Integration of language, psychology, and technology and the concept of independence learning in reading characters in Indonesian children's films as media and learning materials in character building for elementary school students-Indonesia

The purpose of this research is to integrate psychology, technology, and language in reading the characters in Indonesian children's films as media and learning materials for character building for elementary school students in Indonesia. This research design uses mixed methods. The source of research data is sourced from elementary school students' learning activities in Indonesian subjects using Indonesian children's films as media and learning materials. Data were collected using questionnaires, interviews, and focus group discussions. Respondents of this study were elementary school teachers as many as 98 teachers. Qualitative data were analyzed by interpreting techniques and presented in the form of descriptions, while quantitative data were analyzed by calculating the average student learning outcomes presented in the form of percentages. The findings of this study are twofold, namely the findings of this study are twofold, namely by using Indonesian children's films as a medium as well as a source of learning and learning materials can shape students' character and improve student achievement.

American Baby Boom and the Soviet Pioneer Camp: Enemies and the “Hidden Threat” in the Children’s Cinema of the USSR and the USA in the 1930s and 1960s

In the article the evolution of the image of the enemy in two cinemas is examined on the material of the Soviet and North American children’s and family films of 1936–1966 years in the following areas: representations of images of a political enemy in the movie, the critics of the axiological analysis of the discourse of a hostile culture, representation of the axiological discourse of their own culture. The analysis of publications on the topic is carried out and the concepts of “children’s cinema” and “family cinema” are clarified. The article reveals various types of construction in feature films for young audience of the “hidden threat” of the Cold War period. Based on the analysis of antagonist markers, archival materials and iconographic analysis of the films, the author identifies various modifications of the image of the enemy in children’s cinema. The article records the loss of interest in clichés by the mid-1960s. However, at the same time, the phenomenon of the spy film for the young audience in the USSR is of special interest, in particular, the militaristic aspect of the image of the internal and external enemy. In addition, the author focuses on the ways of constructing the space of childhood in two cinematographies, the social and cultural context, in particular, the role of social institutions and the family, the representation of social problems in different genres of children’s film. The author reveals that the evolution of the border violation motive in children’s films is associated with the peculiarities of the foreign policy of both countries, which also characterizes the interest in the cultural heritage of other peoples, cultural codes and formulas developed in literature and popular culture.

An Analysis of Appraisal System of Paw Patrol Lyric

Hero-themed children’s films are always fun for children. The PAW Patrol film series is a spectacle aimed at pre-school-age children. The film’s main characters are one 10-year-old child and six puppies. This study aimed to look at the Appraisal System contained in the lyrics of the opening song of the PAW Patrol series, which aired on the NickJr channel. The researcher wanted to find the dominant Appraisal System in the lyrics. The researcher also wanted to know how the lyricist positioned the listeners and viewers of the film through the song’s lyrics. The data analyzed were the lyric of the opening song of the PAW Patrol film series. The data were then analyzed using Martin and White’s Appraisal System theory. Researchers used qualitative descriptive methods in analyzing the data. The results showed the three Appraisal sub-systems; Attitude, Engagement, and Graduation, are found in the lyrics of the PAW Patrol opening song. The dominant appraisal system was Graduation. Listeners or moviegoers are positioned as people who receive the image of the heroic act shown in the song's lyrics.

Life According to Popular Children's Films

This content analysis uses data gathered from the 150 top-grossing children’s animated films from 1990 to 2020 (based on North American theater sales) to examine the gender disparities and stereotypes in children’s media. The study shows that female characters are underrepresented in lead roles (14%), main gangs (28.1%), and speaking roles (27.2%). The central female characters are portrayed stereotypically. When female characters appear, they are more likely to be portrayed in a romantic and family relationship than male characters. However, films with a greater percentage of women writers are correlated with more speaking roles for female characters. The impact of media on children’s development is indisputable due to the way technology has become ingrained in day-to-day life. The lack of representation of female characters reinforces the stereotypical portrayals that negatively affect the self-esteem of girls and train boys to expect an androcentric world. The skewed and stereotypical portrayal of female characters fails to accurately represent the diversity of other parts of the world. While many of these films are produced in the West, they are widely distributed and consumed all over the world.

Spontaneous Music

The discussion here is focused on Dinara Asanova, an unusual figure at Lenfilm not just because of her Kirghiz background (she was one of only two Central Asian directors at the studio), but because of her commitment to using improvisation, a considerable feat given that the entire system of Soviet control assumed scripts would be filmed verbatim. As the chapter contends, the license allowed to Asanova was at least partly dependent upon the categorization of her as a specialist in “children’s films,” which acted as a convenient way of trivializing her activities. The film at the center of analysis here, Woodpeckers Don’t Get Headaches, is examined as a particularly revealing manifestation of Asanova’s aesthetic principles because its protagonist, the young jazz enthusiast Mukha, has autobiographical echoes and because the spontaneity of his performances and the compositional manner of the film are in obvious association.

TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL

Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.

Choosing a Theme and Sticking to It

Chapter two describes an important cause for binary polarization: children’s films often focalize around a single theme from the source text and make it a driving element of the adaptation, amplifying the weight and intensity of that theme. First, this chapter explores binaries in Henry Selick’s adaption of Neil Gaiman’s Coraline to claim that instead of distorting some of Gaiman’s themes, Selick makes them stronger, leading to a widening of independent/dependent, real/other, and adult/child binaries. The chapter next highlights how the movie adaptation of The Tale of Despereaux amplifies a set of overlapping binary systems, and then uses the film version of How to Train Your Dragon to illustrate how thematic amplification is culturally bound and historically situated. Overall, the chapter suggests that when film adaptors select a theme of the novel and use it as a cornerstone in the adaptation, the result is binary polarization.

The Gender Agenda in Kenyan Children’s Feature Films

The gender agenda has featured substantially in creative works from Africa and particularly Kenya. Although film is considered a new form of creative expression in Africa, compared to the west, it has not been excluded in exploring gender issues. While the gender discussion has prominently featured adults, the Kenyan film has gone a step further and explored gender on a different level. Gender has been explored from the point of view of the child and employed the child character as a suitable medium. Kenyan filmmakers by employing the child character on the subject of gender seem to suggest that engendering of any member of the society begins in childhood and progresses into adulthood. This is a unique aspect about the Kenyan film yet has not been critically examined. This paper therefore examines the child character and the exploration of gender in Kenyan films about children to ascertain the significance of the child character in exploring gender issues in society. It focuses on three selected films that extensively explore the engendering of children namely: Subira, Malika and Becoming A Girl. The films mainly focus on the engendering of the girl child by the society and that this happens in childhood. They also employ the girl child as acharacter in exploring the issue of gender. Examination of the child character will be guided by the Sociological theory of film and the Formalist film theory. The structure of the paper is as follows: A background on the gender issue in creative works, theoretical perspectives on gender, analysis of Kenyan children’s films on gender and conclusions on the use of the child character in exploring gender.