TV as Children’s Spokesman: Conflicting notions of Children and Childhood in Danish Children’s Television around 1968

Jensen, Helle Strandgaard

doi:10.1353/hcy.2013.0010

Cited by 10 publications

(6 citation statements)

References 7 publications

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“…Despite the long and strong tradition of children's television in Denmark, only a few scholarly studies on the subject are available (e.g. Christensen, 2006Christensen, , 2013Jensen, 2013;Sahl, 2013). The general media use of children and young audiences has received widespread attention (e.g.…”

Section: Producing Television Fiction For Children In An Age Of Abundancementioning

confidence: 99%

Co-creating content with children to avoid ‘Uncle Swag’: Strategies for producing public service television drama for tweens and teens at the Danish children’s channel DR Ultra

Redvall

Christensen

2021

Critical Studies in Television

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This article explores the strategies for fictional content of the Danish children’s channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016–now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the value of involving children more closely in content targeting them, not only to ensure that what is told and how it is told is relevant and appealing, but also to create a sense of participation and co-creation.

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Section: Producing Television Fiction For Children In An Age Of Abundancementioning

confidence: 99%

Co-creating content with children to avoid ‘Uncle Swag’: Strategies for producing public service television drama for tweens and teens at the Danish children’s channel DR Ultra

Redvall

Christensen

2021

Critical Studies in Television

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“…The significance of the 1968 youth rebellion and its counter-culture has often been linked to the change in pedagogical and educational values at this point in time (Andersen 2007;Nør-gaard 2008;Korsvold 2008;Rydin 2000;Kåreland 2009). Criticism of existing cultural and social values, in particular the way in which they were transmitted to younger generations inside and outside the educational system, was a common starting point in the many different forms that "1968" took -from the hard-core political variants of neo-Marxism to the counter-culture lifestyle of the hippies (Jensen 2013). However, Norwegian historian Tora Korsvold has shown how the criticism of the welfare state from the New Left to some degree converged with changes in welfare state institutions and ensured a shift from a primarily psychological definition of children's needs to an increased emphasis on sociology (Korsvold 2008).…”

Section: S and 1970s: Conservative And Corrupted Parentsmentioning

confidence: 99%

Parent-Pressure

Jensen

2016

Nordicom Review

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In this article, I examine change and continuity in conceptions of parental agency in public debates about children's media consumption in Scandinavia, 1945Scandinavia, -1975. During this period, public debates about the various kinds of media products children consumed were dominated by different groups of professionals: first, by teachers and librarians in the mid-fifties and, then, by intellectuals and performing artists in the late sixties. With a radically changed professional hegemony and a shifting media landscape, the role of media in children's lives was described very differently during the period. However, a strong continuity in the debates was the negative influence parents were seen as having on children's media consumption due to their lack of insight and interest in the topic. Drawing upon recent works on children's media, consumption and enculturation, I analyse why the negative description of parents as co-consumers prevailed despite radical changes in views on children's media consumption. In particular, I examine the shared inter-Scandinavian socio-cultural contexts that structured the changing professional and political groups' pressure on parents to perform according to their norms and values.

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“…Bonanza's 'children's' category has clips and programs that are primarily fictional and emphasize entertainment elements. Hardcore social realism and more educational television are hard to find, although this type of television was widely produced and very influential during this period (Jensen, 2013). I would never have discovered what was missing in this archive by merely looking at what is displayed online.…”

Section: Producing Digital Histories In a Decontextualized Environment: The Online Archivementioning

confidence: 99%

Doing media history in a digital age: change and continuity in historiographical practices

Jensen

2015

Media, Culture & Society

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This article explores the challenges which digital media brings into the field of media history. It starts out by examining prominent television historians' understanding of digital archives as revolutionizing media historiography. These claims are examined by holding them up against texts that discuss wider issues in historiographical practices related to television history and transnational comparisons. This investigation is paired with my own experiences and the many methodological challenges I have encountered using digitalized sources for my new research. I end up concluding that digital archives in themselves make little difference to scholarly media history. In light of the lacking impact, I argue that we should study the cultural economy of these archives to better understand the corporate, political, and economical structures that govern their content and which also set the course for online digital processes that are active history-producing entities themselves. Keywords: archive digital media media history social memory television transnational I took my first steps into the field of television history in 2006. This was the middle of a decade in which European broadcasting corporations began to share their audiovisual collections with the public via digital archives. For my first project, however, I never had the chance to use a digital archive as, in the end, nothing I wanted to see was digitalized. Returning to the field almost a decade later, things seem to be quite different: the archives of several European broadcasting corporations can be accessed online, and we have the digital, online pan-European television archive 'EUscreen'. Institutionally, it seems there has been a massive effort to make audiovisual material available to the wider public in digital archives. Parallel to this process, blogs, wikis, and other sites with user-generated content are increasingly places where material for research projects can be found. In the process of looking for data, the wealth of written online material is only outshined by the abundance of clips on YouTube and similar sites. With these new contributions to media history, it looks like digital media has come to play a significant historiographical role. However, what appears to be an age where digitalization is revolutionizing media history, and an Internet connection is all one needs to collect data, is also a time that brings media historians face to face with new ethical and methodological problems. Investigating these problems on the basis of personal experience, this piece explores a set of challenges new digital media brings into media history.

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TV as Children’s Spokesman: Conflicting notions of Children and Childhood in Danish Children’s Television around 1968

Cited by 10 publications

References 7 publications

Co-creating content with children to avoid ‘Uncle Swag’: Strategies for producing public service television drama for tweens and teens at the Danish children’s channel DR Ultra

Co-creating content with children to avoid ‘Uncle Swag’: Strategies for producing public service television drama for tweens and teens at the Danish children’s channel DR Ultra

Parent-Pressure

Doing media history in a digital age: change and continuity in historiographical practices

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