The Children’s Media Yearbook 2017 ••• Edited by Terri LANGAN & frances taffinder 8

The Children’s Media Yearbook is a publication of The Children’s Media Foundation

Director, Greg Childs Administrator, Jacqui Wells

The Children’s Media Foundation P.O. Box 56614 London W13 0XS [email protected]

First published 2017

© Terri Langan & Frances Taffinder for editorial material and selection © Individual authors and contributors for their contributions

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The Children’s Media Foundation, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. You must not circulate this book in any other binding or cover.

ISBN 978-0-9575-5188-6 (paperback) ISBN 978-0-9575518-9-3 (digital version) Book design by Jack Noel

Welcome to the 7 2017 Yearbook research Greg Childs Can Reading Improve 38 Children’s Self Esteem? editor’s introduction 9 Dr Barbie Clarke and Alison David Terri Langan The Reality of 41 Virtual for Kids current Alison Norrington Can You Grow An Open 45 affairs and Mind Through Play? industry news Rebecca Atkinson Children’s Media 11 Rethinking 47 Foundation Review Toddlers and TV Anna Home OBE Cary Bazalgette Concerns about Kids and Fake News 51 Media 14 Dr Becky Parry Anne Longfield OBE Coming of Age Online: 54 Animation uk 17 The Case for Youth‑Led Helen Brunsdon and Kate O’Connor Digital Resilience Sam Lawyer and Yara Farran Joined-Up Thinking? 20 uk Children’s TV Production From screen to page: 57 Jeanette Steemers children’s media in their writing Online safety 23 Lucy Taylor and Azoomee Estelle Lloyd “It Wasn’t Really 61 About the Pokémon”: funk – reaching out to 26 Parents’ Perspectives on a a forgotten target group Location‑Based Mobile Game Margret Albers Kiley Sobel Beano Relaunch 29 Call for regulation 66 Emma Scott – children’s data in personalized books and Children’s Content – 33 reading resources Addressing its Decline in Public Service Broadcasting Dr Natalia Kucirkova Anne Wood CBE general content nostalgia Project Hope 70 Musical Youth: 94 Lucy Murphy My Unlikely Heroes of the 80s Opportunities in the 72 children’s film Chris Banks industry And They Call it 96 Tim Clague Puppet Love “Humour Is Very 75 Warrick Brownlow-Pike Much A Social, A twinkly time, 98 Interpersonal Act” long, long ago… Laverne Antrobus Simon Partington Unboxing … 77 A Toddler’s Glass of Wine? farewell Nellie McQuinn John Noakes: 100 “Where’s Sian?” – 79 A Tribute The Importance of Richard Marson Female Friendships peter sallis: A Tribute 104 Katie Steed Nick Park Values Are the 82 New Black! Myke Crosby 105 1961 – May 2017 David Hallam Karl Woolley Everything Is the 85 Same, Only Different: The fundamental Contributors 106 needs of children Katie French Children’s 90 Documentaries: My Life – Alive and Well in a Digital World Kez Margrie Welcome to the 2017 Yearbook Greg Childs

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This is the fifth edition of the Children’s Media this Yearbook. We are grateful Yearbook and the first to be distributed to every for that and for their guidance delegate at the Children’s Media Conference in in general. We are also indebted Sheffield. to the other contributors – many from the children’s media It’s a proud moment for the all campaigns we initiated or industry – who make this book Children’s Media Foundation. contributed to – including the such an interesting read and a Thanks to the generous financial idea of a Contestable Fund for great record of the children’s support of the Authors’ Public Service Content, which media year. Licensing and Collecting Society was originally proposed by the Please recommend (ALCS) and Kids Industries, CMF back in 2011. it to friends and we are able to bring this In a relatively short colleagues. Copies can be publication to a much wider time, we’ve changed the downloaded or paperbacks audience. We hope you enjoy nature of the conversation purchased at: http://www. the mix of information, research around kids and media in the thechildrensmediafoundation. and opinion the Yearbook UK. Politicians now readily org/childrens-media- offers. It’s an annual snapshot accept that children’s media yearbook-2017 of the state of the children’s matters, whereas in the past And please help us to help media industry and the they dismissed the idea. They the children’s media industry children’s and youth audience. agree that UK-made content is in the UK be the best that it The CMF represents that important, because kids deserve can be. Join as a supporter or audience. We act as its advocate, to see themselves and hear their patron, or attach your company lobbying in Parliament, meeting own stories, and that in turn as a corporate supporter. ministers, civil servants and helps hold together our diverse Our only source of funding is regulators, responding to public society. There has even been donations from people who are consultations and hosting progress in getting the press to as passionate as we are about public meetings. Tax incentives understand that the arguments the children’s audience. Please for the creative industries, the about content quality, screen be one of them. http://www. future of children’s and youth time and the effects of media thechildrensmediafoundation.org/ content at the BBC, Channel on the young should be based support 4 and the other commercial on legitimate research, not public service broadcasters, fair scaremongering. Greg Childs regulation of in-app payments, Members of the CMF Director greater emphasis on online Academic Advisory Board have The Children’s Media safety for children – these are written some of the articles in Foundation

