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Artykuły w czasopismach na temat "Children's television industry"
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Thomas, Ted. "Australian TV 50 Years on". Media International Australia 121, nr 1 (listopad 2006): 188–98. http://dx.doi.org/10.1177/1329878x0612100120.
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This article reviews the 50 years of television in Australia from the point of view of a leading industry player. It describes the many challenges faced by the industry from its formative years to current media upheavals. Issues covered include regional television, the introduction of colour and satellite technology, the role of regulation, Australian content, children's TV and the relation of Australian television to the rest of the world. It also looks at some of the programming highlights of the period.
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Grimes, Sara M. "Saturday Morning Cartoons Go MMOG". Media International Australia 126, nr 1 (luty 2008): 120–31. http://dx.doi.org/10.1177/1329878x0812600113.
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This paper traces the migration of North American children's television into the realm of massively multiplayer online games (MMOGs), and the issues this raises in terms of the commercialisation of children's (digital) play. Through a content analysis of three television-themed MMOGs targeted to children, Nickelodeon's Nicktropolis, Cartoon Network's Big Fat Awesome House Party and Corus Entertainment's GalaXseeds, I examine how this new development within children's online culture operates in relation to existing industry practices of cross-media integration and promotion. Dominant trends identified in the content analysis are compared with emerging conventions within the MMOG genre, which is generally found to contain numerous opportunities for player creativity and collaboration. Within the cases examined, however, many of these opportunities have been omitted and ultimately replaced by promotional features. I conclude that all three case studies operate primarily as large-scale advergames, promoting transmedia intertextuality and third-party advertiser interests.
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Potvin Kent, Monique, Lise Dubois i Alissa Wanless. "Self-regulation by industry of food marketing is having little impact during children's preferred television". International Journal of Pediatric Obesity 6, nr 5-6 (październik 2011): 401–8. http://dx.doi.org/10.3109/17477166.2011.606321.
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Effertz, Tobias, i Ann-Christin Wilcke. "Do television food commercials target children in Germany?" Public Health Nutrition 15, nr 8 (14.12.2011): 1466–73. http://dx.doi.org/10.1017/s1368980011003223.
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AbstractObjectiveTo examine whether the German food industry directs commercials for unhealthy products to children and whether self-administered voluntary restrictions on the promotion of less healthy foods (the EU Pledge) are effective to mitigate this exposure.DesignBy analysing German data from television (TV) channels, advertised products were categorized and food products classified as core foods (healthy) and non-core foods (less healthy). Marketing techniques were documented. Food commercials were furthermore compared with commercials for toy products, and comparisons were made between advertising patterns before and after the EU Pledge.SettingData for ten German TV channels were recorded for two weekdays and two weekend days from 06.00 to 22.00 hours in 2007 and 2008. A second sample containing one weekday and one weekend day of three German TV channels was recorded again in 2010 for comparison in the same time period.SubjectsIn total 16 062 advertisements from 2007–2008 and 2657 from 2010 were analysed.ResultsIn 2007–2008 19·9 % of TV commercials were for food products, of which 73 % were for non-core foods, 21 % for core foods and 6 % not classified. In three specified channels widely viewed by children and youth, 14·5 % of commercials were for food products, of which 88·2 % were for non-core foods. Commercials for unhealthy foods were broadcast significantly more often during children's peak viewing and in children's programmes, with a higher use of promotional characters and premiums than found in commercials for non-food products. In 2010, analysis of the three specified channels found that 18·5 % of commercials were for food products, of which 98·2 % were for non-core foods. While the use of premiums decreased compared with other commercials, the use of promotional characters in non-core food commercials increased, especially during children's programmes.ConclusionsChildren in Germany are exposed to large numbers of food commercials. The exposure to commercials for non-core foods and the use of techniques attractive to children are widespread and appear to have remained unaffected by the announcement of the EU Pledge in December 2007. We conclude that the industry's voluntary agreement has failed to fulfil its declared purpose.
