An Analysis Concerning the Pathology of Iran-Made Educational Animations for Preschoolers (Case Study: Shiraz City)

Document Type : Research Paper

Authors

1 Instructor at Graphic Department, Apadana Institute of Higher Education, Shiraz, Iran (Corresponding Author).

2 Instructor at Graphic Department, Apadana Institute of Higher Education, Shiraz, Iran

3 Assistant Professor, Department of Art Research, Yazd University of Science and Art, Yazd, Iran

Abstract

 
Whatever you read in this article is an analysis of the problems facing Iran's educational animation arts and crafts, including the significant reduction in audience and the sheer consumption of minors in the industry. The quest in which, we seek to dominate the country in order to develop and increase the mental and physical abilities of children. Along this path, the findings of educators and the families of Shiraz Primary Schools’ Children prompted the authors of the opposite research to ask a question through a statistical and library method. Find the right answer to the question "How do preschool children best relate to their imaginations and educational animations?"
Consequently, it seems that the use of Wendy Griswold modified diamond (Twentieth-Century American Sociologist), which has fundamental characteristics such as art, society, creators, audiences and distributors makes it easier to achieve the damage. Make the appropriate education system the focal point of research goals and thereby promote artistic practices.
With this approach, we believe that different qualities of children and lack of education that values the language of minors have motivated the education sectors’ intermediaries to draw Iranian minors into laziness and consumerism unknowingly with their own often misunderstood perceptions and move away from new experiences.
For example: Today, we show nearly forty percent of children, within three to ten hours, of most foreign animations who seem indifferent to what goes on around them, or that they suppress their artistic and intrinsic values. On the contrary, we expect adult behavior and production.
While many scholars believe that minors tend to be more knowledgeable about their types of visual arts (drawing, painting, sculpture, etc.) than their supporters, and in the absence of classical education, more creative actions are needed to they do. Behavior that is close to self-taught (unofficial) artists, referring to beauty to the pure nature of self. By doing so, society values the classical product of the industry that goes beyond the imitation power of children and beyond the power of their analysis. Because of this unhealthy attitude, the wish of having a smaller child with the future of social dignity and higher financial power is conceived.
Summarizing the findings of this research shows that there are fifteen things that can directly or indirectly influence maladaptive behaviors of young children, mentioned below:
1) Adult aesthetic reductions, 2) lack of awareness of the quality and physical skills of children, 3) lack of awareness about the motivation and nature of children, 4) the unilateralism of the mediators in the field of education, 5) forming unrealistic habits, 6) jealousy in the creation of false society levels, 7) lack of creative economy, 8) weakness in shared personal and social views of children, 9) restrictions on Production Management, 10) lack of cash market, 11) an unnecessary increase in unskilled intermediaries, 12) monopoly in Educational Production, 13) absence of effective supporters and supervisors of educational animations, 14) decline in Domestic Competitive Markets, 15) unfair distribution of art and social capital inconsistent with the country's social context.
This is a characteristic set that has not taken any positive steps to improve the current state of Iranian society, especially the visual arts and its related industries.
Therefore, in a small study, we will find that the type of treatment of children in Group A, as well as the lack of healthy education for all segments of society is a major factor in all five indicators of cultural diamond. It is supposed to be transformed to modify the current structure with the "education" variable. Hence, extending this question to the original question of the article leads us to the first general answer, namely, "to cultivate and teach the social and behavioral foundations of individuals to the children." The second step is the transition from unilateralism and "encouraging the child to do the right artwork", to openly please the Iranian animation industry with its hidden facets; the third step is "small partnerships in the production of content and moving images".
The event that the authors of the article believe in is a way to avoid mere consumerism, to guide the child's new experiences, and to give a new shape to the Iranian educational industry.
By making the media content more enjoyable based on the participation of newcomers with peer groups or natural and self-motivated artists, their unique colors, shapes, and techniques make any age group more enthusiastic about their intrinsic art; various artistic media (design, painting, sculpture, etc.);  to solve the emotional needs of children, to find a solid solution, habits in the common understanding of beauty become the intersection of their feelings and intellects, so that the new cultural conditions cause the proper distribution of wealth and healthy competitiveness, and finally, the emergence of a proper pictorial convergence in the production process.
 

Keywords

References

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