Children, Film and Literacy by Becky Parry

By Becky Parry

Young ones, movie and Literacy explores the position of movie in kid's lives. the movies teenagers have interaction in supply them with creative areas during which they bring, play and practice time-honored and unexpected, myth and daily narratives and this narrative play is heavily hooked up to id, literacy and textual practices. family members is essential to the encouragement of this social play and, in school, the playground can be an immense website for this task. even if, within the literacy school room, a few teenagers stumble upon a discontinuity among their stories of narrative at domestic and people who are valued at school. via movie little ones strengthen understandings of the typical features of narrative and the actual 'language' of movie. This publication demonstrates the ways that youngsters may be able to convey and advance distinctive and complicated understandings of narrative, that's to claim, the place they could draw on their lonesome reviews (including these in a relocating picture form). little ones whose basic reviews of narrative are relocating pictures face specific demanding situations whilst their stories should not given possibilities for expression within the school room, and this has pressing implications for the instructing of literacy.

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Given the strong presence of transgression of textual and adult codes in children’s films, it is possible to argue that the spaces created by children’s films are open, complex and rich, rather than entirely closed and didactic. Contemporary children’s films, like children’s literature, are markedly different from other films, particularly in terms of coherence. Coherence, or the way in which texts represent a consistent story world and plausible 32 Children, Film and Literacy series of events with causality, is different in fantasy and everyday worlds.

They also define ‘categorical films’, ‘rhetorical films’ and ‘abstract films’ as films that do not present a series of events that have a cause and effect relationship and therefore cannot be described as narrative films. Chatman (1990) similarly distinguishes three text types as ‘narrative’, ‘argumentation’ and ‘description’, which again emphasises the potentially quite contrasting nature of a narrative film, an advert or a film montage. Robinson (1997) suggests that these finite distinctions are not helpful and proposes the notion of degrees of narrativity on a continuum.

Children’s films are not examined in the same way. As the example above demonstrates, children’s films are too often looked at in isolation from other forms of children’s culture and are analysed in very different terms from those used to explore children’s fiction. This can be attributed to the way in which the children’s film industry in general and Disney films in particular are perceived. It is therefore useful now to consider some of the criticisms of the Disney corporation. Global domination: cultural imperialism Disney is such a strong global brand that it has attracted more criticism than any other film studio.

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