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Potvin Kent, M., L. Dubois i A. Wanless. "Self regulation by industry in food marketing is having little impact during children's preferred television viewing". Canadian Journal of Diabetes 35, nr 2 (styczeń 2011): 151. http://dx.doi.org/10.1016/s1499-2671(11)52052-0.
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Sutanto, Shienny Megawati, i Marina Wardaya. "THE PARADIGM SHIFT OF COMIC AS STORYTELLING MEDIA". Journal of Visual Communication Design 5, nr 1 (28.09.2021): 61–75. http://dx.doi.org/10.37715/vcd.v5i1.2290.
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Comics are media stories that are not specific to a particular group of readers. But in reality, comics are often regarded as mere children's reading. This raises a negative paradigm for comics, and comics are considered as reading that degrades children's morale. This article will describe the history, definition, and function of comics as storytelling media, and how the negative paradigm affects the comic industry in Indonesia. As a medium, the comic is a means to convey messages similar to television, radio, newspapers, and magazines. And similar to other media, comics can be used to convey various kinds of information, not merely intended for entertainment only. Various kinds of messages, ranging from advertorials, political propaganda, public services, even education, can all be conveyed using comic media.
However, most people still believe the false paradigm that that comic is only for children. This is a misunderstanding and is not true. Since the beginning, the Indonesian comic industry has always tried to grow and counter the negative paradigm. In order to revitalize comics as one Indonesian creative industry subsector, a paradigm shift on how the society values and appreciates comics not just as child reading material needs to happen.
Keyword: comic, media, story, paradigm shift, creative industry.
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Loads, Matthew. "Transmedia Television Drama: Proliferation and Promotion of Extended Stories Online". Media International Australia 153, nr 1 (listopad 2014): 41–52. http://dx.doi.org/10.1177/1329878x1415300106.
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This article reports on a study of additional transmedia content that is available online in relation to all Australian television drama productions and high rating international drama productions in a five-month period, between January and June 2012. In particular, it asks what additional material exists, and develops a typology of different types of content in order to further explain the current state of play in Australian production. The study examines extended storytelling texts developed specifically for the internet, like ‘webisodes’. It also considers other video and further content that can be based on extending the story world of a program. This article presents and examines the results of the study, arguing that this material can be seen to support the idea of an industry in transition. It finds that there are differences in approach to this type of content between public, free-to-air commercial and subscription broadcasters. Children's television programs are seen to offer the most sophisticated approach online at this time.
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Caraher, Martin, Jane Landon i Kath Dalmeny. "Television advertising and children: lessons from policy development". Public Health Nutrition 9, nr 5 (sierpień 2006): 596–605. http://dx.doi.org/10.1079/phn2005879.
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AbstractAimTo conduct a policy review of the regulations related to food advertising on television aimed at children.DesignThe study consisted of documentary analysis of relevant legislation and policy documents related to children's advertising from both industry and non-governmental organisations at a global level and in 20 countries. This was supported with semi-structured telephone interviews with individuals from 11 countries.ResultsThe initial findings resulted in a listing of regulatory impacts from which we developed a taxonomy of regulatory schemes. There was a tension between the development of legislation to cover this area and the use of voluntary agreements and codes. This tension represents a food industry/civic society split. The food and advertising industries are still engaged in a process of denying the impact of advertising on food choice and children as well as commissioning their own research. Outright bans are unusual, with most countries addressing the situation through voluntary agreements and self-regulation. We found a deep division over the way forward and the role and place of legislation. Policy-makers expressed concerns that national legislation was increasingly less relevant in dealing with broadcast media transmitted from outside national boundaries and therefore not subject to the receiving countries' laws but to the laws of the country from which they were transmitted.ConclusionsThe options for the regulation of advertising targeted at children range from (1) a complete ban on advertising as in the case of Sweden, through (2) partial restrictions on advertising by type of food, target group or limits on the amount of advertisements or times shown, to (3) continuation of self-regulation by the advertising and food industries. There is a global dimension to regulation that needs to be built in, as national frontiers are no barriers to broadcast media and public health nutrition needs to ensure that its concerns are heard and addressed.
