Bakhtin and the Carnival: Humour in School Children's Film Making

Autor/inn/en	Pandya, Jessica Zacher; Mills, Kathy A.
Titel	Bakhtin and the Carnival: Humour in School Children's Film Making
Quelle	In: Language and Education, 33 (2019) 6, S.544-559 (16 Seiten)Infoseite zur Zeitschrift PDF als Volltext Verfügbarkeit
Zusatzinformation	ORCID (Pandya, Jessica Zacher) ORCID (Mills, Kathy A.)
Sprache	englisch
Dokumenttyp	gedruckt; online; Zeitschriftenaufsatz
ISSN	0950-0782
DOI	10.1080/09500782.2019.1629954
Schlagwörter	Humor; Films; Learning Processes; Literacy; Video Technology; Play; Physiology; Editing; Audiences; Teaching Methods; Multiple Literacies; Elementary School Students; Charter Schools; Spanish; English (Second Language); Immersion Programs; Student Attitudes; California + Suchen Sie Ihr Suchwort? Humoristische Darstellung; Film; Learning process; Lernprozess; Alphabetisierung; Schreib- und Lesefähigkeit; Spiel; Physiologie; Redaktion; Textbearbeitung; Spectator; Zuschauer; Teaching method; Lehrmethode; Unterrichtsmethode; Charter school; Charter-Schule; Spanisch; English as second language; English; Second Language; Englisch als Zweitsprache; Immersionsprogramm; Schülerverhalten; Kalifornien
Abstract	While humour and laughter create conditions that are conducive for learning, different forms of children's humour have been given little attention in research on digital media, literacy learning, and multimodal design. Applying a Bakhtinian lens, we analyse carnivalesque videos created by elementary students as part of the formal curriculum. We argue that they functioned as playful, spoofing counter narratives within the serious context of schooling. Three key findings emerge from analysis that show different forms of carnivalesque humour in their texts: (i) Clowning in children's carnivalesque performances was used to break perceived tensions; (ii) Grotesque humour arose spontaneously, subverting the seriousness of films by drawing attention to lower, bodily functions; and (iii) Ambivalent laughter was instantiated in the video texts as a carnivalesque view of the world. We argue that the deliberate curation, editing, and selecting of these funny moments for an intended audience enabled spaces for digital play in film making within the remit of the formal curriculum. (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2020/1/01