Blue's Clues - Wikipedia
Blue's Clues is an American live-action/animated educational children's television series that Blue's Clues Theme (–); It's Another Blue's Clues Day (–04) By , Blue's Clues had received several awards for excellence in children's programming, educational software, and licensing, and had been. La Casita will work closely with the Hispanic Latino Alliance student organization. opening reception to be held on from 5 p.m. - 7 p.m. on September 4, in Hulman Memorial Student Pista (Clue) will provide an interactive way of teaching. The Latin Date Night Auction and Taste of Mexico are scheduled as follows. Cult lineolate that gia and jake dating obsecado ahead? pistas de blue intro latino dating.
There, at the climax of the show, he sits down in a comfortable chair to think — a chair known, of course, in the literal world of Blue's Clues, as the Thinking Chair. He puzzles over Blue's three clues and attempts to come up with the answer. Anderson called the structure of Blue's Clues a game that presented its viewers with increasingly challenging and developmentally appropriate problems to solve.
They used content and production characteristics such as pacing which gave children time to respond,  as well as "camera techniques, children's voices, musical cues, sound effects, clear transitions, repeatable dialogue, and visuals. The purpose of the recurrent formats and content, which were similar in every episode, was to increase viewers' attention, comprehension, and participation during key educational lessons.
The producers believed this telecast strategy empowered young children by giving them many opportunities to master the content and problems presented to them.Drake y Josh en Las Pistas de Blue
Kessler, Santomero and Johnson were influenced by Sesame Streetthe first children's television program to utilize a detailed and comprehensive educational curriculum developed from research. There were three phases of testing: As Anderson stated, the formative research team served "as a liaison between the feedback provided by the preschoolers and outside advisers and the production team, including writers, talent, producers, directors, element artists, and animators. I wanted so much to give kids a television show that celebrates how smart they are, because I truly believe they are brilliant.
I also wanted to create a show that would help pre-schoolers feel good about themselves". Blue's Clues co-creator and producer Angela Santomero  Twenty years worth of research had showed that television, a "cultural artifact" accessible to most American children, could be a "powerful educational agent.
They wanted to provide their viewers with more "authentic learning opportunities"  by placing problem-solving tasks within the stories they told, by slowly increasing the difficulty of these tasks, and by inviting their involvement. 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.
Previous children's television programs presented their content with little input from their viewers, but Blue's Clues was one of the first children's shows to actively invite its viewers' involvement.
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Its creators believed that if children were more involved in what they were viewing, they would attend to its content longer than previously expected—for up to a half hour—and learn more. They also dropped the magazine format for a more traditional narrative format. As Variety magazine stated, " The choice for Blue's Clues became to tell one story, beginning to end, camera moving left-to-right like reading a storybook, transitions from scene to scene as obvious as the turning of a page.
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.
Crawley and her colleagues stated that the show was "unique in making overt involvement a systematic research-based design element.
Writers created a goal sheet, which identified their objectives based on the show's curriculum and audience needs. Script drafts, once developed and approved by the show's creators and research team, were tested at public and private schools, day care centers, preschools, and Head Start programs by three researchers, who would narrate the story in the form of a storybook and take notes about the children's responses. The writers and creators revised the scripts based on this feedback.
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A rough video, in which the host performed from the revised script in front of a blue screen with no animation, was filmed and retested. The script was revised based on the audiences' responses, tested a third time with animation and music added, and incorporated into future productions.
Blue's Clues was the first animated series for preschoolers that utilized simple cut-out construction paper shapes of familiar objects with a wide variety of colors and textures, resembling a storybook. The green-striped shirt worn by the show's original host, Steve, was inspired by Fruit Stripe gum. The music, produced by composer Michael Rubin and pianist Nick Balaban, was simple, had a natural sound, and exposed children to a wide variety of genres and instruments.
According to Tracy, the music empowered children and gave the show "a sense of playfulness, a sense of joy, and a sense of the fantastic". Johnson hired artist Dave Palmer and production company Big Pink to create the animation from simple materials like fabric, paper, or pipe-cleaners, and scan them into a Macintosh computer so that they could be animated using inexpensive computer software such as MediaUltimatte, Photoshop and After Effects [note 4] instead of being repeatedly redrawn as in traditional animation.
It was his final film role prior to his death four years later, in Starting ina live production of Blue's Clues toured the U. Neither Hoppe nor Gallo had any previous experience in children's theater. The show's script included humor that both children and their parents could enjoy. In total the show was syndicated in countries, and was translated into 15 languages.
Field tests showed that the attention and comprehension of young viewers increased with each repeat viewing. The researchers tested whether repeated viewings of the show resulted in mastery over the material presented, or whether viewers would habituate or become bored.
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