A Study on the Process of Obtaining Power of Joo Pyeong in Children’s Drama -Focused on the National Children’s Drama Contest

Eomunhak ◽  
2021 ◽  
Vol 151 ◽  
pp. 221-250
Author(s):  
Jeung-Sang Son
Keyword(s):  
Children's Drama

scholarly journals Anvar obidjon is a children’s poet

2021 ◽  
Vol 2 (1) ◽  
pp. 13-19
Author(s):  
Nigora Adizova Bakhtiyorovna ◽  
Nodira Adizova Bakhtiyorovna
Keyword(s):  
Special Role ◽  
Dramatic Works ◽  
Children's Drama ◽  
Children's Poetry

This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works

scholarly journals INOVASI PEMBELAJARAN PENULISAN NASKAH DRAMA ANAK DENGAN MENGGUNAKAN STRATEGI IDCD (IDENTIFICATION, DESIGN, CHANGE, DAN DEVELOPMENT)

2020 ◽  
Vol 5 (2) ◽  
pp. 87-94
Author(s):  
Fiyan Ilman Faqih
Keyword(s):  
Learning Strategies ◽  
Writing Skills ◽  
Design Change ◽  
Strategic Innovation ◽  
Children's Drama

The writing children's drama scripts is an underdeveloped skill. This happens because students not understand who children and how characteristic children. One way to solve this problem is to innovate learning strategies. The strategic innovation is IDCD (identification, design, change, and development). This strategy was created for the needs of writing skills, especially writing children's drama scripts for students. Strategies were created to create learning more creative, innovative children's drama script writing, and children's drama scripts that are created according to the child's level of development.

Fifty Years of Drama on Israeli Children’s Television

2018 ◽  
Vol 33 (2) ◽  
pp. 123-147 ◽  
Author(s):  
Yuval Gozansky
Keyword(s):  
Digital Media ◽  
The State ◽  
Children's Television ◽  
Israeli Society ◽  
Historical Study ◽  
Direct Supervision ◽  
Privatization Process ◽  
The Creation ◽  
Viewing Habits ◽  
Children's Drama

This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.

Music in English Children's Drama of the Later Renaissance

Notes ◽  
1994 ◽  
Vol 50 (4) ◽  
pp. 1384
Author(s):  
Kathryn Lowerre ◽  
Linda Phyllis Austern
Keyword(s):  
Children's Drama

Cynthia's Revels and Music for a Choir School: Christ Church Manuscript Mus 439

1971 ◽  
Vol 18 ◽  
pp. 134-172 ◽  
Author(s):  
Mary Chan
Keyword(s):  
Children's Music ◽  
Christ Church ◽  
In Christ ◽  
Choir School ◽  
Children's Drama

In two articles, dated 1958 and 1960, A.J. Sabol discussed a setting of Hedon's song ‘The Kisse’ in Cynthia's Revels (IV.iii.242) which occurs in Christ Church MS. Mus 439 and suggested convincingly that this setting was that intended for the first performance of the play at court in 1600. So far as is known the version of Hedon's song in the Christ Church manuscript does not occur elsewhere. The Christ Church manuscript was further brought to the attention of musicologists by J. P. Cutts in his discussion of the songs in Everie Woman in her Humor, for the manuscript contains the only known setting of a song which is referred to twice in that play: ‘Here's none but only I’.The Christ Church manuscript was further brought to the attention of musicologists by J. P. Cutts in his discussion of the songs in Everie Woman in her Humor, for the manuscript contains the only known setting of a song which is referred to twice in that play: 'Here's none but only I'. It now seems profitable to look more closely at this Christ Church manuscript as a possible source for even more music in children's drama in particular, and more generally, as representing children's music at court. If we are to suggest that the collection may even represent the repertoire of the Children of the Chapel Royal then the ambiguities surrounding the performance of Everie Woman in her Humor are also highlighted.

H2O: Just Add Branding: Producing High-Quality Children's TV Drama for Multi-Channel Environments

2009 ◽  
Vol 133 (1) ◽  
pp. 31-42 ◽  
Author(s):  
Susan Ward ◽  
Anna Potter
Keyword(s):  
Public Service ◽  
Brand Management ◽  
The United States ◽  
Market Place ◽  
Media Environment ◽  
Business Modelling ◽  
Children's Drama ◽  
Live Action ◽  
Australian Company

This is a case study of the Australian company Jonathan M. Shiff Productions and its ‘tween’ program, action series H2O: Just Add Water. The program has sold in 150 countries including the United States, where it was ‘the first non-American live action to be bought by Nickelodeon in America’ and screens every Sunday night as family entertainment. It is also the highest rating children's drama series on Nickelodeon UK. While Australia's content regulations are important to its production, of critical importance is ZDF Enterprises, the commercial arm of one of Germany's two public service broadcasting channels, and worldwide distributor and production partner for all Jonathan M. Shiff productions. Case studies such as the following provide useful insights into the shape and operations of mediascapes elsewhere, and where our own media environment may be heading. They also offer a glimpse into the way the international market place is organising along forms of cooperation designed to facilitate global distribution of cultural content. A central proposition of this case study is that the structural conditions of multi-channel environments require certain adjustments in form, content and business modelling that have essentially coalesced around the operation of brand management.

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