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1 Eve's bedroom wall
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Children, Film and Literacy explores the role of film in children's lives. The films children engage in provide them with imaginative spaces in which they create, play and perform familiar and unfamiliar, fantasy and everyday narratives and this narrative play is closely connected to identity, literacy and textual practices. Family is key to the en...
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Citations
... Popular culture plays a critical role in children's lives as most engage with many popular cultural forms outside of school (Parry, 2013;Rogers, 2021). There was a time when we all believed a chubby, rosy-cheeked, jolly man with a white beard would come down our chimney and leave a present under our tree (Theobald et al., 2018), and a fairy would leave money under our pillow after losing a tooth. ...
... They view these popular cultural forms as low culture and transient compared to other literary works traditionally labelled high culture. Other teachers are reluctant to keep up with the continual change of our current society (Parry, 2013;Sfeir, 2014). Therefore, they rely on conventional literacy texts and practices. ...
... The concept of multimodality, coined by Kress, captures how 21 st -century texts require multiple modes of meaning, including visual, aural, and spatial conventions, differing from the oral and print storytelling traditions of the past (Cope & Kalantzis, 2000;Parry, 2013). Multimodal texts include "sounds, music, movement, bodily sensations, and smells" (Gee, 2003, p. 14). ...
The purpose of this research was to investigate popular culture as a means to educate in the elementary school classroom. Using secondary research in education and cultural studies, we investigated how teachers can use popular media to enhance student learning and develop critical media literacy skills. Findings revealed popular culture is a helpful teaching tool in elementary school classrooms. Knowledge of popular culture does not impede education but is a large part of students’ literacy practices. By embracing popular culture, students develop the literacies needed to navigate 21st century schools and engage in critical pedagogy. Further studies are needed to establish the practical ways elementary school teachers can use popular texts in their classrooms and overcome literacy challenges they may face.
... A partir de la revisión de distintos estudios teóricos que han trabajado sobre el concepto de cine infantil y/o familiar (Bazalgette y Staples, 1995; Krämer, 2002;Newton, 2006;Arendt et al., 2010;Brown, 2012Brown, , 2017Donald y Seale, 2013;Parry, 2013; Brown y Babington, 2015; Hermansson y Zepernick, 2019; Brown, 2019) y las recomendaciones por franjas de edad que califican la idoneidad de las producciones cinematográficas, entendemos el cine infantil como el conjunto de producciones que pueden ser visionadas por la infancia (hasta los doce años) mediante su adecuación en cuanto a contenido y forma, bien dirigiéndose a los más pequeños de forma explícita (películas con el distintivo "especialmente recomendadas para la infancia") o implícita (películas familiares). Una gran parte de estas producciones está realizada mediante técnicas de animación y reescriben materiales de la literatura infantil y juvenil y, en concreto, se destaca la presencia de obras que se adscriben a modalidades genéricas relacionadas con la fantasía. ...
El objetivo del estudio es identificar la incidencia de mujeres delante y tras la pantalla en largometrajes de animación premiados en algunos de los galardones cinematográficos mundiales más importantes que cuentan con categorías específicas para estas producciones. Se plantea un diseño metodológico mixto que parte de una investigación con orientación descriptiva a partir del análisis de contenido de productos de carácter verbo-icónico (películas) e impresos (libros), aplicado a una muestra que incluye todas las películas premiadas en los cuatro galardones escogidos (Oscars, Annie, Golden Globes y BAFTA) y producidas entre 2000 y 2019. Los resultados inciden en la escasa presencia de mujeres delante y tras la pantalla y la discusión final destaca la importancia de visibilizar la situación real de la mujer en sectores como el de la creación cinematográfica para poder planificar y llevar a cabo mejoras en distintos ámbitos que contribuyan al progreso en materia de igualdad.