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editor’s introduction terri langan

This is the second year I’ve edited the Children’s Media Yearbook and I wanted to take this opportunity to thank all the contributing writers. They all give their time freely and it is so appreciated.

There is a fantastic range of articles this animator, composer and puppeteer. year with reflections on every aspect of Our back page this year is graced children’s content. The book contains the by the indomitable Richard McCourt latest thinking on policy, research, business and Dominic Wood. Dick and Dom will issues and creativity. We look at issues celebrate their 21st year as the favourite currently affecting the children’s media duo of children’s TV at the Children’s industry such as the Contestable Fund, Media Conference in July 2017. the “Growing Up Digital” report and Several articles this year reflect content the decline of children’s content in public that will be discussed at the CMC, so we’re service broadcasting. Fake news, protecting really pleased that the Yearbook will be children’s data and children’s self-esteem are made available to all CMC delegates this just a few of the insightful research topics year for the first time. It tells us a great this year. deal about the variety and resilience of the There are pieces on Project Hope, children’s media industry in the UK, about Pokémon, Beano Studios and the ever- the way children’s viewing and playing has popular unboxing videos, along with fragmented onto multiple platforms, and nostalgic articles on how the first sparks of about their continuing passion for content. interest appeared from a young age for an

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Children’s Media Foundation Review Anna Home OBE

Since I wrote the foreword to the 2016 Yearbook, the world in which we live and work has changed dramatically.

Brexit, the sudden departure of David 2016, and after consultation and debate in Cameron, the advent of Trump, a snap UK which CMF took an active part, the final election, and as I write in May 2017, the settlement was reached in the autumn. likelihood of a Tory landslide victory in It was less radical than some had feared, the June election followed by a potential although concerns remained about board hard Brexit. None of this appeared to be on structure, and the future role of Ofcom as it the cards this time last year and it will all takes on the regulatory function previously continue to have an impact on the children’s carried out by the BBC Trust. media world. As far as children are concerned, CMF has been active throughout the Ofcom will now set the amount of both year, involved in a number of important hours of transmission and (this is new) the policy changes and developments which will hours of first-run original content for both affect the children’s audience. CBeebies and CBBC. The hours initially The government published its draft proposed are more or less the same as those proposal on the new BBC charter in May in 2016. However, it remains to be seen

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how this system will develop and whether is somewhat vague and open to a variety in the future it will result in sufficiently new of interpretations. It also, of course, and varied content for the audience. depends on the attitude of the commercial More recently, in the last few hours of companies. the final debate on the Digital Economy Bill, CMF will be working with all the other Ofcom was given powers to impose quotas concerned parties, Save Kids’ Content, on children’s commercial public service Pact, Animation UK etc., to ensure that broadcasters (PSBs – ITV and Channels 4 maximum benefit is gained for the UK and 5). In reality, this means a return to the audience in the future. position prior to the Communications Act Another major ongoing policy issue of 2003, which removed the obligation of is the proposed Public Service Contestable commercial PSBs to provide a fixed amount Fund which was part of last year’s Green of original children’s content. Paper on public service broadcasting. CMF We have campaigned on this since has been very involved in the discussions 2003, first as Save Kids’ TV and then as over this – we have had meetings with CMF, and have played an important role Matt Hancock, the Minister for Digital and in keeping the decline in original children’s Culture, and with a number of officials at content a live issue. the Department for Culture, Media and The final breakthrough came as the Sport. result of the recent Save Kids’ Content We held a public event in January to campaign led by Anne Wood (which debate the pros and cons of this proposal, she writes about in this Yearbook). The and the resulting discussion was both campaign was supported by Pact along with interesting and lively. We also responded to many other organizations and individuals. the public consultation (our response can be Baroness Benjamin took the lead in tabling seen on our website). an amendment to the Digital Economy Act Our view is that in the initial pilot in the House of Lords which advocated phase of this initiative, the funding should regulation of commercial PSBs, supported be concentrated on the children’s sector, by Lord Wood, Baroness Bonham-Carter rather than spread thinly over a range of and others. The amendment in an altered public service genres. If it is successful it form gained government support and was could be increased and rolled out to other passed into law at the last minute before the areas. We feel that there is a well-proven election halted further debate. case for new investment in public service This is a great step forward and content for children and it could perhaps hopefully will mark a real turning point. be usefully linked to the new obligations of However, as always, the devil is in the commercial companies (Professor Jeanette detail, and how valuable this ruling is Steemers’ article in the Yearbook discusses will depend on how Ofcom interprets its the implications of contestable funding). role and powers; the wording in the Act We continue to believe that future

