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BLUE'S CLUES - Classic Clues - Nickelodeon DVD

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Anderson, Daniel R.; Jennings Bryant; Alice Wilder; Angela Santomero; Marsha Williams; Alisha M. Crawley. (2000). "Researching Blue's Clues: Viewing Behavior and Impact". Media Psychology 2 (2): 179–194. doi:10.1207/S1532785XMEP0202 4 Carlozo, Louis R. (22 August 2006). " 'Clues' turns 10; 'Arthur' enters new sphere". Chicago Tribune. Moore, Frazier (June 15, 1998). "Success of 'Blue's Clues' is no mystery". SouthCoastToday.com . Retrieved November 12, 2020. a b c d e f g h i j Schmelzer, Randi (6 August 2006). "Tale of the Pup: Innovative Skein Leads Way to Preschool TV boom". Variety . Retrieved 6 June 2021.

Research was part of the creative and decision-making process in the production of the show, and was integrated into all aspects and stages of the creative process. Blue's Clues was the first cutout animation series for preschoolers in the United States and resembles a storybook in its use of primary colors and its simple construction paper shapes of familiar objects with varied colors and textures. Its home-based setting is familiar to American children, but has a look unlike previous children's TV shows. a b Dominguez, Noah (20 January 2021). "Blue's Clues Co-Creator Says She Has the Lost Pilot". CBR.com . Retrieved 4 June 2021. Anderson, Daniel R. (1998). "Educational Television is not an Oxymoron". The Annals of the American Academy of Political and Social Science 557 (1): 24–38. doi:10.1177/0002716298557000003 a b c d Mifflin, Lawrie (3 August 1997). "The Joy of Repetition, Repetition, Repetition". The New York Times . Retrieved 6 June 2021.

a b Fisch, Shalom M.; Rosemarie T. Truglio (2001). "Why Children Learn from Sesame Street". In Shalom M. Fisch & Rosemarie T. Truglio. "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 234. ISBN 0-8058-3395-1 a b Santomero, Angela (21 February 2018). "I Admired Mr. Rogers As a Mentor from Afar – Now I'm Walking in His Sneakers". USA Today . Retrieved 4 August 2021. In 2002, Crawley, Anderson, and their colleagues conducted another study on the effects of Blue's Clues, this time researching whether more experienced viewers mastered the content and cognitive challenges faster and easier than first-time viewers. They surmised that experienced viewers would comprehend and interact more with the recurring and familiar segments of the show designed to aid comprehension, but they found that familiarity with the structure of an individual episode did not provide experienced viewers with an advantage over the inexperienced viewers. Crawley and Anderson also studied whether experienced viewers of Blue's Clues interacted more with other children's TV shows and whether the viewing behaviors they learned from Blue's Clues could be transferred to other shows. [151] [152] They found that although experienced viewers of Blue's Clues interacted with an episode of another series, they did not spend more time watching it than viewers unfamiliar with the show. The researchers stated, "It is apparent that, although preschoolers learn to enthusiastically engage in overt audience participation, they do not, by and large, have a metacognitive understanding of why they do so." [141] The most important casting decision was that of the host, the only human character in the show. The host's role was to empower and challenge the show's young viewers, to help increase their self-esteem, and to strongly connect with them through the television screen. The producers originally wanted a female host. [47] After months of research and over 1,000 auditions, they hired actor/performer Steve Burns based on the strength of his audition. [47] [48] Burns received the strongest and most enthusiastic response in tests with the young audience. [49] Johnson said what made Burns a great children's TV host was that "he didn't want to be a children's host... He loved kids, but he didn't want to make a career out of it". [50] Burns decided to leave the show in the autumn of 2000, departing in January 2001. [51] He was in over 100 episodes of Blue's Clues when his final episodes aired in April 2002. [44] [52] Burns himself stated, "I knew I wasn't gonna be doing children's television all my life, mostly because I refused to lose my hair on a kid's TV show, and it was happenin' – fast." [53]

Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. New York: Little, Brown, and Company. ISBN 0-316-31696-2 Goodall, Gloria (29 September 2000). " 'Blue's Clues' Movie, a Video Treat". Christian Science Monitor . Retrieved 29 December 2021. According to Tracy, Wilder, who had a doctorate in educational psychology, reinvented the role of research in children's television, and helped train the writers and animators to trust and use research. Wilder also developed the curriculum that guided the program's script development and implemented its formative research. [34] [35] a b Norris, Chris (9 February 2004). "Me and You and a Dog Named Blue". Spin . Retrieved 15 June 2021.Pedersen, Erik (26 August 2019). " 'Blue's Clues & You' Teaser & Premiere Date: Ex-Hosts Return For First Episode". Deadline. Archived from the original on 2019-08-27 . Retrieved 29 December 2021. Adobe Systems was surprised that their products were being used in the production of a children's television show. According to Tracy, "Not even the developers of the software knew it could be used to create character animation on the scale Blue's Clues was using it", [109] Adobe later requested that the show's animators join their client development group, and made several changes and improvements to their software as a result. [109]

Troseth, Georgene L.; Megan M. Saylor. Allison H. Archer. (May/June 2006). "Young Children's Use of Video as a Source of Socially Relevant Information". Child Development 77 (3): 786–799. doi:10.1111/j.1467-8624.2006.00903.x Moll, George (executive producer). "Behind the Clues: 10 Years with Blue" (2006). Short documentary. Countryline Productions. The thinking games presented in each episode used what Anderson called "a layered approach" [86] that took the varying capabilities of the audience into account. Santomero said that they used scaffolding and that layering was inherent in the script and design of each game. They purposely presented the problem presented in increasing levels of difficulty, to prevent children from feeling frustrated and to master concepts, experience success, and feel empowered to attempt to solve more challenging concepts presented to them. The producers' goal was that all viewers understood the problem, even if they did not know how to solve it. As a result, the child was temporary frustrated by not knowing the answer because after giving them time to come up with it, child voice-overs provided the answers for them, so that they learned the correct answers, even if they were unable to come up with them. [86] [69] If the child was able to come up with the answers, however, they felt "part of a larger, knowing, child audience" [86] when their answers were confirmed by the voice-overs. [86] The child voice-overs also helped viewers maintain high levels of attention during critical educational portions of the episode and modelled the audience involvement encouraged by the program. [34] [69] The audience was told how they could help problem-solve by the host explaining how, by the child voice-overs modeling verbal participation, and by giving them enough time to respond. According to Johnson, the slow pace of the program was challenging for television directors used to the fast pace of television production and for parents, who praised the pace but expressed concerns that their children would find it boring. [30]Tracy, Diane. (2002). Blue's Clues for Success: The 8 Secrets Behind a Phenomenal Business. New York: Kaplan Publishing. ISBN 0-7931-5376-X. Fisch, Shalom M. (2004). Children's Learning from Educational Television: Sesame Street and Beyond. Mahwah, New Jersey.: Lawrence Erlbaum Associates, p. 199. ISBN 0-8058-3936-4 Even though research demonstrated that children tend to pay less attention to adult male voices, Burns and Patton were chosen as the program's hosts because they were popular with their audience. [34] Daniel Anderson insisted that Burns and Patton were the best actors for their roles out of the hundreds who auditioned, calling them "actors who could mime as demanded by the mixed action and animation format", [60] and reported that there was no evidence that children paid less attention to them than to other parts of the program. [61] He also said that Burns and Patton overcame what he called "attentional bias against men" [60] in three ways: by behaving energetically and childlike; by breaking the fourth wall and talking directly to the audience, often by looking directly into the camera and asking their audience, "Will you help?", [30] and like Fred Rogers, forming a direct relationship to the audience; and by "always doing something". [60] Anderson insisted that by forming a relationship with the audience, the actors' male voice became cues to the audience to pay attention and stated that it was the hosts' style of presentation that determined child attention. [60] Crawley, Alisha M.;Daniel R. Anderson; Angela Santomero; Alice Wilder; Marsha Williams; Marie K. Evans; Jennings Bryant (June 2002). "Do Children Learn How to Watch Television? The Impact of Extensive Experience With Blue's Clues on Preschool Children's Television Viewing Behavior". Journal of Communication 52 (2): 264–280. doi:10.1111/j.1460-2466.2002.tb02544.x Blue's Clues was designed and produced on the assumption that since children are cognitively active when they watch television, a television program could be an effective method of scientific education for young children by telling stories through pictures and by modeling behavior and learning. [25] [84] These learning opportunities included the use of mnemonics in the form of mantras and songs, and what Tracy called "metacognitive wrap-up" [84] at the end of each episode, in which the lessons were summarized and rehearsed. The producers wanted to foster their audience's sense of empowerment by eliciting their assistance for the show's host and by encouraging their identification with the character Blue, who served as a stand-in for the typical preschooler. [85]

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