Titlebook: Writing and Producing for Children and Young Audiences; Cases from Danish Fi Eva Novrup Redvall Book 2024 The Editor(s) (if applicable) and

septicemia

Introduction,ents the approach taken in this book’s study of the screenwriting and production strategies of a particular small nation. Building on literature from the fields of screenwriting, production, and media industry studies, the chapter discusses the implications of focusing on children and young audience

光明正大

A Brief History of Making Danish Film and Television for Children and Young Audiences, previous approaches still influence the perceptions of what defines ‘good content’ in the mediascape of the early 2020s. The chapter outlines the public financing structures and public service television remit that are fundamental for this particular small nation production framework, focusing on t

非秘密

,Writing and Producing for Toddlers: Making Fun and Safe Screen Spaces for DR?Minisjang,sting Corporation DR’s dedicated children’s universe Minisjang targeting 1–3-year-olds. Before the case study of the development, screenwriting, and production process, the chapter outlines ongoing debates about whether this target audience should be watching screens or not and industry notions of w

AMOR

,Writing and Producing for Preschoolers: Balancing Fascination/Identification and Making ‘Affordablesion series . for the Danish Broadcasting Corporation DR’s dedicated children’s channel Ramasjang (for many years targeting 3 to 6-year-olds and since 2020 4 to 8-year-olds). The chapter outlines the DR notions of the Ramasjang DNA and audience research on the Ramasjang target audience before moving

按時(shí)間順序

Writing and Producing for Tweens and Younger Teens: Working with High-Volume Fiction, Multiplatforming Corporation DR’s long-running series . for the DR Ultra audiences (that was originally 7 to 12-year-olds, and from 2020 9 to 14-year-olds). The chapter analyses the DR Ultra approach to making this kind of fiction in the multiplatform era as: (1) .; (2) .; and (3) .. After outlining recent audie

植物學(xué)

Asparagus

Writing and Producing Cross-Media/Transmedia Content for Young Audiences: Aiming for , in a Television Christmas calendar .. The original idea behind the 24-episode serial for December 1–24 was to use a popular family fiction format to spur an increased interest in natural sciences. After discussing theoretical understandings of multi-, cross-, and transmedia storytelling and ideas of working wit

locus-ceruleus

Conclusions and Cliffhangers,ction film and television for children and young audiences in the early 2020s were marked by many continuities, but also three major changes. These changes are presented as 1) a remarkable . 2) a new focus on . and 3) a move towards ., referring to screenwriting based on having on-going dialogues wi

Nonthreatening

Book 2024ren and young audiences, in a period marked by remarkable change in screen consumption. Building on ideas and research from the fields of screenwriting, production, and media industry studies, the book uses case studies of Danish film and television productions targeting children – from toddlers to

巧思