Formal features such as the visual and auditory (music and funny voices) production techniques described above influence comprehension by selectively guiding attention to content. These formal features appeal to children not only because they make a program more lively, but also because they help the children to make sense of it. A body of research informs us about the conventions or formal features of television that affect children’s comprehension. The segments on the program are now much longer and more comprehensive, usually 10 segments an hour rather than the 20 to 40 segments that had been typical (Fisch and Bernstein 2001). “The charming but peripatetic skits on Sesame Street , designed to keep children watching— and to entertain their parents— actually confused and ultimately annoyed preschoolers” (Salamon 2002, p. 27). 63-65
Children aged two to eleven years, according to other researchers, are spending about 3 hours and 7 minutes a day a day watching television, and if they are upper elementary school– aged children, they are among the heaviest viewers in the United States, watching approximately 24 hours per week (Comstock and Scharrer 2001). Television viewing increases to about 30 hours a week among children in the lowest socioeconomic level. Poorer children have less access to extracurricular activities, such as music lessons or organized sports that may cost extra money. Thus, television remains a comparatively cheap form of recreation and entertainment for many children in the United States. 65-66
Even more than animation, the presence of live actors can help persuade young children that fantasy episodes can really occur (Skeen et al. 1982).
on many television programs adult char-acters talk to the fantasy characters ( Mister Rogers’ Neighborhood, Sesame Street, Blue’s Clues, Barney & Friends ); this adds to the seeming realism of the puppets or animated characters on the program. We feel that the presence of live figures on a television program is important if they help in clarifying information and in aiding the children to process the story line more easily. 68-69
Many animated television programs are product-based programs or socalled program-length commercials. The toys or characters in the programs are readily available as toys in stores. The combination of productbased television and thematically related toys is most inhibiting to creative imagination, but stimulating to imitative imagination (Greenfield et al. 1993). 69
When children are exposed to TV that may frighten them, parents, understandably, may be concerned with how to help them cope with their fears. Preschoolers benefit more from noncognitive strategies than from cognitive strategies (Cantor 2001). The process of visual desensitization or gradual exposure to threatening images in a nonthreatening context can be effective in helping preschool and even older elementary children deal with their fears. For example, if children see scary material, like a spider or lizard, photographs of this material or exposure to a rubber insect or even to a live lizard can be helpful to the child. Offering a child comfort through giving a child his favorite attachment object, or even food or drink may be beneficial in diminishing the fright reaction (Cantor 2001). We remember two of our granddaughters covering their eyes in anticipation of a scene in the film 101 Dalmatians in which the dogs were treated cruelly. 71
How can television viewing influence other emotions besides fear? One clue may come from the research of Paul Harris (2000) which indicates that identification with characters in a story will influence a child’s feelings. In one such experiment children were asked to involve themselves in a story and to feel sad along with the main character. Later, in retelling the story, they focused on more of the sad elements in the story and performed worse on a standard memory task, compared to children who were asked to remain detached from the story or were left to their own devices. The control children were less sad after the story and performed normally on the memory task. Similarly, it seems to us that children who are deeply involved with characters on a television story will be more affected emotionally than children who do not invest such emotional effort. 71-72
Children who were encouraged to empathize with the victim did not find the cartoons to so funny and enjoyable. Instead, they reported more positive evaluations of the victims and less positive reactions to the perpetrators of violence than did children who had received no suggestions about becoming involved with the victims (Nathanson and Cantor 2000). 72
It appears from this study that by age one, a child is able to process the social information and the emotional state of an adult. 72
Amy Jordan (1996, p. 14) uses the following criteria to define the quality of programs for children: content that is understandable and age appropriate for the target audience; an enriching or prosocial lesson that is clear and understandable; a lesson that is integral to the story and/or pervasive throughout the program; content that speaks to many children through diversity in its characters; and content that is creative and engaging in its techniques and its storytelling devices. 73
Act. Girls and younger children liked educational television programs more than boys and older children. Girls and older children understood the content of the programs, especially those with prosocial messages (Calvert and Kotler 2003). Other research indicates that children who watched educational programs such as Sesame Street , and Mr. Rogers’ Neighborhood entered school with good academic skills and a more positive attitude toward education. When followed into their teens, they performed at a higher academic level in English, math, and science than children who had rarely viewed educational programming (Huston et al. 2001). 74
Currently, 93 percent of twelve-year-old children in twenty-three countries, from Angola and Argentina to Tobago and the Ukraine, have access to a television set (Groebel 1998, 2001). According to a report sponsored by UNESCO (Groebel 1998), Europe and Canada have the highest distribution of TV (about 99 percent) and Africa the lowest (83 percent). The world’s children spend an average of three hours daily in front of the screen, with variations depending on the particular country 75