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funding for this initiative should not come should develop a new code of conduct for from the BBC licence fee, and that the internet providers. content commissioned should reflect UK The issue of regulation is fraught with sensibility and culture. difficulties and conflicting interests. CMF The election has halted progress on all supports and is vocal about the protection this, but discussions are due to start again of children from exploitation, but legislators in June. need to take care that their solutions are The impact Brexit will have on both practical and carefully drafted, and children’s media is as yet unclear. There are that they are truly acting in the child’s best concerns that the industry, and especially interest. smaller companies, may suffer from the Professor Sonia Livingstone gave an withdrawal of various European subsidies interesting example of this in a London and funds and restrictions on the free School of Economics blog, in which she was movement of labour. However, others see responding to a European proposal on data the possibility of new opportunities opening protection which would effectively raise the in the global market. age of children allowed to profile themselves It is good to see that all three main on the internet from 13 to 16. She argues political parties in the UK election have that although this is well intentioned, it voiced support for the creative industries in could result in limiting the positive value of their manifestos and hopefully this support social media. will be forthcoming. All these issues will We continue to be actively involved in be discussed in the opening Question Time the ongoing debate which will be discussed session sponsored by CMF at the Children’s both at CMC and the Children’s Global Media Conference in Sheffield in July. Media Summit held in Manchester in The other major subject of debate December. in the past year which will continue to So, a year of upheaval has brought be critical is the issue of children and the some positive benefits to the children’s internet, particularly in terms of online media world, and great content continues safety and regulation. There has been to be made, but many things are still increasing public and political concern undecided and unclear. CMF will continue about this and calls for stricter regulation to argue for the best possible content for all on websites aimed at or easily accessed by children on all platforms. children. I would like to thank all our Board and The House of Lords published an Executive Committee members past and important report, “Growing Up with present for their hard work and support, the Internet”, which among other things and of course I thank everyone who proposed the creation of a children’s digital supports us financially. Please encourage champion to be based in the Cabinet office, more people like you to join us in the and that after consultation, the government coming year. There is a lot to do!

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Concerns about Kids and Media Anne Longfield

The digital world gives children amazing opportunities many of us could never have imagined when we were growing up. Google, YouTube, Snapchat and Instagram are now a part of their everyday lives, offering them a chance to learn, explore and engage with the world. That’s not going to change, even if we wanted it to.

It’s inconceivable for children to imagine Parents accept that they are the first a world without the internet, though for line of protection against the potential parents it’s sometimes hard to keep on top dangers arising from the online world, but of the rapid technological changes that our often think there is more that could be done kids seem to take for granted. Even the most to support them and their children. tech-savvy parents worry. That’s why I published the “Growing Despite the internet being something Up Digital” report earlier this year, many use at work and at home, many feel following a year-long study by a group out of their depth or unsure about the of experts in areas like media law, online impact it is having on their children. They bullying, safety and children’s digital use. want to be sure that it is shaping their Our panel included Baroness Beeban children’s friendships and their childhood Kidron, who set up the 5Rights project development in a positive way. to campaign for better digital rights for

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children, and Liam Hackett, founder of the ever be expected to fully understand legal anti-bullying organization Ditch The Label. jargon that most adults would struggle to We listened to the experiences of children comprehend. So, children are routinely and parents and set out a range of ideas on giving up their right to privacy. They are how we could give children the three most even potentially allowing the content they important skills they need to get the most post – pictures usually – to be traded by the out of the internet: resilience, information social media giants. and power. As part of our study, we asked some Like it or not, there’s no doubt that young people whether they understood the kids are spending longer and longer online, terms of Instagram. It’s a platform used by even many pre-school children. My five- more than half of 12- to 15-year-olds and year-old nephew can navigate his way one in four 8- to 11-year-olds who say that around his parents’ iPad better than most they have a social media account. What adults could manage. To him it’s already an was discovered won’t surprise anyone. The everyday object. This isn’t something that younger children we showed the terms and we should necessarily worry about, but conditions to were unable to read more as children are spending more time in the than half of the 17 pages of text. None digital world, and from a younger age, we of them fully understood what they were should be aware that they will inevitably committing themselves to when they clicked come across some online pitfalls. I was “accept”. When we asked an expert in shocked to learn from recent studies that privacy law to simplify the terms so children almost a third of 15-year-olds have sent a could understand them, many were shocked naked photo of themselves at least once, by what they read. and that a third of 12- to 15-year-olds have Therefore, we need social media seen hateful content directed at a particular companies to rewrite their terms and group of people in the last year. Parents conditions to make them clearer for understandably worry about chatroom children. Sadly, it seems that most are safety and the fear of strangers and unwilling, which is why later this year I’ll grooming, but children themselves are often be working with legal experts to provide far more concerned about online bullying or teachers and schools with support aids, so seeing inappropriate pictures of themselves that children have a better understanding on social media platforms. of their digital rights. I also hope the In fact, it’s clear from “Growing Up government will consider how the data and Digital” that too many young people feel privacy of children can be better protected they don’t have control over their social in future legislation. media lives. They are agreeing to complex It’s important, too, that children social media terms and conditions far know how to report problems on social too readily without any idea of the effect media sites. Our study found that not all on their rights. In truth, no child could children know how to report unacceptable

