BLUE'S CLUES - Classic Clues - Nickelodeon DVD

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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 for Success: The 8 Secrets Behind a Phenomenal Business". Publishers Weekly. 17 May 2002 . Retrieved 3 June 2021. Heffernan, Jennifer (26 January 2007). "Calling Blue: And on That Farm He Had a Cellphone". The New York Times . Retrieved 5 June 2021.

Erin Ryan and her colleagues performed a 2009 study on the effect of the use of American Sign Language (ASL) in Blue's Clues episodes. They analyzed 16 episodes over two weeks for the content and frequency of the signs used and found a high incidence of ASL use by various characters, but that it was inconsistent, especially in the connection between English words and their corresponding signs. The purpose of signed communication and its connection with ASL and the Deaf community was also not clearly explained. The researchers speculated that hearing children with no previous ASL exposure would become familiar with ASL and with deaf people by these episodes, thus reducing the stigma attached to deafness and hard of hearing individuals. Based on other research about the positive effects of teaching ASL to hearing children, the researchers also speculated that it could lead to an increase of vocabulary skills and IQ, as well as improve interpersonal communication. They surmised that deaf children would feel more included and less isolated and have more opportunities to view positive models of ASL and deaf people. [153] [154] 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] Regional versions of the show, featuring native hosts, have been produced in other countries. Kevin Duala hosted the United Kingdom version and the show became part of pop culture in South Korea. [128] [129] In total, Blue's Clues was syndicated in 120 countries, and was translated into 15 languages. [39] In 2000, it became one of the first preschool shows to incorporate American Sign Language into its content, with between five and ten signs used consistently in each episode. [130] Blue's Clues won an award from the Greater Los Angeles Agency on Deafness (GLAD) for promoting deaf awareness in the media. [131] Cultural influence and impact [ edit ] 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. Lawrie Mifflin (August 9, 1996). "U.S. Mandates Educational TV for Children". The New York Times. p.16 . Retrieved March 14, 2010.

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]

Garcia, Cathy Rose A. (28 October 2013). "Meet the woman behind Blue's Clues, Cha-Ching". ABS-CBN Corporation. Quezon City, Philippines . Retrieved 6 June 2021. Goodall, Gloria (29 September 2000). " 'Blue's Clues' Movie, a Video Treat". Christian Science Monitor . Retrieved 29 December 2021.

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

Kirkorian, Heather L.; Ellen A. Wartella; Daniel R. Anderson. (Spring 2008). "Media and Young Children's Learning". The Future of Children 18 (1): 39–61 doi:10.1353/foc.0.0002The pace of Blue's Clues was deliberate, and its material was presented clearly. [42] Similar to Mister Rogers' Neighborhood, [87] this was done was in the use of pauses that were "long enough to give the youngest time to think, short enough for the oldest not to get bored". [39] The length of the pauses, which was estimated from formative research, gave children enough time to process the information and solve the problem. After pausing, child voice-overs provided the answers so that they were given to children who had not come up with the solution and helped encourage viewer participation. Researcher Alisha M. Crawley and her colleagues stated that although earlier programs sometimes invited overt audience participation, Blue's Clues was "unique in making overt involvement a systematic research-based design element". [69] Blue's Clues also differed from Sesame Street by not using cultural references or humor aimed at adults, as this could confuse preschoolers but, instead, made the show literal, which the producers felt would better hold the children's attention. [88] The structure of each episode was repetitive, designed to provide preschoolers with comfort and predictability. [84] Repetition of the same skills used in different contexts or games within and across episodes encouraged the mastery of thinking skills and the approach to content within an episode was consistent with learning theory that emphasized situated cognition and provided all viewers, no matter their age or abilities, with repeated opportunities to try to solve the problems presented. [34] [89] According to Heather L. Kirkorian and her fellow researchers Ellen Wartella and Daniel Anderson in 2008, since television appeared in homes beginning in the mid-20th century, critics have often expressed concern about its impact on viewers, especially children, who as Kirkorian argued, are "active media users" [15] by the age of three. Researchers believed that there were links between television viewing and children's cognitive and learning skills and that what children watched may be more important than how much they watched it. She reported that up until the 1980s, researchers had only an implicit theory about how viewers watched television, and that young children were cognitively passive viewers and controlled by "salient attention-eliciting features" [15] like sound effects and fast movement. As a result, most researchers believed that television interfered with cognition and reflection and as a result, children could not learn from and process television. [15] In the early 1980s, however, new theories about how young children watch television suggested that attention in children as young as two-years old were largely guided by program content. [16] Conception [ edit ] a b c d Mifflin, Lawrie (3 August 1997). "The Joy of Repetition, Repetition, Repetition". The New York Times . Retrieved 6 June 2021.