... En este sentido, la propia imposibilidad de lo fantástico implica que la "reescritura fílmica" de lo fantástico literario mediante la imagen en vivo, es decir, la grabación directa de escenarios y personajes, sea insuficiente, y se haga necesario recurrir a distintas técnicas de animación. En efecto, la recurrencia de la utilización de la animación en la producción de estas obras se hace evidente en la gran presencia de reescrituras fílmicas de la lij fantástica en la relación de nominados y premiados de los principales galardones internacionales a largometrajes animados (Oscar, (2015), Medina (1957) y Piaget (1933Piaget ( /2001Piaget ( , 1964Piaget ( /1991 A partir de la revisión de distintos estudios teóricos que han explorado este fenómeno (Arendt et al., 2010;Bazalgette y Staples, 1995;Brown, 2012Brown, , 2017Brown, , 2019Brown y Babington, 2015;Donald y Seale, 2013;Hermansson y Zepernick, 2019;Krämer, 2002;Newton, 2006;Parry, 2013; Rodríguez Rosell y Melgarejo Moreno, 2010) y las recomendaciones por franjas de edad que califican la idoneidad de las producciones cinematográficas, entendemos el cine infantil como el conjunto de producciones que puede ser visionado por la infancia (hasta los 12 años), mediante su adecuación en cuanto a contenido y forma, bien dirigiéndose a los más pequeños de modo explícito (películas con el distintivo "especialmente recomendadas para la infancia") o implícito (películas familiares). A su vez, el cine familiar agrupa las producciones ambivalentes que se sitúan, al mismo tiempo, dentro del campo de influencia de las películas para adultos y de las películas infantiles (calificaciones "A": apta para todos los públicos y "7": no recomendada para menores de 7 años)", denominaciones que pueden variar en función del país. ...
En la actualidad, hay escasez de investigaciones y estudios teóricos sobre cine infantil o familiar, lo cual dificulta la concreción de desarrollos curriculares sobre la materia que permitan la actualización de la formación docente y la utilización de estas producciones en el aula. Por tanto, el objetivo principal de este trabajo fue indagar sobre la incidencia que tuvo la utilización de técnicas de animación en la creación de películas infantiles o familiares que reescribieron obras de la literatura infantil y juvenil fantástica, desde finales del siglo pasado, y se difundieron en España. Al respecto, se plantea un diseño metodológico mixto, basado en una investigación ex post facto con orientación descriptiva, y el análisis de contenido de productos de carácter verbo-icónico (películas) e impresos (obras literarias). Los resultados indican que hay una tendencia creciente por la reescritura en imagen real, y el empleo de técnicas de animación que introducen efectos visuales para salvar las dificultades inherentes al proceso de recrear en la gran pantalla eventos, personajes o escenarios imposibles y hacerlos pasar por reales. En todo caso, el fenómeno adaptador es una realidad constante y asidua que condiciona y determina el proceso de socialización del individuo. Por tanto, es fundamental estudiar dicho fenomeno para la superación de las carencias educativas en este sentido y el desarrollo de programaciones didácticas eficaces.
... Σύμφωνα με την Parry (2013), «οι ταινίες είναι αυτές που μας διδάσκουν για τις ταινίες». Η αυξανόμενη ακαδημαϊκή παραγωγή για τη σχέση των ταινιών (και των ΜΜΕ) με τα παιδιά κυρίως επικεντρώθηκε στο "ποιος, τι και γιατί" για να απαντήσει στις συχνά σύνθετες και αντιφατικές αλληλεπιδράσεις μεταξύ των ίδιων των παιδιών, των φιλμικών κειμένων για αυτά και των αναπαραστάσεων της παιδικής ηλικίας. ...
Η σχέση του κινηματογράφου με την εκπαίδευση, είτε στο πλαίσιο της τυπικής
εκπαίδευσης είτε όχι, αφορά την ίδια την ιστορία του κινηματογράφου. Η
πλούσια βιβλιογραφία για τον κινηματογράφο και τα παιδιά εξωθεσμικά, δεν
συνοδεύεται από μελέτες για την εφαρμογή της κινηματογραφικής εκπαίδευσης
στα σχολεία (Bernstein, 2019· Παπαδόπουλος, 2014· Reid, 2019). Η μελέτη έχει
ως στόχο την κατανόηση της κινηματογραφικής εκπαίδευσης και τις διεργασίες
ένταξής της στην τυπική σχολική εκπαίδευση με βάση τις απόψεις
εκπαιδευτικών και φοιτητών/τριών από δύο Πανεπιστημιακά Τμήματα
(Παιδαγωγικό Τμήμα Δημοτικής & Κινηματογράφου). Η συλλογή των δεδομένων
βασίστηκε στη συγκρότηση 3 ομάδων εστίασης και αξιοποιήθηκε η θεματική
ανάλυση περιεχομένου. Η κινηματογραφική εκπαίδευση σύμφωνα με τις
απόψεις των συμμετεχόντων έχει πολλαπλούς στόχους όπως είναι: η
κινητοποίηση των μαθητών, η αξιοποίηση των ταινιών ως διδακτικό εργαλείο σε
συγκεκριμένα μαθήματα, η σύνδεση των ταινιών με ενήλικες αξίες και
ανησυχίες, οι ταινίες ως συμβολικός χώρος για την συναισθηματική και
κοινωνική ανάπτυξη των παιδιών και των νέων, καθώς και η ανάπτυξη κριτικής
σκέψης και κοινωνικής συνείδησης. Με βάση τις καταγραφές των
συμμετεχόντων η κινηματογραφική εκπαίδευση συζητείται και ως μέσο και ως
στόχος μιας ενεργητικής, κριτικής και δημιουργική διεργασίας που αφορά
κατεξοχήν το σχολείο.