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content or behaviour and when they do, the internet. They would far rather talk they are usually not happy with the action to children of a similar age. So, digital that’s taken. I would like to extend my citizenship learning should involve younger data collection powers so the children’s children being taught by older kids, who commissioner is able to oversee the number they are more likely to trust. and type of complaints that social media I think it’s vital that children are better companies are receiving from children and educated about the internet, that they crucially, what happens to those complaints. understand what they’re agreeing to when In order to truly address the imbalance they join social media platforms and that of power online, we also need a mediator their privacy is better protected. Nobody to act between children and the social wants their children roaming around in media giants. I think we should follow the a world for which they aren’t prepared. excellent example Australia has set with We wouldn’t let a child roam around the its Digital Ombudsman. It would be a role “offline” world without teaching them the completely independent of the industry, skills to do so first, so it’s time we did more but funded by it, and the job would entail to prepare children for a digital world that helping children to have content removed has very limited regulation and which is from sites if they’re unhappy with a picture controlled by a small number of powerful of a post that invades their privacy, or organizations. something is uploaded without their consent When it was created 25 years ago, the or used as a form of bullying. internet was designed with adults in mind, As the internet and social media not children. We know that this is no longer become a part of all our lives, it’s essential the case and so it’s up to all of us – parents, that children are taught from a young teachers, the government, those working in age about their rights and responsibilities education and the social media companies online. It makes sense for all 4- to 14-year- themselves, to make sure that every child olds to learn how to get the most out of has the resilience, information and power the digital world, while also being taught they need to thrive in the digital world. how best to avoid some of its dangers. This obligatory part of the curriculum would include what it means to be a responsible citizen online, how to protect one’s rights and respect others’ rights online, and how to both engage and disengage with the online world. We know from our research that younger children want to learn these skills, but they sometimes feel uncomfortable talking to teachers and parents about

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Helen Brunsdon and Kate O’Connor

“Animation UK will provide the overall advocacy, representation, positioning and influence to support a thriving and sustainable Animation & Visualisation sector”

Animation UK – the bedrock of the sectors from screen across the board (not animation sector needs you! The continued film and TV) and whilst we know there need for a strong, unified voice has never are operational differences, the overlap been more important. and similarities in our businesses mean Since Oli Hyatt’s article for the last significant benefits. The combined efforts yearbook, the collective aims of Animation of this partnership add weight to our voice UK remain, and a lot has happened on all and can help strengthen the case behind our fronts. Animation UK is now part of an vision and goals. When we have different official trade organization and open for issues, we represent animation alone. business, continuing to collect industry Since the Alliance was formally statistics for the government to inform constituted, we have been paying due future policy, campaigning for change to diligence to setting up a membership benefit our industry, and championing the structure, finessing a manifesto and animation sector to succeed and grow. fine-tuning a mission statement. We are As announced at the Manimation currently representing large and small conference in November 2016, Animation animation studios; production companies; UK has formed a partnership with VFX, animation producers and key supporters, post-production and wider studios and suppliers, distributors, technology and facilities sectors to form UK Screen Alliance. software developers. This means we are now working with key A huge thank you must go to the

