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This article focuses on the use of film and animation at the Thomas Hardye School in Dorset ‐ a comprehensive with 2216 on roll. It cites the development of the Films for Learning (FFL) website as the driving force in the use of film and animation to promote and share learning. The article explores the various ways teachers and students have been using film and animation to help students with learning difficulties and includes:• how the English department have used film to improve listening and cooperation skills• how the ICT department have used screen capture software to help students with literacy difficulties• how the Education Extra department have used film to introduce a new course• how the Science department use film banks such as YouTube and National Geographic to help the lower ability students understand science topics• how the History department have made films with low ability students to help their understanding of historic periods.

Purpose – This paper aims to study the development of animated films in the last decade, which has made Indonesia a target market for products from creative industries abroad. These creative products consist of comics, animated films, and games. Several animated films abroad have been successful and favored by Indonesian children.

Design/Methodology/Approach – This paper is the result of a literature study and using SWOT analysis method.

Findings – This animation study will be able to open opportunities for creative industry growth if it can build the creativity of young people, especially in the field of animation. Considering that the competition of livelihoods in the economic sphere is increasingly tight and the manufacturing industry sector can no longer be relied upon, building creative human resources is one of the solutions of the economic crash of society.

Research limitation/Implication – There are five opportunities to build a creative economy in Indonesia that is demographic of youth potentially become a creative class, digital lifestyle development, increasing middle class, increasing demand of creative population, and potency of natural wealth and culture of Indonesia; hence this research need to be done. This study aims to formulate strategies to build creativity and independence of youth, especially in Padang West Sumatra.

Originality/Value – Building youth creativity can be done by providing free training, motivating youth by providing incentives for success in animation products; motivating to participate in race events, workshops, and seminars; and cooperating with private or government agencies. It will encourage independence and creativity to produce movies, commercials, and games.

This paper aims to provide reasons for developing an anime collection within academic libraries as well as providing guidance in starting such a collection.

This paper is based upon research of literature and anime-related websites, as well as familiarity gained through viewing anime.

Anime is a medium that can be used to explore all genres, as well as universal themes, and provide a glimpse of Japanese life. The study of film has been accepted for decades and the study of animation has grown from that but has been restricted to primarily American animation. Anime is animation specific to Japan which can inspire students and faculty to explore another culture. Libraries should provide classic anime that can support cross-cultural and interdisciplinary studies. By creating an anime collection, a library will provide their community with engaging materials that can be used for enjoyment as well as study. A list of core titles is included.

This paper reflects recent trends toward increased interest in Japanese popular culture, specifically anime, and offers academic libraries a rationale for including such materials within their collection to connect with their students and faculty. There are no articles on the topic of collecting anime in academic libraries.

The purpose of this paper is to provide an overview of a Learning Programme designed around the animation film-making process, contextualising abstract concepts to address the cognitive limitations of children with foetal alcohol spectrum disorders (FASD).

Animation production is tactile, multimodal and multisensory which allows for wide application alongside traditional learning tools, targeting multiple learning pathways with its visual, auditory and kinaesthetic approach. Individuals with FASD require information to be explained in a concrete way to enable them to process and understand. Most information can be drawn, providing a visual to assist the individual, but we must also consider abstract concepts which require further explanation or a series of drawings to display the concepts development. Animation, however, allows us the opportunity to make abstract concepts concrete, contextualising the concept in a visualisation of the child’s story, narrated with their voice and designed to represent their world, in a film produced entirely by them, therefore allowing opportunity for a therapeutic approach to learning through storytelling. This learning tool is designed to be implemented in a specifically designed therapeutic learning environment to enhance the benefits of participation from both educational and therapeutic perspectives.

A review of relevant literature highlights a significant connection between animation, the learning needs of those with FASD and the need for a therapeutic learning environment. This is a proof of concept study, demonstrating the value and potential of animation film making in this new area of practical application. The study closely considers the learning environment from a therapeutic perspective and aims not only to develop a learning tool but to also define the optimum therapeutic learning environment. The study is therefore untested at this stage.

Phase 2 of this ongoing research study seeks to explore additional benefits of participation and engagement with the process in an educational and therapeutic context. Considerations of the therapeutic learning environment will be further explored to determine the optimum setting to support the ongoing learning of this pedagogically bereft (Carpenter, 2011) population. Phase 2 also aims to clarify therapeutic benefits as additional outcomes of participation in this programme.

