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In the 21 st century, our life is strongly affected by the information technology. Educational technology has been rapidly improved by the development of audiovisual tools. Teachers may choose a number of different types of resources for teaching purposes, including videos and movies. Therefore, this study is aimed at evaluating animated narrative videos from YouTube for the teaching narrative text and identifying potential factors which influence the quality of educational videos. The videos were examined by using assessment rubric to see the quality and suitability of animated narrative videos which might be used in the teaching narrative text. The rubric was adapted from Prince Edward Island (PEI) Department of Education: Evaluation and Selection of Learning Resources. It consists of four criteria, content, structure, instructional design, and technical design In addition, the study presents critical awareness of how these aspects can be interpreted to measure animated narrative videos and at the same time the engagement of the teachers in exploring animated narrative videos used in classroom.

Transmedia storytelling has been integrated into contemporary society through social media, where influencers have enabled the building of worlds. Within this environment of human-interaction, fiction and converging social realities have become an essential tool to tell stories. On YouTube, storytelling has expanded to music, where cover videos take on great relevance. The aim of this study is to understand the transmedia music phenomenon due to the impact of music on the platform. To this end, we applied a methodology that stemmed from Grounded Theory principles in the analysis of 300 Disney animation song covers in three stages: (1) deductive and inductive codebook development; (2) social network analysis; and (3) statistical test. The results showed that youtubers highlight specific audiovisual codes from the film and cultural industries. Furthermore, we observed these productions often display configurations that expand the original story through performance, location, costumes, make-up, among others. We argue that, on the digital sphere, a sustainable transmedia music paradigm is developing, where performers construct more meaningful and valuable stories.

