BLUE'S CLUES - Classic Clues - Nickelodeon DVD

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According to Dhingra and her colleagues, the researchers represented the preschool viewer. After coming up with an idea for an episode, the writers met with Alice Wilder, head of the research department for Blue's Clues, to discuss their idea. The research department and writers then discussed if the topic and approach to the topic was appropriate for preschoolers, and if they accepted it, the content of the episode was further developed. They would often bring in outside consultants who were experts in the subject matter and the processes in teaching it to preschoolers. Wilder considered the researchers experts in how the concepts they wanted to present would translate to the medium of television rather than in a classroom or museum, but they considered preschoolers, who evaluated each script from their perspective, to be their " true experts". [93] The writer took the information they gathered from the research department, preschoolers, and experts and wrote a treatment, or detailed outline of the script, which included goals for the entire episode and for each game. [94] The writers, Wilder, and the research team had a treatment meeting, which Dhingra and her colleagues described as "an organized creative brainstorm", [95] which was rooted in the philosophy and mission of the show, the art of good storytelling, and the point of view of their viewers. The goal of the treatment meeting was to give the writers everything they needed to create a workable second draft of the episode script, and to ensure that it fit the needs of their viewers. [93] 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 ]

Pedersen, Erik (26 August 2019). " 'Blue's Clues & You' Teaser & Premiere Date: Ex-Hosts Return For First Episode". Deadline. Archived from the original on 2019-08-27 . Retrieved 29 December 2021. Lee, Felicia R. (22 April 2000). "A Children's Adventure in a Deaf World". The New York Times . Retrieved 29 December 2021. a b c d e f g h i j Schmelzer, Randi (6 August 2006). "Tale of the Pup: Innovative Skein Leads Way to Preschool TV boom". Variety . Retrieved 6 June 2021. Troseth, Georgene L.; Megan M. Saylor. Allison H. Archer. (May/June 2006). "Young Children's Use of Video as a Source of Socially Relevant Information". Child Development 77 (3): 786–799. doi:10.1111/j.1467-8624.2006.00903.xResearch 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. The 2002 studies demonstrated that experience with watching one TV series affects how children watch other programs, especially in the way they interact with them. [141] They also showed that since children are selective in the material they attend to and that their interaction increases with comprehension and mastery, children tend to pay more attention to novel information and interact more with material they have seen before and mastered. According to Crawley and her colleagues, Blue's Clues demonstrated that television could empower and influence children's long-term motivation for and a love of learning. As they stated, "One need only to watch children watch Blue’s Clues to realize that they respond to it with enormous enthusiasm". [146] The producers and creators combined concepts from child development and early-childhood education with innovative animation and production techniques that helped their viewers learn, using research conducted thirty years since the debut of Sesame Street in the U.S. Unlike earlier preschool shows, Blue's Clues presented material in a narrative format instead of a magazine format, used repetition to reinforce its curriculum, structured every episode the same way, and revolutionized the genre by inviting their viewers' involvement.

Blue's Clues". The Peabody Awards. 2001. Archived from the original on 2014-10-06 . Retrieved 29 December 2021. Adobe Systems was surprised that their products were being used in the production of a children's television show. According to Tracy, "Not even the developers of the software knew it could be used to create character animation on the scale Blue's Clues was using it", [109] Adobe later requested that the show's animators join their client development group, and made several changes and improvements to their software as a result. [109] a b Norris, Chris (9 February 2004). "Me and You and a Dog Named Blue". Spin . Retrieved 15 June 2021. Blue's Clues for Success: The 8 Secrets Behind a Phenomenal Business". Publishers Weekly. 17 May 2002 . Retrieved 3 June 2021. Goodall, Gloria (29 September 2000). " 'Blue's Clues' Movie, a Video Treat". Christian Science Monitor . Retrieved 29 December 2021.Anderson, Daniel R. (1998). "Educational Television is not an Oxymoron". The Annals of the American Academy of Political and Social Science 557 (1): 24–38. doi:10.1177/0002716298557000003 Tracy, Diane. (2002). Blue's Clues for Success: The 8 Secrets Behind a Phenomenal Business. New York: Kaplan Publishing. ISBN 0-7931-5376-X. 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] 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.0.0002 a b Santomero, Angela (21 February 2018). "I Admired Mr. Rogers As a Mentor from Afar – Now I'm Walking in His Sneakers". USA Today . Retrieved 4 August 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 Blue's Clues was designed and produced on the assumption that since children are cognitively active when they watch television, a television program could be an effective method of scientific education for young children by telling stories through pictures and by modeling behavior and learning. [25] [84] These learning opportunities included the use of mnemonics in the form of mantras and songs, and what Tracy called "metacognitive wrap-up" [84] at the end of each episode, in which the lessons were summarized and rehearsed. The producers wanted to foster their audience's sense of empowerment by eliciting their assistance for the show's host and by encouraging their identification with the character Blue, who served as a stand-in for the typical preschooler. [85] Fisch, Shalom M. (2004). Children's Learning from Educational Television: Sesame Street and Beyond. Mahwah, New Jersey.: Lawrence Erlbaum Associates, p. 199. ISBN 0-8058-3936-4

a b Fisch, Shalom M.; Rosemarie T. Truglio (2001). "Why Children Learn from Sesame Street". In Shalom M. Fisch & Rosemarie T. Truglio. "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 234. ISBN 0-8058-3395-1 Heffernan, Jennifer (26 January 2007). "Calling Blue: And on That Farm He Had a Cellphone". The New York Times . Retrieved 5 June 2021.