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founding companies that have put their Who are we? monies and time in to support the formation We are Kate O’Connor (executive chair) of the organization and agreed to sit on and Helen Brunsdon (director) from the first Animation Council and wider Animation UK. Neil Hatton is CEO of UK UK Screen Alliance Board. Aardman Screen Alliance and Victoria Johnson is the Animations; Blue-Zoo; Cake Entertainment; membership and communications officer. eOne Entertainment; The Elf Factory; Both Kate and Helen work remotely on a Jellyfish Pictures; Lupus Films; Locksmith part-time basis, while Neil and Victoria are Animation; Mackinnon & Saunders; based at the central London office. So, a Spider Eye and Studio Liddell are amongst small agile team indeed. the first companies to get the ball rolling. We will continue to set up new working Over the last six months groups as and when required for different We have made sure animation is on the issues, ensuring we have secure and solid agenda of all the government departments, representation in place. Once we have as well as partnering and liaising with achieved fuller membership and our initial industry bodies. We have already started goals, we will look at elections to the council to input into policy – the contestable fund, later in the year. Brexit responses, trade and export responses Our three main topics of focus are and the industrial strategy & sector deal business, culture and skills, with an to cite a few. We have been growing our overall mission statement: “Animation knowledge base and making sure we lobby UK will provide the overall advocacy, and raise the profile of the sector. However, representation, positioning and influence research is key and we are inputting into to support a thriving and sustainable new VALUE research, working with the Animation & Visualisation sector”. Our Olsberg cosultancy. This was welcomed ultimate objective is to grow the sector in at the recent BFI /Animation UK day value, size, reputation and reach. conference on the South Bank (April 2017) Business: We provide representation and re-emphasizes the need to track, value on UK policy and fiscal developments and calculate our worth separate to others. and promote the sector globally through Back in December, we had the advocacy and profile raising unprecedented opportunity to christen Culture: We promote the cultural value the new partnership – thanks to Aardman and heritage of animation both in the UK Animations – at No. 10 and celebrate our and internationally fantastic industry in front of VIPs and the Skills: We support the continued Minister of State for Digital and Culture, development of talent and skills into the The Rt Hon Matt Hancock MP. We would sector and will be developing a new skills also like to congratulate all the award strategy winners in the past year from the various ceremonies as it is truly a great recognition

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of the UK industry, notably at the BAFTAs, developments and opportunities. Higher International Emmys and Kidscreen education providers must also be linked to Awards. the industry, encouraging and supporting all the hard work which is already happening What next? and being delivered by the likes of the We will continue all the hard work with NextGen Skills Academy. policy, citing the sector deal and working We are working on a membership closely with other key trade bodies to shape package with a range of benefits, deals, new regulation approaches resulting in discounts and developments and our current more children’s TV. banding fees are in place. Going forward, In June, we were in Annecy together we have been tasked to see if we can include with a number of our members to promote freelancers and individual membership our work and present a friendly and united packages, so do keep telling us if anything face. We are working to reignite our cultural else is needed and we will listen – we always and heritage past, with an aim to seek more welcome industry feedback! After all, this funding for initiatives such as short films. is Animation UK and industry underscoring We want to join up thinking on archives the foundations for the future together. and support hard working archivists in the Oli Hyatt is still very much part of UK, to help both studios and independent Animation UK and is chair of the council. film makers preserve our past, present and We also congratulate him on his second future. Animation UK is becoming proactive child and being welcomed back into the in terms of our international presence by fold at Blue-Zoo since passing his duties on. attending the main markets throughout We continue to do our best in following his the year. We also continue to represent vision. the views of the sector at industry and Our call to arms has definitely begun government-focused events such as Cartoon so please do help us support our wonderful Business, Westminster Forum and the CMC. industry and join Animation UK. The UK is renowned worldwide for being a pioneer of characters, short films, TV series, specials, games, features and commercials and we are an open attractive market for inward investment. But this must be founded through a talent and skills base, and it’s a key issue for us going forward. We need to make sure that short-term skills gaps are captured and addressed, and that long-term pipelines are developed, ensuring new apprenticeship initiatives work for us. We need to secure funding for new

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Joined-Up Thinking? UK Children’s TV Production Jeanette Steemers

After over a decade of declining expenditure and commissioning by UK broadcasters on UK children’s productions, three regulatory interventions could provide a welcome boost to UK originations.