Remix means to take cultural artifacts and combine and manipulate them into new kinds of creative blends. In this sense, remix is as old as human cultures, and human cultures are themselves products of remixing. Since the late 1980s, however—originating with highly contrived forms of music remix by dancehall DJs—remix practices have been greatly amplified in scope and sophistication by recent developments in digital technologies. These make it possible for home‐based digital practitioners to produce polished remixes across a range of media and cultural forms. This has in turn strengthened remix culture, encouraging seemingly endless hybridizations in language, genre, content, technique, and the like, and raised questions of legal, educational, and cultural import. This article samples remix culture and identifies some key implications remix practices have for literacy in general, and literacy education in particular. المقصود من عبارة إعادة الخليط هو أخذ الأدوات الثقافية وجمعها وجعلها أنواعاً جديدة من خلطات مبدعة. وفي هذا المفهوم عمر إعادة الخليط عمر الثقافات الإنسانية والثقافات الإنسانية هي بالتالي نتيجة لإعادة الخليط. ولكن ومنذ أواخر الثمانينيات—صدرت هذه الظاهرة من أنواع موسيقا إعادة الخليط المصطنعة للغاية على يد منسّقي موسيقا في قاعات الرقص—قد توسّعت وتعقّدت ممارسات إعادة الخليط في نطاقها نتيجة للتطوّرات الأخيرة في التقنية الرقمية التي تجعل من الممكن لممارسي الرقمية الذين ينسقون الموسيقا في البيت أن ينتجوا إعادة خلطات محترفة عبر أشكال وسائلية وثقافية مختلفة. وهذا بدوره عزّز ثقافة إعادة الخليط مشجعاً ما يبدو كأنه تهجينات لا نهاية لها في اللغة والنوع والمحتوى والتقنية وما إلى ذلك ورفع أسئلة شرعية وتعليمية وثقافية. وتأخذ هذه المقالة عينات من ثقافة إعادة الخليط وتبيّن بعض عواقب ممارسات إعادة الخليط الرئيسية لمعرفة القراءة والكتابة بصورة عامة وتعليم القراءة والكتابة بصورة خاصة. “混音”的意思是把多種文化产物合拼，加以巧妙的處理，使之成為具有创意的新颖混合品種。就这意义来说，混音与人类文化同樣是歷史悠久，而人类文化本身就是混音的產物。混音本來是源出于舞场内唱片骑师所采用的高度人為拼凑而成的音乐形式，但自二十世紀八十年代的後期开始，混音的實踐，已被近今数码科技的新发展大大擴闊了它的應用範圍和大大提高了它的精密度。这些变化，可以为在家中工作的数码科技从业者提供一个在家中亦能製作出跨越多種媒体及文化领域的精湛混音作品的可能性。这种可能性继而加强了混音文化，鼓励了几乎无穷无尽的语言、体裁、内容、技巧等等的交杂创作；这种可能性并亦提出了有关在法律上、教育上、文化输入上的种种问题。本文选取混音文化的样本，并指出混音实践在一般读写能力上，尤其是在读写能力教育上所带来的一些重要含义。 Remixer signifie prendre des produits culturels, les combiner et les manipuler pour en faire de nouveaux genres de mélanges créatifs. En ce sens, le fait de remixer est aussi vieux que les cultures humaines, et les cultures humaines sont elles‐mêmes des produits de remixages. Depuis le début des années quatre‐vingt cependant — à partir des formes contraintes de musique remixée par les DJ des salles de dance — les pratiques de remixage se sont très largement répandues du fait du développement récent des technologies numériques. Celles‐ci ont rendu possible à des praticiens utilisant ces technologies chez eux de produire des remixages soignés dans toutes sortes de formes médiatiques et culturelles. Ceci à son tour a conduit à étendre encore la culture remixée, en encourageant des hybridations apparemment infinies de langues, de genres, de contenus, de techniques, et d'autres choses de ce genre, ce qui soulève des questions juridiques, pédagogiques, et d'importation culturelle. Cet article présente des échantillons de culture remixée et met en évidence certaines implications clé des pratiques de remixage pour la lecture‐écriture en général, et pour son enseignement en particulier. Ремикс означает “перемешать заново”, а происходит это, когда мы берем культурные артефакты и творчески комбинируем их в новых сочетаниях. В этом смысле ремикс – ровесник человеческой культуры как таковой, а существующие культуры сами являются продуктом ремикса. Однако с конца 1980‐ых, когда диджеи начали практиковать весьма изобретательный ремикс музыкальных форм, возможности и искушенность ремикса стократно возросли благодаря цифровым технологиям. Они позволяют всем желающим, даже не выходя из дома, производить ремиксы любых медийных и культурных артефактов. Это, в свою очередь, повысило культуру ремикса, вызвав к жизни воистину бесконечную череду скрещиваний: языковых, жанровых, содержательных, технических и прочих, и подняло ряд вопросов юридического, образовательного и культурного характера. В статье приводятся различные примеры культуры ремикса и выделяются некоторые ключевые последствия, которые ремикс может иметь для грамотности вообще и для развития грамотности в частности. Remix (literalmente: volver a mezclar) quiere decir tomar artefactos culturales para combinar y manipularlos para formar combinaciones creativas nuevas. En este sendito, remix es tan antiguo como las culturas humanas, y las culturas humanas son, a su vez, productos de remix. Desde la segunda mitad de los 1980s, sin embargo,—originando con mezclas musicales sumamente creativas hechas por los pinchadiscos (DJs por sus siglas en inglés) de salones de bailes—el alcance y la sofisticación de la práctica de remix se ha extendido muchísimo debido a adelantos recientes en la tecnología digital. Estos adelantos han permitido la producción de remixes a practicantes no profesionales usando todo tipo de medios y formas culturales. Esto ha reforzado, a su vez, la cultura remix, fomentando una cantidad aparentemente inagotable de hibridaciones en el idioma, el género, el contenido, la técnica, etc., y ha hecho surgir cuestiones con implicaciones legales, educacionales y culturales. Este artículo toma muestras de la cultura remix e identifica algunas de las consecuencias claves que la práctica de remix puede tener en la cultura en general y el magisterio en particular.

[...]by reading Kant's phenomenological insights about contingent motion alongside the reactions of early spectators and early cinema culture, I argue that the marvel of the wind in the trees lies partly in the way that cinematic reproduction converts the chaotic motion of natural phenomena into a spatiotemporally framed object. [...]I argued that the technological novelty of cinema's spatiotemporal framing of perception was triggered by cinematic images of contingent motion, which rendered the unplannable movements of dust and water into the kinds of objects that could be available as aesthetic forms. [...]we marvel at how the natural complexity of snow particles could be rendered into a fixed, mathematical form. [...]as a testament to the popularity of this aesthetic appeal, computer graphics demonstration videos-especially those demonstrating complex physics- have become a full-fledged YouTube genre, often garnering hundreds of thousands if not millions of views. 67.