do fare better, at least in countries where the government helps to defray the costs of children’s entertainment (Kleeman 2001). 76
children are currently learning more from the medium than from their families. 77-8
One program that is now aired in over 120 countries is Teletubbies, targeted to children one year old. The program was launched in Great Britain by the British Broadcasting Corporation (BBC) in 1997 and has since brought in many millions of dollars to BBC and to the producer, Ragdoll Productions, through the sales of books, videos, computer games, magazines, and toys (Dominus 2004). Of interest in this chapter on television and imagination is the possible influence of this program’s content on an infant’s ability to make sense of the story. A series of studies appeared in a special issue of Televizion, an international periodical, suggesting benefits for preschoolers who watch Teletubbies (Lohr 1999). Most of the data have been gathered through observations of children older than one year or through anecdotal data collected from caregivers, mainly because it is extremely difficult to carry out an empirical study with infants and toddlers. The studies report positive effects in the children such as smiling, laughing, and imitating sounds while viewing in Great Britain, Germany, Australia, and Israel. Two studies in this same issue indicate that no empirical data have been found in the United States or in Norway using an experimental and control design (Hake 1999; Stipp 1999). 78
Great Britain, Canada, and Australia have been involved with television literacy for many years, and more recently other European countries have followed suit. Japan is currently developing curricula that will deal not only with understanding television but also with computer use. By the year 2005, computers will be installed in every classroom around the country, providing high-speed Internet access to schools and promoting the development and use of Web content (Kodaira and Takahashi 2001). In Japan, for example, 52.5 percent of elementary schools, 41.9 percent of junior high schools, and 37.9 percent of senior high schools take some measure to foster media literacy. The most popular technology employed for media literacy education are computers and the Internet in all of the schools (Kodaira and Takahashi 2001).
80
Many of the respondents, however, were concerned about the financial implications, stating that the numbers of viewers were not high enough to balance the costs of such educational programming. Many children were turning to cable shows, and the three major networks were complaining about financial losses. In many Western European countries, the government helps to finance children’s programming, whereas in the United States, commercials are the main source of revenue for children’s productions.
Television has the power to be both an entertaining and educational medium; unfortunately, it is much maligned. It is not the technology that is to blame for its failure to stimulate children’s imagination and creativity. It is the content and the excessive viewing that truly matter. Many years ago television was called the “early window on the world” (Liebert and Sprafkin 1988). When used along with reading, family discussion, and curricula involving critical thinking, this medium has the potential to give us information about other cultures, dress, food, art, and music. It can offer us programs about nature, science, and the composition of our universe. We can learn about medicine and new ideas in education. We can learn social skills and ways of solving conflicts other than reverting to aggression and violence. Documentaries give us historical information, and panel discussions offer us insights that can broaden our tolerance of other people. Finally, television, if used in moderation, can provide us with experiences that have the possibility to inspire our fantasy life and imagination to soar beyond the here and now. 82
Routledge Communication Series : G Is for Growing : Thirty Years of Research on Children and Sesame Street
Television and Childelopment by Judith Van Evra
ISBN 10: 080582801X ISBN 13: 9780805828016
Publisher: Routledge, 1997
The material presented in this second edition provides a current and complete summary and synthesis of what is known about television's role in, and impact on, children's cognitive and social development. Unlike other books on television or child development, this text directly combines communication and psychological perspectives for a more comprehensive and accurate look at children's television experiences. The integration of information from these diverse sources addresses the complexity of the interactions among child, content, technological, and contextual variables, and provides a broader conceptualization of both theoretical and practical issues. In short, this volume carefully considers the complex and significant interplay between other forces in a child's life with the television viewing experience.
Providing updated research findings in the major areas and including changing trends in television content and viewing patterns, this new edition offers new sections on technology and its influence and an entirely new chapter on television's impact on exceptional and high risk children. Also included are research findings on the many other media uses now available to children besides television, as well as those that affect children's use of television--VCRs, cable programs, computers, the Internet, video games, and virtual reality--in addition to a chapter on intervention and critical viewing strategies.
Providing updated research findings in the major areas and including changing trends in television content and viewing patterns, this new edition offers new sections on technology and its influence and an entirely new chapter on television's impact on exceptional and high risk children. Also included are research findings on the many other media uses now available to children besides television, as well as those that affect children's use of television--VCRs, cable programs, computers, the Internet, video games, and virtual reality--in addition to a chapter on intervention and critical viewing strategies.