... This involves children taking on different roles and identities, such as editors and producers, looking at the social, cultural and political origins of information sources, and orchestrating multiple modes including sound, moving image and text, to make their own meanings. Production projects are also mostly collaborative practices that engage with social and dynamic new literacies (Potter & McDougall, 2017), nurturing spaces that promote dialogue between peers and adults about popular motifs and diverse cultural capital (Marsh, 2013;Parry, 2013;Potter & Bryer, 2016). We have suggested that practical media production supports conceptual development, but it also supports the kind of exploratory arts practices that help to build a confident sense of self: this confidence propagates the desire to be heard (Burn & Durran, 2007;Cannon, Bryer, & Lindsey, 2014). ...
... Article 30) Just as it is part of the teacher's job to introduce new works of print fiction to children, teachers have been key to introducing children to the moving image in particular, which might especially resonate with the child. Film education (Cannon, 2018;Parry, 2013) emphasises the need to understand a range of media languages and offers children from minority backgrounds a means of engaging with their own language through the consumption and production of film. ...
... Second, this teacher would not have described herself as an expert media educator, but rather an English specialist; indeed, the pervasive nature of media texts makes it difficult for teachers to occupy the space of an expert didact on issues of popular media. We propose that media education productively disrupts classroom hierarchies by valuing learner input and experience as regards media cultures (Cannon et al., 2014;Parry, 2013). This example of a moment of rapid and engaged discussion was not included in the dissemination of the project but on reflection it resonates as a moment in which the rich potential of pedagogies of 'inexpertise' create learning environments which are participatory and 'porous' to the transmedia landscapes that lie beyond school walls (McDougall & Potter, 2015). ...
Engaging with digital media is part of everyday living for the majority of children, yet opportunities to learn about, through and with media are denied many pupils in compulsory schooling. Whilst Media Studies in the UK is internationally reputed to be well established, changes made to the primary and secondary national curriculum in 2014 included removal of existing media study elements. We demonstrate what is lost by these actions in relation to the United Nations Rights of the Child and, in particular, the right of the child to express identity. We demonstrate how media literacy had previously been included in curriculum, enabling opportunities to address children’s rights, and propose that the absence of media education is part of an overall trend of the non-prioritisation of children’s rights in England and Northern Ireland. The paper calls for media literacy to be reintroduced into primary and secondary curriculum.
... If they are able to coconstruct imaginative responses to the world in such a range of textual forms, they can, arguably, begin to extend their knowledge of what is possible. Because such settings admit the external culture and funds of knowledge that children bring with them across the 'semipermeable membrane' between home and school (Moll, Amanti, Neff, & Gonzalez, 1992;Parry, 2013;Potter, 2011), they can become sites of 'porous expertise' wherein the children can present, explore and extend the knowledge of the world and each other which they bring with them into educational settings. These exchanges may also allow for learning gains at a range of depths and different locations. ...
This chapter focuses on the processes and conditions for the emergence of positive affect during children’s multiliteracies learning endeavors in a Finnish pre-primary school which culminated in an exhibition at a local library. It identifies three thematic categories of activity which correlated strongly with positive, affective outcomes, namely: making and producing, sharing experiences and sustaining interest. The chapter demonstrates how positive affect is evoked when children are afforded opportunities to create, make, and share different texts and interests in the course of their multimodal, multisensory and playful activities, developing skills and dispositions of competence, relatedness and agency.