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Vergara-Leyton, Enrique, i Ana Vergara-del-Solar. "Representation of Childhood in Advertising Discourse. A Case Study of the Advertising Industry in Chile". Comunicar 19, nr 38 (1.03.2012): 167–74. http://dx.doi.org/10.3916/c38-2012-03-08.
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This paper discusses the main characteristics of advertising discourse in relation to childhood and its engagement with children’s view of this stage of life, in line with «new social studies» and critical discourse analysis. This discussion seeks to complement the functionalist perspective of communication studies in the field of advertising content analysis by incorporating a discursive focus, taking into account contextual issues that may condition the interpretation of messages. Firstly, discourse analysis was used as a means of exploring social representations, identifying stereotypes employed in children's advertising in order to establish the possible functions of the message. To contrast these findings, group interviews were conducted with 10 and 11 year-old boys and girls from middle-income families in Santiago, Chile. A comparison of both findings reveals a complex and relational notion of childhood. Children see themselves as burdened by parents, and adulthood as an effective lack of liberty, where the archetypes reveal an image of the adult world as a state of loss with respect to the exercise of creativity, imagination and freedom. These archetypes correlate to children’s television output, where a number of shows ridicule the image of adults through irony and parody, presenting them as incompetent in their roles as parents and in their moral authority. El artículo analiza las principales características que presenta el discurso de la publicidad respecto de la infancia, y su relación con la perspectiva que los niños tienen de esta etapa de la vida, tomado como referencia los «nuevos estudios sociales» y el análisis crítico de discursos. Con esto, se busca complementar la perspectiva funcionalista de los estudios de comunicación en el ámbito del análisis de contenido, incorporando un enfoque discursivo que considere los aspectos contextuales, que puedan condicionar la interpretación de los mensajes publicitarios. El método utilizado, en una primera etapa, fue el análisis de discurso aplicado a la publicidad infantil, donde se establecieron las funciones posibles del mensaje, con el objetivo de explorar las representaciones sociales e identificar los estereotipos utilizados para generar estos espots publicitarios. En una segunda etapa, y para contrastar los hallazgos obtenidos, se realizaron entrevistas grupales a niños y niñas de estrato socio-económico medio de 10 y 11 años, de la ciudad de Santiago de Chile. Al confrontar ambos resultados, se destaca una noción compleja y relacional de infancia. Una visión de sí mismos como niños agobiados por los adultos y de la adultez como ausencia de libertad efectiva, y donde los arquetipos identificados, hablan de una imagen del mundo adulto como condición de pérdida respecto del ejercicio de la creatividad, la imaginación y la libertad. Estos arquetipos tienen su correlato en la oferta televisiva infantil, donde en buena parte de sus series, la imagen del adulto es ridiculizada a través de la ironía y la parodia, mostrándolos como poco competentes en sus roles de padres y en su autoridad moral.
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Gardner, C., N. Corsini i J. Syrette. "Non-core food impacts: Measuring children's exposure to non-core food television advertising in Adelaide, South Australia and the impact of self-regulatory industry initiatives". Obesity Research & Clinical Practice 6 (październik 2012): 34. http://dx.doi.org/10.1016/j.orcp.2012.08.070.
Pełny tekst źródłaRozprawy doktorskie na temat "Children's television industry"
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Keys, Wendy, i n/a. "Grown-Ups In a Grown-Up Business: Children's Television Industry Development Australia". Griffith University. School of Arts, Media and Culture, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060928.135325.