First, an unexpected and successful House of originations from £59 million to £3 million Lords amendment to the Digital Economy between 2003 and 2014 (Ofcom, Public Bill, approved on 26 April 2017 just Service Broadcasting in the Internet Age, before Parliament was dissolved ahead of Data Annex 2015 London13). The key the election, now gives Ofcom the power change of this amendment is that Ofcom can to impose quotas on commercial public take account of children’s “programmes” service broadcasters (PSBs) ITV, Channel on all “related services” when it considers 5 and Channel 4. This almost reinstates quotas, suggesting that provision on CITV, regulatory powers that were lost in the 2003 ITV’s children’s channel which is not a Communications Act, precipitating a rapid licensed public service, would be sufficient to decline in investment by commercial PSBs, satisfy any quotas relating to the main ITV heightened by the junk food advertising channel’s public service obligations. ban on ITV in particular. Commercial The amendment to the bill, PSBs reduced their expenditure on UK championed by a cross-party group led

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by Liberal Democrat peer as drama, and expenditure on religious content. Baroness Benjamin, could be children’s content has declined. In its consultation on the truly significant depending Stipulations on Public Service Broadcasting on how Ofcom chooses to expenditure for certain types Contestable Fund, announced use its powers. To implement of programming could have a last December and still under quotas, Ofcom will have to more profound effect, especially consideration at time of writing, publish criteria for children’s if these are combined with the Department for Culture, programming on commercial tax breaks such as the current Media and Sport (DCMS) PSBs and carry out a public children’s programming and floated a number of options consultation. After many animation tax breaks. Evidence for a pilot fund, financed from years of claiming that it had from France and Canada leftover top-sliced licence little power to intervene in suggests that a combination of fee funding. If the pilot fund halting the decline of children’s tax breaks, origination quotas is given the go-ahead, it is production, Ofcom will finally and expenditure quotas can likely to have £60 million to be able to make a difference, sustain a domestic production distribute over two or three and the way it defines its industry (Steemers & Awan, years from 2019. The DCMS powers will be crucial. 2016). The nature of the has yet to deliver its response “Quotas” are not defined quotas will be crucial, as will to the consultation and no one in the bill. Transmission quotas the ability to apply them to knows how much of the £60 (the amount of children’s the commercial PSBs’ non-PSB million children’s programming programming broadcast) are services (CITV, E4) and also to will get. A DCMS response unlikely to raise investment in non-linear video-on-demand is expected in summer or originations as broadcasters services (particularly important autumn 2017 after the election. could simply show more as children’s consumption shifts Before the Digital Economy cheaply acquired or library online). Once Ofcom publishes Bill “quotas” amendment, a programming. Output quotas its consultation, stakeholders key barrier to the fund would (specifying amounts of original will need to make a strong case always have been the difficulty production per year), possibly for clearly defined “quotas” of getting commercial PSBs to in threatened genres like drama that will have a real impact on avail themselves of contestable or factual content, or content children’s original content. funding if there were no quotas for older children, could be The second factor that is obliging them to commission more effective, but not if there likely to play a role is whether original content. are only limited funds to back the UK government, as outlined Without quotas, children’s up these production obligations. in its BBC White Paper last year, content is not particularly For example, Australian institutes a contestable fund attractive or profitable for commercial broadcasters have for public service genres under commercial channels unless they satisfied origination quotas threat, including children’s can leverage it internationally with lower cost co-produced programming, but extending through licensed merchandise. animation, which is defined to arts, regional, minority and Children’s programming is

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simply not profitable enough for UK PSBs. After the virtual dismantling of If Ofcom does implement production quotas the public service children’s production on commercial PSBs, then a contestable ecology in the UK over the last ten years fund for UK-originated children’s public due to regulatory neglect and omission, service content becomes much more viable, a trio of regulatory interventions could but only so long as the pilot project runs provide the boost needed by public service and delivers real quality and entertainment children’s content. However, it would value to children. be wrong to turn the clock back entirely The third factor to have an impact and it is important that any amendments will be Ofcom’s role in regulating the BBC. take account of the changing realities Ofcom’s current consultation on the BBC’s of children’s media consumption and mission and public purpose, with a deadline experiences that are increasingly not linear of 17 July 2017, contains important and not always focused on traditional TV proposals for BBC children’s content, which formats. have to be considered holistically with the In the wake of the general election, it previous two interventions. It is proposed promises to be an interesting and eventful that CBeebies has a first-run originations year for children’s content, and stakeholders quota of 100 hours per year. CBBC will need to press for the best possible outcomes have annual transmission quotas for news for children as well as a sustainable (85 hours), drama (1000 hours) and factual production environment. programming (675 hours), stipulations that This is an amended version of a piece originally published for the Children’s Media replicate the existing CBBC Service licence Foundation newsletter. issued by the BBC Trust. What is new is the stipulation that CBBC must meet a first- run originations quota of 400 hours. The originations quotas do not diverge greatly from the 508 hours of first-run originated hours attributed to the BBC in 2015 in Ofcom’s 2016 Annual PSB Report. The key change is to the original production quotas, as transmission quotas can be filled with older programming. Again, it is up to stakeholders to make their views known on whether these quotas are satisfactory, and in particular, whether they should be confined to the linear channels, or whether there needs to be some future-proofing that takes account of on-demand platforms and new forms of content.