... If they are able to co-construct imaginative responses to the world in such a range of textual forms, they can, arguably, begin to extend their knowledge of what is possible. Because such settings admit the external culture and funds of knowledge that children bring with them across the "semi-permeable membrane" between home and school (Moll et al., 1992;Parry, 2013;Potter, 2011), they can become sites of "porous expertise" wherein the children can present, explore, and extend the knowledge of the world and each other that they bring with them into educational settings. These exchanges may also allow for learning gains at a range of depths and different locations. ...
... The preschool visits revealed classrooms where digital media was deeply embedded and used everyday, as part of the weft and weave of the educators' practice (Pahl, 2002;Parry, 2013). The digital was embraced as offering distinct possibilities, and was used in combination with a multitude of traditional forms for meaning making. ...
... Indeed, children's reading for pleasure has never been solely located in such contexts, and this has been illuminated by the ethnographic studies conducted by Shirley Brice Heath (1983Wolf and Heath, 1992), by the work of Haas- Dyson (2008Dyson ( , 2003Dyson ( , 1997 and by those working within the frameworks of new literacy studies (Pahl and Rowsell, 2005;Pahl and Burnett, 2013;Dowdall, 2006a, b;Mackey, 2002;Marsh, 2005). Studies in multimodality and children's multimedia texts have also informed this perspective (Bearne, 2003;Parry, 2013). Wolf and Brice-Heath (1992) used the metaphor of a 'braid' of literature to explore the ways in which textual and non-textual features weave together in children's experiences of literature. ...
... In this section, we draw on data from two ESRC scholarship doctoral research studies. In the first study, five Year 6 (aged 9 and 10) children took part in a year long creative and participatory research project in order to develop a series of telling cases about the role of film in their understandings of narrative and the development of their literacy identities (Parry, 2013). The research activities included creating stories in verbal, drawn, written, film and animated form, a series of interviews and observations of school-based literacy activity. ...
In this paper we demonstrate the relationship between reading and writing for pleasure. Children read a wide range of media as well as books for pleasure and develop strong affective bonds with the artefacts of literacy they encounter. What remains less well understood is the relationship between the array of texts children engage with and the texts they subsequently create. A focus on ‘Reading for Pleasure’ has enabled us to think anew about the relationships between the texts children read, play and engage with and those they make, play and tell. Data from two doctoral research projects illuminates the ways children draw on cultural resources, moving skilfully across mode, medium and form. In doing so they learn language conventions which enable them to engage in schooled literacies and learn to use conventional language techniques for their own purposes to transform and re-imagine texts. Children’s identities as readers, writers, and storytellers are constructed holistically and we explore the role of pleasure in reading and meaning making. In conclusion we consider the potential for positioning reading for pleasure not in isolation, but as a strand in the complex fabric of literacy that needs to be nurtured in children.
... When reading activities at home do not occur, or are devalued by teachers, it may be more difficult for children to connect with school assignments and develop a positive ''Literacy Self-Concept'' (Archambault et al., 2010;Mata, 2011;Rouland et al., 2013). We reiterate Marsh and Millard's argument that educators should be more accommodating of children's extra-curricular reading in their teaching of literacy by expanding curricula to include popular fiction, serial novels, and potentially film as starting points for exploring more complex texts (see also Burn and Durran, 2007;Marsh, 2005;Parry, 2013). ...
... In general, lack of reference to writing could be attributed to the fact that children may see writing and reading as distinct skills, rather than related and mutually reinforcing (Grabe, 2001). Teachers stressing the links between reading and writing could help maximise the benefits of extracurricular reading of Potter and other popular fiction (see also Parry, 2013). ...
This article reports findings from a small-scale focus-group study funded by the British Academy. Drawing on Herbert Marsh and Richard Shavelson’s notion of “Academic Self-Concept” and David Barton and Mary Hamilton’s view of literacy as context-specific social practices, the authors examine what young British Harry Potter enthusiasts perceive as the influence of the novels on their subsequent reading behaviour and academic development. Specifically, they consider whether these children feel that Harry Potter has helped improve their literacy skills and whether they think the books have changed their attitudes to reading. Moreover, the article sheds light on the role of the films and the possible effect of gender. The authors conclude that the Potter enthusiasts they have interviewed see the series as formative in terms of their literacy. However, regarding gender, intra-group variation (differences among individual readers in a group of either boys or girls) is far more significant than inter-group variation (differences between single-sex groups of boys and girls).