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This dissertation profiles the children's television industry in Australia; examines the relationship between government cultural policy objectives and television industry production practices; and explores the complexities of regulating and producing cultural content for child audiences. The research conducted between 1997 and 2002 confirms that children's television is a highly competitive business dependent on government regulatory mechanisms and support for its existence. For example, the Australian Broadcasting Authority's retaining of mandatory program standards for children's programs to date, is evidence of the government's continued recognition of the conflict between broadcasters' commercial imperatives and the public-interest. As a consequence, the industry is on the one hand insistent on the government continuing to play a role in ensuring and sustaining CTV - however, on the other hand, CTV producers resent the restrictions on creativity and innovation they believe result from the use of regulatory instruments such as the Children's Television Standards (CTS). In fact, as this dissertation details, the ABA's intended policy outcomes are inevitably coupled with unintended outcomes and little new or innovative policy development has occurred. The dissertation begins with an investigation into the social, cultural and ideological construction of childhood within an historical and institutional context. I do this in order to explore how children have been defined, constructed and managed as a cultural group and television audience. From this investigation, I then map the development of children television policy and provide examples of how 'the child' is a consistent and controversial site of tension within policy debate. I then introduce and analyse a selection of established, establishing and aspiring CTV production companies and producers. Drawing on interviews conducted, production companies profiled and policy documents analysed, I conclude by identit~'ing ten key issues that have impacted, and continue to impact, on the production of children's television programming in Australia. In addressing issues of industry development, the question this dissertation confronts is not whether to continue to regulate or not, but rather, how best to regulate. That is, it explores the complexities of supporting, sustaining and developing the CTV industry in ways which also allows innovative and creative programming. This exploration is done within the context of a broadcasting industry currently in transition from analogue to digital. As communications and broadcasting technologies converge, instruments of regulation - such as quotas designed around the characteristics of analogue systems of broadcasting - are being compromised. The ways in which children use television, and the ways in which the CTV producers create content, are being transformed. The ten key issues identified in this dissertation, I propose, are crucial to industry development and policy debate about the future of children's television in Australia. In integrating the study of policy with the study of production, I have given prominence to the opinions and experiences of those working in the industry. In doing so, this dissertation contributes to the growing body of work in Australia which incorporates industry with cultural analysis, and which includes the voices of the content providers.
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Keys, Wendy. "Grown-Ups In a Grown-Up Business: Children's Television Industry Development Australia". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366792.
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This dissertation profiles the children's television industry in Australia; examines the relationship between government cultural policy objectives and television industry production practices; and explores the complexities of regulating and producing cultural content for child audiences. The research conducted between 1997 and 2002 confirms that children's television is a highly competitive business dependent on government regulatory mechanisms and support for its existence. For example, the Australian Broadcasting Authority's retaining of mandatory program standards for children's programs to date, is evidence of the government's continued recognition of the conflict between broadcasters' commercial imperatives and the public-interest. As a consequence, the industry is on the one hand insistent on the government continuing to play a role in ensuring and sustaining CTV - however, on the other hand, CTV producers resent the restrictions on creativity and innovation they believe result from the use of regulatory instruments such as the Children's Television Standards (CTS). In fact, as this dissertation details, the ABA's intended policy outcomes are inevitably coupled with unintended outcomes and little new or innovative policy development has occurred. The dissertation begins with an investigation into the social, cultural and ideological construction of childhood within an historical and institutional context. I do this in order to explore how children have been defined, constructed and managed as a cultural group and television audience. From this investigation, I then map the development of children television policy and provide examples of how 'the child' is a consistent and controversial site of tension within policy debate. I then introduce and analyse a selection of established, establishing and aspiring CTV production companies and producers. Drawing on interviews conducted, production companies profiled and policy documents analysed, I conclude by identit~'ing ten key issues that have impacted, and continue to impact, on the production of children's television programming in Australia. In addressing issues of industry development, the question this dissertation confronts is not whether to continue to regulate or not, but rather, how best to regulate. That is, it explores the complexities of supporting, sustaining and developing the CTV industry in ways which also allows innovative and creative programming. This exploration is done within the context of a broadcasting industry currently in transition from analogue to digital. As communications and broadcasting technologies converge, instruments of regulation - such as quotas designed around the characteristics of analogue systems of broadcasting - are being compromised. The ways in which children use television, and the ways in which the CTV producers create content, are being transformed. The ten key issues identified in this dissertation, I propose, are crucial to industry development and policy debate about the future of children's television in Australia. In integrating the study of policy with the study of production, I have given prominence to the opinions and experiences of those working in the industry. In doing so, this dissertation contributes to the growing body of work in Australia which incorporates industry with cultural analysis, and which includes the voices of the content providers.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text
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Chen, Hao-Yan, i 陳浩揚. "Advertisement message, message reading, and consumer behavior：An empirical study of Taiwanese children’s English extended educational industry television commercial films". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/42846183795036715432.
