The aim of the present study was to examine the efficacy of Active Video Games (AVGs) in creating an effective learning experience for undergraduate students. Students enrolled on a Level 5 (i.e. Year 2) sport psychology module (N=74) participated in four practical seminars demonstrating the impact of four psychological factors (e.g. anxiety) on sports performance. Students engaged in two seminars which included an AVG task (e.g. Wii Sports), and two sessions which included a non-AVG task (e.g. Quoits). Immediately after the conclusion of each practical session, students were asked to provide qualitative comments to describe and explain their experience of the seminar. Content analysis of students’ comments revealed four major themes: session approach, session experience, learning experience, and session feedback. Each theme is defined and discussed in relation to the efficacy of AVGs as a resource in the teaching of undergraduate sport psychology. The authors also reflect on their experience of adopting the innovative approach and highlight some of the potential challenges practitioners may face when attempting to integrate AVGs into their learning activities.
This article, drawn from my doctoral research into children’s public service broadcasting (PSB) in the UK in the 21st century, examines the role that the child’s voice plays in the construction of the child audience made by producers of children’s television in their texts, production practices and discourse. It is argued that both the literal and figurative concept of the “child’s own voice” is a doctrine frequently deployed by producers to claim an authenticity or transparency to their representations. Through this doctrine, producers stress the relevance and appeal of representations of the child audience and thus foreground television’s probity as a beneficial cultural artefact under the aegis of public service broadcasting. By analysis of a specific case study, drawn from my role as participant-observer in the BBC Scotland Children’s department under the AHRC’s collaborative doctoral award scheme, I illustrate and discuss the key elements of the doctrine of child’s own voice that producers of public service children’s media frequently invoke.
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