VIDEO
Create a Study Design and Methods Sample Design Who are your subjects? How do you plan to reach subjects Data Collection What type of data collection method will you use: survey, experiment, content analysis, interviews? Measurements: List of key variables and how you plan to define and measure them. Independent variables Dependent variables
After reviewing your introduction and journal article summaries, I believe a quantitative analysis using existing measures is the best option for your proposal study. You can give each child a survey instrument and compare how each child in a family of divorce fared compared to his/her sibling. Below are some options that I found in a peer-reviewed journal article: Achenbach System of Empirically Based Assessment (ASEBA) Beck Youth Inventories (BYI) https://www.corc.uk.net/outcome-experience-measures/beck-youth-inventory/ Behavior Assessment System for Children (BASC) Behavioral and Emotional Rating Scale (BERS) Child Health Questionnaire (CHQ) https://www.healthactchq.com/survey/chq Child Symptom Inventories (CSI)
Sample Solution
Referencing the films of Marcel Carne, Jeunet highlights the artificial reality of Amélie. Carneâs films were not filmed on location, but on constructed sound stages, thus Carneâs City of Paris was entirely an artifice. Jeunet drew inspiration from the sets of Carne. In aiming to recreate Carneâs fiction on location, the unreality of Amélieâs Paris is heightened by the irony of filming on location, but physically and digitally modifying the shots, to recreate Carneâs artifice. Jeunetâs emphasis on the unreality of Amélie is furthered by his contrasting of Amélieâs stylised world and the spectatorâs reality: âBecause an excess of originality affects reception adversely, one must know how to use signs that are dispensable-or already familiar to the ambient milieu-to be understood.â Beyond the references to French cinema, with the familiarity of advertising aesthetics, highly stylised visuals of Amélie are juxtaposed by actual events tied to the reality of the audience: the death of Princess Diana. In situating his film around a real event tethered to a specific time-August 31st, 1997-Jeunet creates a temporal references that encourages an anachronistic viewing of the âretroâ aesthetics of his film. The idea of the past also presents an objective experience in viewing the film, with the past functioning as a quasi-character. Beginning with the the narration in the opening scene-an imposition of the present onto the past-and the sandwiching of the film, as it ends with a parallel narration at the end. If the role of an author of film is to direct the lens to increasingly valuable discoveries, Jeunet, with his direction, uses his visuals to self-consciously thematise issues raised by visual representation. Controlling every element of sound and picture, Jeunet manufactured Parisâ aesthetic, digitally enhancing every-shot, erasing all traces of the unsightly reality: graffiti, pollution, crime. Jeunet as the auteur of Amélie captures the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the world of the movie, Amelieâs first interaction with the past occurs in the same scene as Jeunetâs temporal reference to Dianaâs death, with Amelie discovering a box of treasures hidden behind a tile of her washroom floor. The camera, located behind the tile, shoots from the point of view of the past that the box is tied to, framing Amelie outside of the wall, in the realm of the present. As Oscherwitz elaborates, âBecause this scene occurs s>
Referencing the films of Marcel Carne, Jeunet highlights the artificial reality of Amélie. Carneâs films were not filmed on location, but on constructed sound stages, thus Carneâs City of Paris was entirely an artifice. Jeunet drew inspiration from the sets of Carne. In aiming to recreate Carneâs fiction on location, the unreality of Amélieâs Paris is heightened by the irony of filming on location, but physically and digitally modifying the shots, to recreate Carneâs artifice. Jeunetâs emphasis on the unreality of Amélie is furthered by his contrasting of Amélieâs stylised world and the spectatorâs reality: âBecause an excess of originality affects reception adversely, one must know how to use signs that are dispensable-or already familiar to the ambient milieu-to be understood.â Beyond the references to French cinema, with the familiarity of advertising aesthetics, highly stylised visuals of Amélie are juxtaposed by actual events tied to the reality of the audience: the death of Princess Diana. In situating his film around a real event tethered to a specific time-August 31st, 1997-Jeunet creates a temporal references that encourages an anachronistic viewing of the âretroâ aesthetics of his film. The idea of the past also presents an objective experience in viewing the film, with the past functioning as a quasi-character. Beginning with the the narration in the opening scene-an imposition of the present onto the past-and the sandwiching of the film, as it ends with a parallel narration at the end. If the role of an author of film is to direct the lens to increasingly valuable discoveries, Jeunet, with his direction, uses his visuals to self-consciously thematise issues raised by visual representation. Controlling every element of sound and picture, Jeunet manufactured Parisâ aesthetic, digitally enhancing every-shot, erasing all traces of the unsightly reality: graffiti, pollution, crime. Jeunet as the auteur of Amélie captures the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the world of the movie, Amelieâs first interaction with the past occurs in the same scene as Jeunetâs temporal reference to Dianaâs death, with Amelie discovering a box of treasures hidden behind a tile of her washroom floor. The camera, located behind the tile, shoots from the point of view of the past that the box is tied to, framing Amelie outside of the wall, in the realm of the present. As Oscherwitz elaborates, âBecause this scene occurs s>
Is this question part of your Assignment?