2005
DOI: 10.1093/screen/46.3.307
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The child in film and television: introduction

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Cited by 27 publications
(8 citation statements)
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“…By contrast, it is notable that much of the work summarised in Part 1 tended to say little about spaces in which popular cultural texts, objects and phenomena are encountered, or the constitutive role of popular culture in everyday geographies. The geographical conceptualisations summarised here can, collectively, be thought of a set of demands to key understandings of children, young people and popular culture: to explore the complex spaces in which children and young people actually encounter and consume popular culture; to recognise that their complexity makes neat accounts of the meaning, effect or reception of popular culture seem problematically reductive; to understand that popular cultural enthusiasms and practices frequently transform or animate spaces and time‐space routines; to accept that children and young people's geographies are often opaque, ‘disruptive, impossible, unintelligible’, and thus resist and unsettle attempts by adult onlookers to write about them in confident, comprehensive, categorical terms (Lury , p.308).…”
Section: Part 2: How Children's Popular Culture Mattersmentioning
confidence: 99%
“…By contrast, it is notable that much of the work summarised in Part 1 tended to say little about spaces in which popular cultural texts, objects and phenomena are encountered, or the constitutive role of popular culture in everyday geographies. The geographical conceptualisations summarised here can, collectively, be thought of a set of demands to key understandings of children, young people and popular culture: to explore the complex spaces in which children and young people actually encounter and consume popular culture; to recognise that their complexity makes neat accounts of the meaning, effect or reception of popular culture seem problematically reductive; to understand that popular cultural enthusiasms and practices frequently transform or animate spaces and time‐space routines; to accept that children and young people's geographies are often opaque, ‘disruptive, impossible, unintelligible’, and thus resist and unsettle attempts by adult onlookers to write about them in confident, comprehensive, categorical terms (Lury , p.308).…”
Section: Part 2: How Children's Popular Culture Mattersmentioning
confidence: 99%
“…This sequence exemplifies the way in which Manuel is shown to retreat from adult narratives of conflict into his own imaginative spaces. Lury argues that these techniques allow children in film to access spaces that cannot be ‘encompassed’ by fearful adult ‘discourses’ (Lury, : 308). However, I would argue that Manuel's behaviour here is actually a response – albeit an indirect one – to the adult narrative of conflict that he is forced to process on some level.…”
Section: Childhood Heterotopiasmentioning
confidence: 99%
“…21. Lury (2005) is following Bachelard's distinction between childhood seeing and adult showing (1969: 127). 22.…”
Section: El úLtimo Verano De La Boyita: the Child's Gaze Embodimentmentioning
confidence: 99%