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Online safety and Azoomee Estelle Lloyd

In certain circumstances, I am a firm advocate that government intervention is needed to influence behaviour. This isn’t a popular position but it is not without precedent.

Remember when drink driving was socially Earlier this year, the children’s acceptable and no one really cared about it? commissioner issued a report prepared The government recognized the importance by the “Growing Up Digital” taskforce of tackling this very serious societal issue showing that children are not being and since 1979, up to £3 million a year has educated or supported for their life online been allocated to communicate the problem in the same way they are prepared for life in very graphic ways. Road deaths and offline. Supported by a survey conducted casualties have fallen dramatically from by Mumsnet, it indicates that parents are over 31,000 in 1979 to under 8,500 in 2015 very concerned about this issue (73% of and I think it’s safe to say that drink driving parents are worried about their children is now completely taboo. accessing inappropriate content online) but

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that they are confused about how to address younger children (aged 4–9), which would the problem. In addition, many simply do also give parents peace of mind. Think of not have the time to work out how their a playground – all the activities have been children can be entertained online while designed for children to have fun, test staying safe. This excellent report adds to a boundaries and make their own decisions as growing weight of evidence showing how to what they want to do. How high can I go children’s childhoods are being dramatically on the swings? Am I brave enough to try the impacted because of what they can access large slide? Can I swing on the monkey bars on the internet, and when. without falling? As mobile internet gets faster (thank Imagine a single place online where you, 4G!), household tablet usage spirals children could watch videos, play games, with the rise of the low-cost tablet and listen to audiobooks, send safe messages online homework increases, the problem is and get creative safely. So much can be not going away. It’s the government’s job to learned about model digital behaviour in an make sure that the generations of the future environment like this, where children make are adequately protected. Plutarch said, “a their own decisions and have fun. As the child’s mind is not a vessel to be filled but report makes clear in its opening sentence, a fire to be kindled.” Right now, there isn’t “The internet is an extraordinary force for space for kindling… good but it was not designed with children Quite correctly, the children’s in mind.” In a crowded online world commissioner has concluded that the dominated by internet giants that want government needs to intervene to prepare to sell advertising and encourage in-app children for digital life. I am particularly purchases, this sort of initiative would let interested in the call for a “Digital children be children online. Citizenship Programme”. This was the As the report further identifies, reason why Azoomee produced its BAFTA- children accept parental intervention nominated series Search It Up (supported by much more positively at a younger age, the NSPCC), an 18-part animated series that which is why we strongly endorse the shows children how to be smart, safe and children’s commissioner’s suggestion that kind online in a funny and engaging way. the curriculum starts at four years old. This The report highlights an outstanding is also why a safe place online works for parental site called Net Aware, a younger children. collaboration between O2 and the NSPCC. Much has been said, and rightly so, This is a great help to parents who are about the need for improved children’s dealing with the problems of social media rights online through 5Rights, and the – cyber bullying, reactions to inappropriate urgent need to amend the UN Convention content and much more. of the Rights of the Child to reflect the What the report does not push is the realities of the digital world that we live idea of establishing a safe place online for in today. But why should parents really be

24 Children’s Media Yearbook 2017

worried about their children’s data privacy let’s give children a chance to be children online? for as long as possible. The beauty of being Many adults react very negatively to a child is that to a very large extent you can hearing about their personal data being get away with anything… Parents get angry hawked around and sold without their and there are punishments but ultimately, knowledge. To some extent, we have to it’s all long forgotten over time. It’s part of accept this will happen as we post on the rich joy of parenting. The internet is less multitudinous social media sites, rely on GPS personal, more permanent and potentially to get from A to B and increasingly do our less forgiving. I’m all for letting children shopping online. Nevertheless, it’s something keep their misdemeanours offline, rather that is a major topic of debate today and a than online. growing concern for social media companies A version of this article was previously published in the Telegraph looking to maintain their users. Now, let’s think of children. In the UK, the age of consent is 16, a child cannot drive until they are 17 or vote until they reach 18. Under the UN Convention of the Rights of the Child, Article 1 states that a child is a person aged 17 or under. Article 4 of the UN Convention says that it is the government’s duty to protect children’s rights. Despite this, children well under the age of 17 are expected to make decisions about how their data is used which could potentially affect the rest of their lives. Most children lack the maturity to understand the impact of these online decisions. A harsh conversation gets forgotten over time and so does a fight in the playground, but when you share online, more often than not you live with that shared information (photos, messages etc.) for a very long time. Is it right that children leave digital footprints before the age of 17 which could potentially affect their ability to get a university place, secure their first job or perhaps secure a bank loan? It’s hard to know how this tsunami of personal data is going to be used in the future but to be safe,