This article considers Victorian interpretations of Māui mythology to examine how they are repurposed by the Disney Corporation for the film Moana (2016). For both the Victorians and Disney, Māui functions as a reference point through which they can insert their agenda, be it colonial or commercial, a sort of unifying emblem around which narrative colonization can occur. Likewise, the film's tropical setting generates a sense of foreignness in the twenty-first century western viewer that echoes the Victorian reader's interaction with ancient Polynesian histories conveyed by their countrymen. Where representatives of Victoria's crown modified tales of Pacific traditions with targeted empirical aims, the Disney film fuses pan-Pacific artistic elements, which coalesce as a unified foreign culture. I contend that the Victorians reinforce a violent, initial colonization through their accounts of oral tradition; while Disney, working within the networks of global capitalism, produces a marketable product that is, in essence, a wholly new culture intended to be viewed-and consumed-as some \"authentic\" form of the past. In addition to the Māui figure, this essay analyzes the handdrawn animation of the Māui character's tattoos and the use of \"tapa animation\" to produce a sense of cultural authenticity while imposing Disney's style on material exhibitions of oral tradition. These elements, I assert, erase specificity of cultures spanning the Pacific and fuses societies from New Zealand to Hawai'i as a single, unnamed Other. While the storyline of Moana reflects ancient traditions it also inserts Disney into that history, thus laying claim on any future iteration, essentially colonizing narrative itself.

Drawing on Paul de Man’s essay on Heinrich von Kleist’s Marionette Theater and on several essays by Walter Benjamin on puppets and toys, this essay explores Shakespeare’s appearance as a Master Builder in the The Lego Movie, the LEGO Movie Videogame, several amateur YouTube videos of scenes from Shakespeare using Lego toys, a Shakespeare Lego action figure, and a two volume Brick Shakespeare edition of eight plays using photographs of Lego models as characters. The figures of the puppet and the toy open up a perspective on the mimicry of stop-motion animation in The Lego Movie and what German novelist Friedrich Theodor Vischer calls “Die Tücke des Objekts” (“the spite of objects”). With digital cinema, animation has regained the centrality it had before the advent of narrative cinema, the difference being that digital animation uses CGI whereas stop-motion animation requires the filmmaker to act as off-screen puppeteer. As a minor Master Builder engaged in awesome destruction, The Lego Movie’s Shakespeare offers a small-scale way of thinking the film’s clever fetishization of what it calls the “piece of resistance.”

The first decades of the twenty-first century witnessed a great proliferation of partial adaptations of and references to Shakespeare and his works in Japanese manga comics and animation films. Such heterogeneous and fragmentary pieces of Shakespeare range from literal or visual quotations from his plays to sacrilegious cute recreations of the playwright himself. This essay not only analyzes the diverse ways of animating Shakespeare’s texts seen in two recent animated films, Romeo x Juliet (2007), and Zetsuen no Tempest [“The Blast of Tempest”] (2012), but also considers transmutations of Shakespeare himself in animated films such as Romeo x Juliet and Horizon in the Middle of Nowhere (2011), where the playwright is both demystified and cutified in the current fashion of manga-animation characters. This essay also explores the ways in which the fans of such manga comics and animated films (are often expected to) collaborate and interact with each other to recognize and interpret Shakespearean texts in those works via blogs and fan sites on the Internet. How Shakespeare haunts the contemporary Japanese imagination is expounded through the analyses of manganized and animated texts that bear “the signature of the Thing ‘Shakespeare’” (Derrida 25).

A Newsweek article titled \"Maximizing the Matrix\" chronicled the manufacture of bullet time, complete with step-by-step breakdowns and behind-the-scenes photographs, linking it to the movie's box-office success while tutoring viewers in the correct reaction (\"Without fail, the audience cheers wildly-and it's the kind of response that has propelled The Matrix to the year's biggest opening\" [Croal 64]).

While early animation in the West emphasized on exaggerated action of humanized animals, such as Disney cartoons, Warner Brother's Looney Tunes and various Hanna-Barbera series, early Japanese animation insisted on its static style and mostly used human characters. [...]today, anime often focuses on the protagonist's emotional struggles (whether fighting an enemy, racing in a car, or trying to save fellow animals in the forest) manifested through large eyes and exaggerated facial expressions and body movements (Raffaelli 131). [...]Brian Ruh notes that Ghost in the Shell is an intermediary that \"bridges the gap between\" Blade Runner and The Matrix (139). In both scenes, the female protagonists contemplatively stare over the dystopian cityscape before they jump; the nighttime cityscapes are again similar in the bluish color scheme. Since the narrative of Dark Angel also focuses around the identity struggle of Max, it is no surprise that such gothic visual imagery would be arranged. [...]it may have been through the vast popularity of video games during the 1980s and '90s that allowed anime to become a part of mainstream US popular culture.