Mimesis and Alterity: Representations of Race in Children’s Films

2010 ◽  
pp. 53-67
Author(s):  
Karen Wells
Keyword(s):  
Children's Films

Satisfying a Spirit of Adventure

2018 ◽  
pp. 224-231
Author(s):  
Christopher Holliday
Keyword(s):  
Adult Child ◽  
Genre Analysis ◽  
Contemporary Culture ◽  
Childhood Experience ◽  
Cultural Experience ◽  
Future Opportunity ◽  
Animated Films ◽  
Animated Film ◽  
Adolescents And Adults ◽  
Children's Films

The conclusion reflects on the meaningfulness of genre analysis as paving the way for more rigorously formalist approaches to computer-animated films, but also as a way of positioning industry, technology and textuality in relation to each other. The conclusion also argues that the features of the computer-animated film identified in the book engage with discourses of juvenile behaviour to stretch the terms of the adult/child distinction, with many computer-animated films demonstrating a notable fascination with the vicissitudes and values of the childhood experience. The narratives of computer-animated films invite a specific consideration of what it means to be a child within contemporary culture. I challenge directly Judith Halberstam’s notion that certain children’s films appeal to the “disorderly child” and instead look to the fuzzy distinction between adolescents and adults engendered in portmanteau terms pertaining to cultural categories such as “kidult,” “manchild” and “adultescents.” The child/adult distinction is thus not fixed or ‘frozen,’ but flowing, and the conclusion identifies how computer-animated films offer future opportunity to examine how, as a genre, they mobilise questions about the cultural experience and significance of childhood, at the same time as their narratives redefine adulthood.

Erratum

1987 ◽  
Vol 43 (1) ◽  
pp. 72-72
Keyword(s):  
South Australia ◽  
Primary School Children ◽  
Careful Study ◽  
Video Viewing ◽  
Australian Council ◽  
Children And Parents ◽  
Wide Range ◽  
Multiple Copies ◽  
Children's Films

Kids and the Scary World of Video In MIA 42, November 1986, page 70, in Book Reviews & Magazines & Journals, incorrect information was published. Any inconvenience this may have caused is regretted. Let's get it right this time! The South Australian Council for Children's Films & Television produced KIDS and The Scary World of Video - a 200-page report which costs $18.50 (including postage within Australia, less for multiple copies). For overseas orders, SACCFT will, unfortunately, have to charge for postage. For further information, telephone or write to Ms Felicity Coleman, SACCFT Inc., 181 Goodwood Road, Millswood 5034. Telephone: (OS) 373 0282. We reprint Henry Mayer's review from MIA 42:70, November 1986: This careful study of video viewing among 1,498 primary school children in South Australia looks both at children and parents. It shows that access to videos, considered in more controlled circumstances as unsuitable, is easy through a wide range of sources. Over a third reported seeing videos containing extreme violence and horror, including mutilation and dismemberment. The children are affected and report scenes they would like to but cannot forget. A smaller number report a desire to continue to remember scenes of striking violence. Sixty-one per cent had a VCR at home and 85.7% reported watching tapes at a friend's home. The report includes very detailed extracts from the responses. It is by far the most careful study yet of access and responses to content, with proposals for action.

scholarly journals Children’s Films: Children’s Matters are No Childish Matters

MANUSYA ◽  
2016 ◽  
Vol 19 (2) ◽  
pp. 17-48
Author(s):  
Kamjohn Louiyapong
Keyword(s):  
Point Of View ◽  
Rich Diversity ◽  
The Family ◽  
Children's Films

This paper studies Thai children’s films produced in the appropriately five decades since the decade of B.E. 2510 (1967). The study reveals that, in this time, there have been more than fifty Thai films in rich diversity both produced “for” children and “about” them, and that of these two groups, the first is more likely to be intended primarily for a young audience. Thai children’s films can be divided into five periods from a historical point of view, and categorized into three groups, namely, children and their inner lives, children and the family and, children and society.

Meet the Parents: A Parents’ Perspective on Product Placement in Children’s Films

2007 ◽  
Vol 80 (2) ◽  
pp. 289-304 ◽  
Author(s):  
Simon Hudson ◽  
David Hudson ◽  
John Peloza
Keyword(s):  
Product Placement ◽  
Children's Films

scholarly journals Introduction

2013 ◽  
Vol 5 (2) ◽  
pp. 39-44 ◽  
Author(s):  
Bettina Kümmerling-Meibauer
Keyword(s):  
The United States ◽  
School Curriculum ◽  
Gradual Process ◽  
Close Relationship ◽  
Symbolic Meanings ◽  
Camera Perspective ◽  
General School ◽  
Children's Films ◽  
Film Language

The study of children’s films is a complex and demanding issue, involving a range of critical, educational, psychological, cultural, institutional, and textual aspects. “Children’s films” can be a broad and ambiguous term; there are films aimed at children, films about childhood, and films children watch regardless of whether they are children’s films or films targeted toward adults. The rise of an expanding children’s film industry (including the accompanying merchandizing products) in the United States and many European countries presents a further challenge to the study of children’s films. In some countries, children’s films are included in the general school curriculum; this indicates that children’s films are a key part of children’s culture that requires educational attention. Another fact to which the inclusion of children’s films in school curricula points is the crucial role of these films in the development of media literacy, due to the fact that children come to recognize and understand the typical features of films by means of a gradual process which takes a substantial amount of time. The acquisition of a “film language” presupposes the ability to comprehend the symbolic meanings of images, the close relationship, upon which films depend, between a moving image, sound, and speech, and prototypical properties of films, such as shots, zooms, cuts, camera perspective, and voice-over.

Sign in / Sign up

Export Citation Format

Share Document