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Based on a study examining the meaning of the term "media literacy"
in children, this volume concentrates on audiovisual narratives of
television and film and their effects. It closely examines
children's concepts of real and unreal and how they learn to make
distinctions between the two. It also explores the idea that
children are protected from the harmful effects of violence on
television by the knowledge that what they see is not real.
This volume is unique in its use of children's own words to
explore their awareness of the submerged conventions of television
genres, of their functions and effects, of their relationship to
the real world, and of how this awareness varies with age and other
factors. Based on detailed questionnaire data and conversations
with 6 to 11-year-old children, carried out with the support of a
fellowship at the Annenberg School for Communication, University of
Pennsylvania, the book eloquently demonstrates how children use
their knowledge of real life, of literature, and of art, in
intelligently evaluating the relationship between television's
formats, and the real world in which they live.
Based on a study examining the meaning of the term "media literacy"
in children, this volume concentrates on audiovisual narratives of
television and film and their effects. It closely examines
children's concepts of real and unreal and how they learn to make
distinctions between the two. It also explores the idea that
children are protected from the harmful effects of violence on
television by the knowledge that what they see is not real.
This volume is unique in its use of children's own words to
explore their awareness of the submerged conventions of television
genres, of their functions and effects, of their relationship to
the real world, and of how this awareness varies with age and other
factors. Based on detailed questionnaire data and conversations
with 6 to 11-year-old children, carried out with the support of a
fellowship at the Annenberg School for Communication, University of
Pennsylvania, the book eloquently demonstrates how children use
their knowledge of real life, of literature, and of art, in
intelligently evaluating the relationship between television's
formats, and the real world in which they live.
Students in the humanities often struggle with concepts drawn from
the social sciences and find quantitative and statistical
information inaccessible and daunting. This book provides a simple
guide to the process of conducting research in the humanities.
Topics covered include choosing a research question and method;
instrument design and pilot data; practical procedures; research
with children; looking at statistics; and interpretation of
results.
Many very intelligent people don't like dealing with numbers.
Similarly, many gifted scientists are not especially interested in
studying people and their cultural behaviour. In this book, we
argue that being interested in people and their cultures, and
helping students and others to use numbers to pursue these
interests, are not mutually exclusive. Research methods are
becoming an increasingly important requirement for students of all
kinds. But many students, particularly those in the humanities,
struggle with concepts drawn from the social sciences and find
quantitative and statistical information inaccessible and daunting.
Nonetheless, such concepts are found in nearly all areas of
society, from market research and opinion polls to psychological
studies of human behaviour. This book aims to provide a simple
guide to the process of conducting research in the humanities, with
special reference to media and culture, from the planning stage,
through the data gathering, to the analysis and interpretation of
results: 'planning it', 'doing it' and 'understanding it'. The book
aims to show how students' own choice of research topic can be
refined into a manageable research question and how the most
appropriate methodologies can be applied. Each section draws on
actual examples from research that the authors and their students
have conducted. Topics covered include: choosing a research
question and method; instrument design and pilot data; practical
procedures; research with children; looking at statistics; and
interpretation of results. Features: *Based on the authors'
practical experience as researchers and teachers and is thus
accessible, practical and 'how to'. *Includes students' own work as
examples. *Bridges the 'divide' between social science and
humanities research methods and will therefore appeal to a broad
range of students and teachers.
Students in the humanities often struggle with concepts drawn from
the social sciences and find quantitative and statistical
information inaccessible and daunting. This book provides a simple
guide to the process of conducting research in the humanities.
Topics covered include choosing a research question and method;
instrument design and pilot data; practical procedures; research
with children; looking at statistics; and interpretation of
results.
At the heart of one of the most successful transmedia franchises of
all time, Star Trek, lies an initially unsuccessful 1960s
television production, Star Trek: The Original Series. In Star Trek
and American Television, Pearson and Messenger Davies, take their
cue from the words of the program's first captain, William Shatner,
in an interview with the authors: "It's a television show." In
focusing on Star Trek as a television show, the authors argue that
the program has to be seen in the context of the changing economic
conditions of American television throughout the more than four
decades of Star Trek's existence as a transmedia phenomenon that
includes several films as well as the various television series.
The book is organized into three sections, dealing with firstly,
the context of production, the history and economics of Star Trek
from the original series (1966-1969) to its final television
incarnation in Enterprise (2002-2005). Secondly, it focuses on the
interrelationships between different levels of production and
production workers, drawing on uniquely original material,
including interviews with star captains William Shatner and Sir
Patrick Stewart, and with production workers ranging from
set-builders to executive producers, to examine the tensions
between commercial constraints and creative autonomy. These
interviews were primarily carried out in Hollywood during the
making of the film Nemesis (2002) and the first series of Star
Trek: Enterprise. Thirdly, the authors employ textual analysis to
study the narrative "storyworld" of the Star Trek television corpus
and also to discuss the concept and importance of character in
television drama. The book is a deft historical and critical study
that is bound to appeal to television and media studies scholars,
students, and Star Trek fans the world over. With a foreword by Sir
Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next
Generation.
At the heart of one of the most successful transmedia franchises of
all time, Star Trek, lies an initially unsuccessful 1960s
television production, Star Trek: The Original Series. In Star Trek
and American Television, Pearson and Messenger Davies, take their
cue from the words of the program's first captain, William Shatner,
in an interview with the authors: "It's a television show." In
focusing on Star Trek as a television show, the authors argue that
the program has to be seen in the context of the changing economic
conditions of American television throughout the more than four
decades of Star Trek's existence as a transmedia phenomenon that
includes several films as well as the various television series.
The book is organized into three sections, dealing with firstly,
the context of production, the history and economics of Star Trek
from the original series (1966-1969) to its final television
incarnation in Enterprise (2002-2005). Secondly, it focuses on the
interrelationships between different levels of production and
production workers, drawing on uniquely original material,
including interviews with star captains William Shatner and Sir
Patrick Stewart, and with production workers ranging from
set-builders to executive producers, to examine the tensions
between commercial constraints and creative autonomy. These
interviews were primarily carried out in Hollywood during the
making of the film Nemesis (2002) and the first series of Star
Trek: Enterprise. Thirdly, the authors employ textual analysis to
study the narrative "storyworld" of the Star Trek television corpus
and also to discuss the concept and importance of character in
television drama. The book is a deft historical and critical study
that is bound to appeal to television and media studies scholars,
students, and Star Trek fans the world over. With a foreword by Sir
Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next
Generation.
Drawing on the diverse views of over 1,300 children in the UK between the ages of 6-12, "Dear BBC" discusses key controversies in the public sphere about children's relationship with the media, especially television drama. Máire Messenger Davies draws on material gathered from an audience research project commissioned by the BBC, based on surveys, structured discussions with children and interviews with program makers and policy makers.
Drawing on the diverse views of over 1,300 children in the UK between the ages of 6-12, "Dear BBC" discusses key controversies in the public sphere about children's relationship with the media, especially television drama. Máire Messenger Davies draws on material gathered from an audience research project commissioned by the BBC, based on surveys, structured discussions with children and interviews with program makers and policy makers.
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