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Saha, Nipa. "Advertising to tomorrow's teens : the construction and significance of the tweenage market in Australia". Thesis, 2019. http://hdl.handle.net/10453/137103.
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University of Technology Sydney. Faculty of Arts and Social Sciences.Since the 1990s, the issue of advertising to children, especially the role of food advertising and childhood obesity, has been the subject of much debate. Advertising to tweens in the US has been well studied; however, research into Australian food marketing has yet to examine its significance for the vulnerable tweenage viewer. The Australian ‘tweenage’ market (children aged 6 to 12) consists of $10 billion in spending each year in the Australian economy, yet very little is known about the Australian tweenage market. To examine the techniques and tactics advertisers use to market food products to tweens through Australian free-to air television, branded websites and Facebook pages, a mixed- methods approach was employed, combining content analysis, semiotic analysis and narrative literature review. Building on the work of Williamson (1978a), semiotic analysis was used to investigate the advertisements’ ideological underpinnings. Chapters 4 to 7 demonstrate that food advertisements broadcast during C-classified time describe the taste of the advertised food products in terms of freshness; they promote the advertised products as healthy on the basis of their weight management, energy giving and mood-enhancement properties; they use humour-, fantasy- and happiness-related themes to bestow a particular brand identity, image or personality on the products; and they employed humour and fantasy as vehicles for evoking happiness. Content analysis of the selected internet pages revealed that food company websites and Facebook pages promoted during children’s television programming contain advertisements, contests, social networking activities and membership benefits but, in order to engage in such activities, children have to register online as members by entering their names, addresses, ages, email addresses and other personal information into the companies’ online data gathering processes. The research uses narrative literature review to examine the responses of the industry’s self-regulation system to the changing media environment. This study found that the government, public health organisations and the food industry responded to rapid changes within the advertising, marketing and media industries by formulating, evaluating and amending advertising codes. This analysis concluded by demonstrating that the industry self-regulatory system has been unsuccessful in protecting children from exposure to unhealthy food advertising. Drawing upon the discoveries made during these investigations, conclusions and recommendations are presented, highlighting the need for a fresh approach to regulation and enforcement to protect tweens from the likely impacts of food and beverage advertising.
Książki na temat "Children's television industry"
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Caron, André H. Systemized summary of Canadian regulations concerning children and the audiovisual industry. Montréal: Centre de recherche en droit public, Université de Montréal, 1996.
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The business of children's entertainment. New York: Guilford Press, 1998.
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Miller, Karen. Children and the entertainment industry. Detroit, MI: Greenhaven Press, 2010.
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Oates, Caroline, Mark Blades i Barrie Gunter. Advertising to Children on TV: Content, Impact and Regulation. Mahwah, NJ: Lawrence Erlbaum Associates, 2005.
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1973-, Miller Karen, red. Children and the entertainment industry. Detroit, MI: Greenhaven Press, 2010.
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Coleman, Rowan. Ruby Parker film star. London: HarperCollins Children's, 2007.
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Violence on television: Congressional inquiry, public criticism, and industry response : a policy analysis. Lanham, MD: University Press of America, 1996.
