Children’s television in transition: policies, platforms and production

Potter, Anna; Steemers, Jeanette

doi:10.1177/1329878x17693936

Cited by 11 publications

(3 citation statements)

References 3 publications

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“…Beyond the profitability of local products, these export movements bring other realities to light and underline the existing relationship between national cultures and the transnational, hybrid and globalized nature of current production and consumption logics (Bignell, 2007;Chalaby, 2002;Potter & Steemers, 2017). In addition, these question the idea of local cultural identities in the children's audience and national specificity (Bignell, 2017), which creates a unified concept of childhood and its needs.…”

Section: Origin Of Cartoons Broadcast On General-interest Channels Du...mentioning

confidence: 99%

The role of cartoons on European generalist televisions between 2010 and 2020

Gómez-Bernal

Muñoz

Delgado

2022

Communication & Society

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Cartoons have been and still are a fundamental genre in children’s television programming and are a key product for the media industry due to their easy interpretation by children and their presence in distribution channels. This paper presents an analysis of the supply of children’s and cartoons broadcast over the last decade on 25 European general-interest television channels, both public and private, of Germany, Spain, France, Italy and the United Kingdom. The research findings focus on the genre programming strategies applied in terms of channels, broadcasting time slots and types of production in a multiplatform context driven by the consumption of digital content through streaming and SVOD services. The results show the continued leadership of cartoons in an environment of scarcity of children’s supply on European generalist television channels, reaffirming itself as a morning and weekend product highly shaped by commercial logics. However, distinctive programmatic policies are prominent in the role of public broadcasters in the supply of domestic products, both due to the broadcasting quotas of local cartoons and the consistency of their strategy over the period 2010-2020.

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Section: Origin Of Cartoons Broadcast On General-interest Channels Du...mentioning

confidence: 99%

The role of cartoons on European generalist televisions between 2010 and 2020

Gómez-Bernal

Muñoz

Delgado

2022

Communication & Society

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“…These understandings have been supported by dedicated government and non-government organisations such as the "Safe Schools Coalition" (http://www.safeschoolscoalition.org.au/) and the peer-supported initiative Ygender (https://www.ygender.org.au/), both outlets who received national mainstream media coverage (Jones et al 2016: 157). While the Internet has facilitated a proliferation in children's media and education offerings and platforms, television remains the dominant medium in children's lives (Potter & Steemers 2017) and has significant public value (Potter 2015). First Day is an important catalyst to bring online and 'on demand' discussions about gender and representation, and particularly youth and gender, to traditional media forms so that these experiences can be discussed among more general audiences.…”

Section: Transgender As a Term Identity And Representationmentioning

confidence: 99%

Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day

Berridge

2021

Journal of Screenwriting

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This article presents a case study of the Australian children’s television programme, First Day (ABC Australia 2020‐present), which depicts a young transgender girl’s experiences beginning high school. The article explores the screenwriting process involved in creating inclusive and diverse children’s television, drawing on an original interview with Julie Kalceff, the show’s screenwriter and director. Kalceff discusses her screenwriting process writing for and about children who occupy liminal and marginal spaces and the research, writing and consultation processes undertaken to create her pioneering work with trans characters as lead protagonists. The resulting series explores the universal experience of starting the high school journey, while allowing for a normalizing of gender diversity on-screen ‐ hopefully the first of many of its type in the future. By foregrounding historically marginalized characters, screenwriters can explore universal social, psychological and physical trials, and in the process, break down stigmas surrounding LGBTQ people.

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“…Current tendencies of globalization and digitization have created a propensity to focus on the global rather than the local, strengthening the predominance of research on Anglo-Saxon productions. Accordingly, Potter and Steemers (2017) emphasize the importance of studying local production practices and national representations. Our focus on the production of Flemish children’s television is inspired by this need for research on sexual and gender diversity in local contexts, beside pragmatic considerations of proximity to and cultural familiarity with the Flemish case.…”

mentioning

confidence: 99%

Ticking off the (pink) diversity box? Production views on LGBT+ in children’s fiction

Wichelen

Dhoest

2022

European Journal of Cultural Studies

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This article provides insight on the perceived importance Flemish producers attach to including sexual and gender diversity in their productions targeting children. Drawing on the frameworks of the ‘production ecology’, ‘cultures of production’ and ‘queer production studies’, this article considers the different internal and external influences that might impact why and how producers depict these LGBT+ narratives. Through qualitative in-depth interviews with different involved parties of these production processes, this article first and foremost demonstrates a unanimous, strong advocacy for diversified representations by all the participants. The formative role of television in informing and evoking empathy among children, as well as parents as an implicit secondary audience, are primary objectives when creating these narratives. However, the approach to this didactic premise differs for the public broadcaster compared with the commercial channels and is further nuanced in relation to the perceived cognitive abilities of children as an audience. In particular, sexual diversity is approached differently compared with non-normative gender expressions (e.g. transgender characters), the latter being perceived as (too) complex within a child’s frame of reference. The current production ecology has thus facilitated the recurrence of certain storylines and characters, while others remain underrepresented.

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Children’s television in transition: policies, platforms and production

Cited by 11 publications

References 3 publications

The role of cartoons on European generalist televisions between 2010 and 2020

The role of cartoons on European generalist televisions between 2010 and 2020

Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day

Ticking off the (pink) diversity box? Production views on LGBT+ in children’s fiction

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