Daniel Tiger's Neighborhood on PBSkids
Tell me about the conception of Daniel Tiger's Neighborhood. How did you decide to team up with the Fred Rogers Company?
I was Fred Rogers' number 1 fan as a preschooler, and, when I got older I got to meet him and told him that his work inspired me to create quality educational shows for children. Fred told me that he was a fan of my first show, Blue's Clues and we started a friendship. After Fred died in 2003, Kevin Morrison, CEO of the Fred Rogers Company reached out to me and asked what show I would do to honor Fred's legacy. I talked about an animated version of Fred's Neighborhood of Make Believe where all of his characters have since grown up and they all have preschoolers of their own. Daniel Tiger, Fred's first puppet, would be the 4 year old star of the show (Daniel was my favorite!). I believe, whole heartedly, that Fred Rogers was born, not someone we could go hire and replace - ever. The idea to do a live action show was off the table, and the Neighborhood of Make Believe was the perfect setting for a new show for this generation of children. Truth be told, I'm still pinching myself that I get to play in Fred's world every day!
What specific social-emotional skills do you aim to develop with the series? How did you think about a TV show that would cultivate these skills? Did you tap child experts and resources to help you develop the series?
We use Fred's 40+ year old socio-emotional curriculum as the foundation to our series as we write new episodes to teach children these important life lessons through music, humor, and play. We know that pro-social values have been shown by numerous studies to be imperative to later social and academic success for children. But, figuring out a way to make these skills as sticky and important to parents as singing the abc's and counting to 100 was my personal mission. We created beautiful, action oriented strategies that are little musical ditties for each pro social skill. I call them "pro social skills with a handle!" because they are easy to grasp and hold on to for both kids and parents. And, boy, do they stick in your head! ( I sing them in the shower!)
Peaceful Neighbor : Discovering the Countercultural Mister Rogers
The Mad Family Gets Their Mads Out by Lynne Namka, Ed. D., psychologist and president of "Talk, Trust and Feel Therapeutics."
Resources and videos for kids on the autism spectrum
http://www.aspergerssocialstories.com/
The Uncanny Valley in Games and Animation By Angela Tinwell
| Edition | illustrated |
| Publisher | CRC Press, 2014 |
| ISBN | 146658694X, 9781466586949 |
| Length | 236 pages |
Ni Hao, Kai-Lan theme song
Invercargill library
Title:
Anger management for dummies
Subject:
Anger.
ISBN:
9781119030003
Series:
For dummies
--For dummies.
Summary:
"Learn to: defuse your anger before it strikes, express your feelings calmly, identify anger triggers, release healthy anger effectively"--Cover.
Title:
A study into the ifoga : Samoa's answer to dispute healing
Author:
Subject:
Customary law -- Samoa.
ISBN:
9780958234351
Publication Information:
Hamilton, N.Z. : Te Mātāhauariki Institute, University of Waikato, c2002.
Series:
Te Matahauariki Institute occasional paper series, no. 4
Series Title:
Te Matahauariki Institute occasional paper series, 1175-7256 ; no. 4
Title:
The anger habit in parenting : a new approach to understanding and resolving family conflict
Author:
Subject:
Anger.
ISBN:
9781402203367
Publication Information:
Naperville, Ill. : Sourcebooks, c2005.
Electronic Access:
Table of contents http://www.loc.gov/catdir/toc/ecip057/2005003051.html
SIT library
| Other Titles: | Children and the media |
|---|---|
| Authors: | Singer, Dorothy G. & Singer, Jerome L. (eds.) |
| Imprint: | Thousand Oaks, Calif.: SAGE (155), 2001 |
| Description: | xvii, 765 p. : ill. 27 cm. |
| Subjects: | Television and children - United States ; Mass media and children - United States ; Video games - Psychological aspects |
| ISBN: | 0761919546 https://www.gottman.com/parents/ Raising an Emotionally Intelligent Child |
(Rachel says these kinds of books don't count for research)
To borrow from Rachel or purchase for myself:
- Paperback: 178 pages
- Publisher: Focal Press; 1 edition (April 24, 2012)
- Language: English
- ISBN-10: 0240820711
- ISBN-13: 978-0240820712
- Product Dimensions: 0.5 x 8.8 x 11 inches
great practical examples and discussion of what makes characters compelling and best poses to convey meaning and action.
Good intro text Television and Child Development by Judith Van Evra
ReplyDeleteThank you! I'll add it to my list.
ReplyDelete