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Brouwer, Sigmund. Scarlet Thunder. Custer, WA: Orca Book Publishers, 2008.
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Scarlet Thunder. Nashville, Tenn: Tommy Nelson, 1998.
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Brouwer, Sigmund. Scarlet Thunder. Red Deer, Alta: Coolreading.com, 1998.
Znajdź pełny tekst źródłaCzęści książek na temat "Children's television industry"
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"Recommendations of the Puttnam Report1". W A Future for Public Service Television, redaktorzy Des Freedman i Vana Goblot. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9781906897710.003.0048.
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This chapter presents the recommendations of the Puttnam Report. It covers recommendations for the BBC, Channel 4, ITV, and Channel 5. It proposes the establishment of a new fund for public service content. It also discusses the dissatisfaction with the performance of public service television from ethnic, regional, national and faith-based minorities; the failure of the public service television system to reflect the changing constitutional shape of the UK such that audiences in Scotland, Wales, Northern Ireland, and the English regions; the decline in investment in some of the genres traditionally associated with public service television: arts, current affairs and children's programming; and the need for a more consolidated approach to maximising entry-level opportunities and increasing investment in training and professional development at all levels of the industry.
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Hamburg, David A., i Beatrix A. Hamburg. "Media as an Educational System: Can the Media Help?" W Learning to Live Together. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195157796.003.0018.
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The media, even in democratic societies, have been faulted for glorifying violence, especially in the entertainment industry. And we have seen how the harsh use of hateful propaganda through the media, by nationalist and sectarian leaders, can inflame conflicts in many parts of the world. The international community can support media that portray accurate information on current events, show constructive relations between different groups, and report instances in which violence has been prevented. Foundations, commissions, and universities can work with broadcasters to help provide responsible, insightful coverage of serious conflicts. For example, through constructive interactions with the Carnegie Commission on Preventing Deadly Conflict, CNN International moved to balance coverage of violence and strategies for peaceful conflict resolution. Social action for prosocial media may become an effective function of nongovernmental organizations, similar to their achievements in human rights. Research findings have established a causal link between children’s television viewing and their subsequent behavior in the United States and a variety of other countries (e.g., Australia, Finland, Israel, the Netherlands, Poland). Both aggressive and prosocial behaviors can be evoked, depending on the content of programs. There is no reason to assume that the impact of movies is substantially different. As early as age 2, children imitate behaviors (including violent behaviors) seen on television, and the effects may last into their teen years. Must violent content predominate forever? How can the media help to prevent deadly conflicts in the future? The proliferation of media in all forms constitutes an important aspect of globalization. Films, television, print, radio, and the Internet have immense power to reach people with powerful messages, for better and worse. At present, the United States is largely responsible for the output of film and television content seen by people worldwide. But advances in technology are making it increasingly feasible for media to be produced in all parts of the world—all too often with messages of hate, and they may become even more dangerous than the excessive violence in U.S. television and movies. Films have great, unused potential for encouraging peace and for nonviolent problem solving. They entertain, educate, and constitute a widely shared experience.
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Johnson, Elizabeth Lominska, i Graham E. Johnson. "Coping with Change". W A Chinese Melting Pot, 111–41. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455898.003.0006.
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Kwan Mun Hau, an original village and research focus, was re-sited in 1964, as the villagers could no longer tolerate the flooding in the old village resulting from unplanned development of surrounding areas, and government hopes to rationalize the development of the central area where the village had been located. This sealed the villagers’ move to a cash economy, a mixed benefit, with many employed in industry and some receiving rents from tenants of diverse origins, many of whom ran small factories. The lineage trusts were also converted to rent-yielding urban property. Families were still large, with many children, but their structures were limited by the configuration of the new houses. Interest in birth control was high. All children now went to school, studying in Cantonese, the lingua franca, which was also promoted by the increasing presence of television. Western medicine was readily available, but the very old were still cared for at home.
Raporty organizacyjne na temat "Children's television industry"
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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson i Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.
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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.