Titlebook: Creating Preschool Television; A Story of Commerce, Jeanette Steemers Book 2010 Palgrave Macmillan, a division of Macmillan Publishers Limi

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ivals such as Blues Clues and Teletubbies . This book examines the industry interests behind preschool television, and how commercial, creative and curricular priorities shape and inform what is produced.978-0-230-27460-0

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Understanding Preschool Television as a Production Ecology,duction community. Alongside long-running series such as ., more recent arrivals such as . and . have become enduring favourites with children and their parents. The international presence of these series alone underlines the phenomenal changes experienced by preschool television in recent years wit

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Safe at Home: The Origins of Preschool Television as a Public Service Project,ion of adult ‘interests or fantasies or desires’ and their construction of childhood rather than a reflection of what children want (1995a: 47). This is apparent in the history of children’s television, where programming is nearly always incontrovertibly linked to the cultural and institutional cont

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Players in Rights Management and Production,They also highlighted the significant position of horizontally and vertically integrated US transnational corporations, Disney and Viacom (Nickelodeon), who since the 1990s have become active across all parts of the preschool television value chain (production, broadcast, distribution), both domesti

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,Production Preliminaries — Development and Research,king beyond the institutional and economic facets of the production environment, this chapter considers those specific features of the development process that determine the nature of television for young children. According to Wartella (1994: 39), writing about US children’s television generally, p

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Production Checklists, Rules and Assumptions,part of that audience any more, but producers do need to get ‘down into the child’s world’. As we learnt in Chapter 6, in the United States this anomaly is tackled by marketing and developmental research. In Britain research has traditionally been less formal and more ad hoc, but the importance of t

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In Production, programme-makers’ conceptions of the audience, derived from a combination of professional experience, institutional practices and research which may focus variously on what children like and want or on what is believed to be developmentally or educationally appropriate. This chapter moves on from t