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This volume explores film and television for children and youth.
While children's film and television vary in form and content from
country to country, their youth audience, ranging from infants to
"screenagers", is the defining feature of the genre and is written
into the DNA of the medium itself. This collection offers a
contemporary analysis of film and television designed for this
important audience, with particular attention to new directions
evident in the late twentieth and early twenty-first centuries.
With examples drawn from Iran, China, Korea, India, Israel, Eastern
Europe, the Philippines, and France, as well as from the United
States and the United Kingdom, contributors address a variety of
issues ranging from content to production, distribution, marketing,
and the use of film, both as object and medium, in education.
Through a diverse consideration of media for young infants up to
young adults, this volume reveals the newest trends in children's
film and television and its role as both a source of entertainment
and pedagogy.
This volume explores film and television for children and youth.
While children's film and television vary in form and content from
country to country, their youth audience, ranging from infants to
"screenagers", is the defining feature of the genre and is written
into the DNA of the medium itself. This collection offers a
contemporary analysis of film and television designed for this
important audience, with particular attention to new directions
evident in the late twentieth and early twenty-first centuries.
With examples drawn from Iran, China, Korea, India, Israel, Eastern
Europe, the Philippines, and France, as well as from the United
States and the United Kingdom, contributors address a variety of
issues ranging from content to production, distribution, marketing,
and the use of film, both as object and medium, in education.
Through a diverse consideration of media for young infants up to
young adults, this volume reveals the newest trends in children's
film and television and its role as both a source of entertainment
and pedagogy.
Just as a work of self-reflexive 'metafiction' - and the experience
of reading it - differ from other types of literature, the work and
the experience of viewing films that adapt metafiction are distinct
from those of other films, and from other film adaptations of
literary works. This book explores the adaptation of children's
metafictions, including works such as Inkheart, The Invention of
Hugo Cabret and the Harry Potter series. Not only are the plot
devices of books and reading explored on screen in these
adaptations, but so is the nature of transmedial adaptation itself
- the act of representing one work of art in another medium.
Analysing the 'work' done by children's metafiction and the
experience of reading it, Casie E. Hermansson situates the
adaptations of these types of books to film within contemporary
adaptation criticism.
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