Nickelodeon Blue's Clues & You!: Whose Clues? Blue's Clues! (Lift-The-Flap)

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Dhingra, Koshi; Alice Wilder; Alison Sherman; Karen D. Leavitt (April 2001). "Science on Television: Case Study of the Development of "Bugs" on "Blue's Clues" (PDF). Change Agents in Science Education. Annual meeting. Seattle, Washington: American Educational Research Association, pp.1–18 Research 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. Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. New York: Little, Brown, and Company. ISBN 0-316-31696-2 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 The pace of Blue's Clues was deliberate, and its material was presented clearly. [42] Similar to Mister Rogers' Neighborhood, [87] this was done was in the use of pauses that were "long enough to give the youngest time to think, short enough for the oldest not to get bored". [39] The length of the pauses, which was estimated from formative research, gave children enough time to process the information and solve the problem. 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. Researcher Alisha M. Crawley and her colleagues stated that although earlier programs sometimes invited overt audience participation, Blue's Clues was "unique in making overt involvement a systematic research-based design element". [69] Blue's Clues also differed from Sesame Street by not using cultural references or humor aimed at adults, as this could confuse preschoolers but, instead, made the show literal, which the producers felt would better hold the children's attention. [88] The structure of each episode was repetitive, designed to provide preschoolers with comfort and predictability. [84] Repetition of the same skills used in different contexts or games within and across episodes encouraged the mastery of thinking skills and the approach to content within an episode was consistent with learning theory that emphasized situated cognition and provided all viewers, no matter their age or abilities, with repeated opportunities to try to solve the problems presented. [34] [89]

According to Tracy, Wilder, who had a doctorate in educational psychology, reinvented the role of research in children's television, and helped train the writers and animators to trust and use research. Wilder also developed the curriculum that guided the program's script development and implemented its formative research. [34] [35] Tracy, Diane. (2002). Blue's Clues for Success: The 8 Secrets Behind a Phenomenal Business. New York: Kaplan Publishing. ISBN 0-7931-5376-X.a b c d Mifflin, Lawrie (3 August 1997). "The Joy of Repetition, Repetition, Repetition". The New York Times . Retrieved 6 June 2021. Regional versions of the show, featuring native hosts, have been produced in other countries. Kevin Duala hosted the United Kingdom version and the show became part of pop culture in South Korea. [128] [129] In total, Blue's Clues was syndicated in 120 countries, and was translated into 15 languages. [39] In 2000, it became one of the first preschool shows to incorporate American Sign Language into its content, with between five and ten signs used consistently in each episode. [130] Blue's Clues won an award from the Greater Los Angeles Agency on Deafness (GLAD) for promoting deaf awareness in the media. [131] Cultural influence and impact [ edit ] a b Dominguez, Noah (20 January 2021). "Blue's Clues Co-Creator Says She Has the Lost Pilot". CBR.com . Retrieved 4 June 2021. Weisman, Jon (2 August 2006). "Interactive innovator draws raves". Variety . Retrieved 28 July 2021.

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. The One Show: Kevin Duala". BBC. Archived from the original on 2018-04-26 . Retrieved 29 December 2021. Erin Ryan and her colleagues performed a 2009 study on the effect of the use of American Sign Language (ASL) in Blue's Clues episodes. They analyzed 16 episodes over two weeks for the content and frequency of the signs used and found a high incidence of ASL use by various characters, but that it was inconsistent, especially in the connection between English words and their corresponding signs. The purpose of signed communication and its connection with ASL and the Deaf community was also not clearly explained. The researchers speculated that hearing children with no previous ASL exposure would become familiar with ASL and with deaf people by these episodes, thus reducing the stigma attached to deafness and hard of hearing individuals. Based on other research about the positive effects of teaching ASL to hearing children, the researchers also speculated that it could lead to an increase of vocabulary skills and IQ, as well as improve interpersonal communication. They surmised that deaf children would feel more included and less isolated and have more opportunities to view positive models of ASL and deaf people. [153] [154] Moll, George (executive producer). "Behind the Clues: 10 Years with Blue" (2006). Short documentary. Countryline Productions.

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 ]