Funding Contemporary Children’s Television: How Digital Convergence Encourages Retro Reboots

Potter, Anna

doi:10.1080/14241277.2017.1298108

Cited by 10 publications

(9 citation statements)

References 10 publications

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“…Animation is notorious for its inclusion of gender stereotypes (Götz and Lemish, 2012). While some producers have made concerted efforts to increase diversity and reduce gender stereotypes in the content they make (Potter, 2017b), many contemporary animations continue to show fathers as incompetent or disengaged, including the father in Peppa Peg , and Homer Simpson.…”

Section: Ludo Studio and Blueymentioning

confidence: 99%

Globalising the local in children’s television for the post-network era: How Disney+ and BBC Studios helped Bluey the Australian cattle dog jump the national fence

Potter

2020

International Journal of Cultural Studies

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Online television services are changing the way television is funded, produced and experienced by its national and global audiences, with profound cultural implications. The case study presented here of Australian production company Ludo Studio and the animated series Bluey provides valuable insights into the increasingly complex interactions between the local and the global in television production, and the cultural counterflows they can engender. Television made for online distribution can encompass national policy settlements, funding bodies and public service media as well as globally oriented distribution arrangements on SVODs such as Disney +, Netflix and Amazon Prime Video. Drawing on interview material with Bluey’s key creatives, this research identifies how globalising influences are both shaping and amplifying the local in children’s television production cultures.

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Section: Ludo Studio and Blueymentioning

confidence: 99%

Globalising the local in children’s television for the post-network era: How Disney+ and BBC Studios helped Bluey the Australian cattle dog jump the national fence

Potter

2020

International Journal of Cultural Studies

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“…Amazon Prime, for example, licensed the rebooted Thunderbirds Are Go in 2016. 10 When Cheeky Little Media attempted to obtain the rights to Wakefield's books, they found that they had already been sold to an Australian animation company, Mighty Nice, owned by their former colleague Darren Price. Price, whose company specializes in producing animations for advertisers, agreed to collaborate with Cheeky Little Media on the production of the CGI animation.…”

Section: The Case Study Of Bottersnikes and Gumblesmentioning

confidence: 99%

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

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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.

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“…Thunderbirds Are Go was conceived for distribution on multiple media forms-broadcast, SVOD, and OTT services. It was also designed with supplementary multiplatform content in mind, including apps, games, and a YouTube channel (Potter 2017). The Thunderbirds commission cemented Pukeko Pictures' credentials as a leading provider of high profile children's television programming, with the purchase of all three series by Amazon Prime ensuring its distribution in U.S. markets while providing an extra source of revenue to ITV Studios (Potter 2017).…”

Section: Pukeko Picturesmentioning

confidence: 99%

Pukeko Pictures and the Kiwi DIY Spirit: Building Global Partnerships from the End of the World

Potter

O’Regan

2018

Television & New Media

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Wellington, New Zealand is a major international screen production base for movies including Peter Jackson’s Lord of the Rings and The Hobbit trilogies. New Zealand production companies like Jackson’s Weta Group producing content for international markets benefit from local policy settings that support such productions. In 2008, a group of long-time Jackson collaborators including Richard Taylor established Pukeko Pictures. In a small country with a deregulated media system, no dedicated public service broadcaster, and minimal supports for children’s television, Pukeko is a successful, globally oriented producer of children’s content. This article examines the strategies that underpin Pukeko Pictures’ production portfolio, which includes the 2015 reboot Thunderbirds Are Go, and a preschool coproduction with China. The combination of dispersed production practices, local subsidies, and quality infrastructure contribute to Pukeko Pictures’ success. We suggest, however, that strategic international relationships managed by Taylor are also critical to Pukeko Pictures developing a significant foothold in transnational television services.

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Funding Contemporary Children’s Television: How Digital Convergence Encourages Retro Reboots

Cited by 10 publications

References 10 publications

Globalising the local in children’s television for the post-network era: How Disney+ and BBC Studios helped Bluey the Australian cattle dog jump the national fence

Globalising the local in children’s television for the post-network era: How Disney+ and BBC Studios helped Bluey the Australian cattle dog jump the national fence

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

Pukeko Pictures and the Kiwi DIY Spirit: Building Global Partnerships from the End of the World

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