The proposed learning tool and therapeutic learning environment outlined in this paper is an original contribution to knowledge and if found to be successful, could offer significant opportunities for a therapeutic approach to education for this population and others.

The aim of this paper is to discover whether and to what extent children with autism can find the production of animations useful for their learning and self‐experience. The study seeks to understand how the participants produce animations and what implications this has had for their learning abilities and social interaction skills.

Through a mixed methods approach, but with participant observation as paramount, the authors worked with two children identified as being on the autistic spectrum to document their understanding and use of animation as a tool for concept development and for narrative and meaning‐making.

The project showed that the two participants in question gained greater learner autonomy through their involvement in animation. Teachers also reported that they understood more about the two students than had previously been the case. One participant has become much more actively involved in learning processes than before and sees herself in a new way, mainly because her anxiety has been reduced; the other participant has learned much about the component parts of a narrative sequence and is now able to assemble these more effectively.

The greatest benefit of animation in the classroom comes from young people becoming producers of it rather than merely consumers. Being able to express themselves through movement opens the possibility of understanding and interpreting emotions, moods and situations in a way that is of great benefit. This case study suggests that being actively involved in the production of an animated story is particularly beneficial for children's emotional, social and verbal development. Combining experienced reality with bodily expressions and subsequently with verbal language is difficult for most children with autism. Creating animated stories can be a useful stepping stone to enable children to transform experienced reality into words. The outcomes described in this paper are essentially linked to the nature of the production task and could not have been achieved through passive absorption of animation.

Previous research demonstrates a consistent association between the media and body and eating related issues in children. Recent research has highlighted a role for “fat talk” to describe discourses around body size and food. One key source of media information is Disney animation films, yet to date no research study has explored the verbal content of this genre.

The present study used a content analysis to examine fat talk in Disney animation films (1937–2021; n = 53) with a focus on the frequency of fat talk, changes over time and differences between the genders and heroic statuses of the givers and receivers of fat talk. Fat talk was defined as relating to both body size and food and could be either positive or negative.

Results revealed that there was more negative than positive fat talk per film; no significant changes over time; males were the givers of significantly more positive and negative fat talk than females and were also the receivers of more negative fat talk; good characters were the givers and receivers of more positive and negative fat talk and more self-directed negative fat talk than bad characters.

The results are discussed in terms of possible legislation and parenting interventions to minimise the harm of this genre on young children.

Disney animation films may not be as benign as often thought.

The learning outcomes of this paper are as follows: to critically assess and analyse public and private funding options and determine which private option is best suited to a company (finance – decision-making). To calculate the internal rate of return (IRR) of a project (finance – analytical). To critically assess the underlying structures of traditional and new industries (Strategy/BMI – analytical). To analyse the challenges and disruption potential of intermediated industries (Strategy/BMI – analytical).

The Triggerfish case looks at how films are funded in South Africa. The company is currently funding films mostly through government channels, but CEO Stuart Forrest would prefer to independently and privately fund their projects. The case looks at what returns can be expected by investors in film through the “recoupment waterfall” – the means whereby the producers and investors of a film recoup their investments and earn returns. The investment horizons of select private lenders (bank, mezzanine financiers, risk financers and venture capital firms) and public funders are explored. The case also explores the impact that video-on-demand platforms, such as Netflix and Disney+, is having on the traditional models of filmmaking.

This teaching case is aimed at postgraduate business students such as Master’s degrees in Business Administration degrees, postgraduate diplomas, executive education or specialist Master’s degrees.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

A regular feature giving news and comment on events and new productions in the field of visual aids for technical and scientific teaching and training

The study aims to examine the impact of globalization of film business on the Malaysian film industry.

Interviews were conducted as the primary source of information from film industry players in Malaysia.

Globalization of film business gives an impact on the Malaysian film industry.

This paper focuses on the Malaysian film industry and concentrates only on globalization of film business impact.

The results provide insights to the Malaysian film sector and other organizations of similar structure of how they could manage business strategies for improved business performance.

This paper is perhaps one of the first to investigate the impact of globalization on the Malaysian film industry.

This chapter provides insights into country-level case studies on the creative sub-sectors such as the Domestic Tourism Development Strategy in Nigeria and the Year of the Return initiative in Ghana – showcasing architectural feats and innovative cultural artefacts. This chapter also features Burkina Faso (film), Djibouti (Animation and sustainable tourism), Kenya (animation and Arts), Nigeria (photography, film), Ghana, Mozambique, South Africa, Zambia and Zimbabwe.