Creating Preschool Television

Steemers, Jeanette

doi:10.1057/9780230274600

Cited by 39 publications

(18 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…21 Animation is generally cheaper to produce than live action drama, has a longer shelf life, and can be revoiced for global markets, all of which give it a significant competitive advantage. 22 Much of the animation produced to satisfy local content quotas in Australia is made with international partners, is rarely based on Australian stories, and tends to eschew Australian accents and locations, because these might hinder its international distribution. 23 Thus, Bottersnikes and Gumbles was unusual because of its Australian literary pedigree and cultural specificity in terms of landscape, flora and fauna, and accents.…”

Section: National Policy Regimes Children's Content and Global Prodmentioning

confidence: 99%

“…This is because for children's television producers, the creation of licensed products frequently underpins the cost of the content they produce, particularly animation. 47 Webster and Egerton were keen to monetize the brand they had created, beyond its license fees, but Netflix's refusal to share its viewing data or support the development of the brand made the creation of licensed products more difficult. Webster explains, There's not really the support for the brand that we were expecting.…”

Section: The Creative Circumstances Of Bottersnikes and Gumblesmentioning

confidence: 99%

“…5 In contrast, the research presented here, which is grounded in a production studies model within a political economy tradition, pays close attention to the children's media industry players and practitioners: distributors, regulators, and production companies, with a particular focus on the creative practices of those working in the children's screen industries. In doing so, it draws on Steemers's 6 construct of children's television as a subset of a broader television "production ecology" in which industrial, economic, creative, and regulatory elements interact with one another to shape the television that is produced for the contemporary child. This article also includes material from interviews undertaken with screen producers who are adapting to the needs of global streaming services while continuing to work within funding models and regulatory regimes largely grounded in predigital, national frameworks.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Creating Children’s Television for SVODs: The Alignment of Global Production Practices with National Screen Policies in the Netflix Original Bottersnikes and Gumbles

Potter¹

2018

Media Industries Journal

View full text Add to dashboard Cite

In many countries, domestically produced children's television is believed to play an important role in national cultural representation. But national policy settlements and funding schemes designed to support its production are aging rapidly and do not apply to internet-distributed television services. Using the case study of one of Netflix's first children's Originals, the Australian animation Bottersnikes and Gumbles, this article analyzes the impact of subscription video on demand (SVOD) services on children's screen production industries and their practitioners' creative practice. It reveals how the global SVOD's operations intersect with national policy instruments and explains the production collaborations developing between Netflix and public service broadcasters in the United Kingdom and Australia. The article's findings reveal that despite the advantages Netflix's large content budget and global distribution networks offer to children's content producers, domestic content quotas and the involvement of linear broadcasters remain vital to the funding and production of local children's television.

show abstract

Section: National Policy Regimes Children's Content and Global Prodmentioning

confidence: 99%

Section: The Creative Circumstances Of Bottersnikes and Gumblesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Creating Children’s Television for SVODs: The Alignment of Global Production Practices with National Screen Policies in the Netflix Original Bottersnikes and Gumbles

Potter¹

2018

Media Industries Journal

View full text Add to dashboard Cite

show abstract

“…That is not to suggest that television companies or broadcasters -including the BBC -don't undertake empirical research into the pre-school audience (see Steemers, 2010). Rather, it is to suggest that it is still necessary to mobilise and draw upon discursive constructions of the child in the planning, development and execution of the pre-school programme (which ultimately has to address a broad concept of the hypothetical viewer).…”

Section: Institutional Imaginingsmentioning

confidence: 99%

Revisiting Play School: A historical case study of the BBC’s address to the pre-school audience

Holmes¹

2016

The Journal of Popular Television

View full text Add to dashboard Cite

Although clearly recognised in broader institutional histories of British children's television as a significant moment in the BBC's address toward the pre-school child, Play School (BBC 1964-88) has not been the focus of sustained archival analysis. This arguably reflects the fact that a good deal of work on children's television in Britain adopts either an institutional or an audience focus, and the study of programmes cultures is often more neglected. This article seeks to revisit Play School using available historical documentation -including memos, scripts and press cuttings -from the BBC Written Archive Centre, as well as early surviving episodes (principally from 1964). In doing so, it seeks to explore how it fitted into BBC's historical address to the pre-school child, how it intersected with discourses on pre-school education, and the range of institutional and social contexts surrounding its emergence.

show abstract

“…production issues in US children's television (Bryant, 2010;McAllister & Giglio, 2005); with local TV production in New Zealand, Hungary and Qatar (Lustyik & Zanker, 2013b;Lustyik & Smith, 2010); as well as television production in Australia (Potter, 2015), the UK (Steemers, 2010) and Canada (Davis et al, 2008). A survey of JOCAM's output over 10 years reveals many important examples of scholarship from around the world, but few articles that deal directly with production issues or production scenarios that move beyond television, because production research is hard to do, requires trusted access, and tends to be dominated by experiences in the Global North.…”

Section: Academic Perspectives On Productionmentioning

confidence: 99%

Production studies, transformations in children’s television and the global turn

Steemers

2016

Journal of Children and Media

Self Cite

View full text Add to dashboard Cite

75-word bio:Professor Jeanette Steemers is Co-Director of Research at the School of Media, Arts and Design at the University of Westminster, London. She has published widely on international television exports, public service media and the children's media industry. Her work has been funded by the British Academy, the Leverhulme Trust and the Arts and Humanities Research Council -including an AHRC funded project on 'Orientations in the Development of Pan-Arab Television for Children' with Professor Naomi Sakr. Word AbstractMoving away from the dominant discourse of US experience, this article looks at how the production of local content for children remains a central issue in many parts of the world, in spite of the growth of transnational media and the apparent abundance of content for children worldwide. Drawing on a pre-summit workshop on Children's Content at the Core of Public Service Media, held at the 2014 World Summit on Media for Children, it considers the lack of academic perspectives on production, before exploring with workshop participants the regulatory and funding frameworks for quality children's content, and the conditions for their successful implementation. There is a continuing problem about producing sustainable children's content, and western models are not always the most appropriate at providing solutions, which need to be nuanced and tailored to different national, regional and local contexts.

show abstract

Creating Preschool Television

Cited by 39 publications

References 0 publications

Creating Children’s Television for SVODs: The Alignment of Global Production Practices with National Screen Policies in the Netflix Original Bottersnikes and Gumbles

Creating Children’s Television for SVODs: The Alignment of Global Production Practices with National Screen Policies in the Netflix Original Bottersnikes and Gumbles

Revisiting Play School: A historical case study of the BBC’s address to the pre-school audience

Production studies, transformations in children’s television and the global turn

Contact Info

Product

Resources

About