25 CURRENT AFFAIRS AND INDUSTRY NEWS

funk – reaching out to a forgotten target group Margret Albers

Background not to be aired on a linear TV for the programme with the In 1997, the children’s channel channel but online, to reach the long working title “Das junge Der Kinderkanal (KiKA) was target group where they could Angebot von ARD und ZDF” is launched in Germany as a be found. approximately 44 million euros. joint venture of the two public To develop the content broadcasters ARD and ZDF. resources, not of the children’s What is funk? Discussions about an additional and youth department, but of Neither its name nor any format youth channel developed and the “young” radio stations of details were made public before in 2008, the then MDR Head the ARD, a team was set up funk’s launch on 1 October Udo Reiter made it a conceptual to keep in regular touch with 2016. Then, the veil was lifted discussion within the public the target group, involving and the first public service broadcasting system. After all regional broadcasting content network started with much negotiation, in October corporations within the ARD 40 formats: online-only content 2014 the prime ministers of and the ZDF. The head office on social networks and third- the regions greenlighted that is in Mainz where a staff of party platforms, including ARD and ZDF should develop 40 manages the network of Facebook, Instagram and content for the target group of editorial departments and Snapchat, for 14- to 29-year- 14- to 29-year-olds; content producers. The annual budget olds. Web videos make up 90%

26 Children’s Media Yearbook 2017 StarStarSpace © funk von ARD und ZDF, fotographer: Kathrin Fricke Images: Kliemannsland © funk von ARD und ZDF, fotographer: Stefan Behrens, Wishlist © funk von ARD und ZDF, Outside the Club. fotographer: Vien Tran-Van. of the content, and established YouTube creators as well as newcomers were given the chance to create content to inform, engage and entertain the community without commercial and political influence or product placement. funk has a public service mandate, which means it has very clear responsibilities according to the broadcasting treaty. Since no user is supposed to be forced to use social media, the entire portfolio is available on the funk website (www.funk.net) and via its app. There, the user also has access to licensed series like Orange is the New Black, Dr Who and Class.

Formats The portfolio now consists of 60+ social media channels with a remarkable variety. “StarStarSpace” is a quirky animation spoofing popular Space Opera Success by well-known YouTuber Coldmirror. Collaboration with well-known YouTubers Fynn Kliemann, do-it-yourself enthusiast and giving young talent a chance has meant and prominent YouTube persona, turns remarkable success for funk. In the first “Kliemannsland”, a derelict farm in four months of its existence, the content northern Germany, into a centre of fun, network has aggregated 103 million views art, music and food. You can follow his on YouTube, 44 million on Facebook and progress on YouTube, Facebook, Instagram a community of nearly 3 million YouTube and Twitter or simply pay him a visit and and Facebook subscribers. help out. “Y-Kollektiv” is a group of ten The mystery web series “Wishlist” is a reporters producing Facebook reports on good example of funk’s support of talented topics like factory farming or illegal refugees young people. Marc Schießer, Marcel in Europe. Since March, funk has helped its Becker-Neu and Christina Ann Zalamea younger target group with homework with pitched their twenty-first century version the “musstewissen” (gottoknow), YouTube of Stephen King’s Needful Things, in which channel, which features a different topic not an antiques shop but an app leads a each day, from maths on Monday to physics group of teenagers to their doom. on Friday. The team, which has previously created shorts and YouTube channels, were given

27 CURRENT AFFAIRS AND INDUSTRY NEWS the green light and a budget of reactions from the community, creativity, complete with music 170,000 euros for 170 minutes both in a positive and negative and art studios, restaurants, of programming. Whilst sense. On the one hand, we room for activities such as shooting, they founded their were confronted with all the wake- and skateboarding and company Outside the Club. The hate that YouTube Germany accommodation for people ten-episode series is original, had to offer, amongst other who are interested in joining suspenseful, well produced things because we portrayed a the project. ‘Kliemannsland’ and turned out to be a firm young woman wearing a hijab. embodies so many things that favourite for all – “Wishlist” But reading the discussions in are important to us, such as has 122,000 subscribers on the comment sections under our art, music, our network and a YouTube and is the recipient of videos and especially people place for a community to come a German television award and standing up for us or offering together.” a Grimme Award (the German constructive criticism is a Emmy). Furthermore, the series really cool feeling. Our biggest What are the is nominated (with eight other learning from this is that you challenges for the funk formats) for a Webvideo cannot force discourse, but next seven months? award, the biggest media award have to let it happen organically “This first year of funk is in Europe for web videos and through choosing topics that all about strengthening our social media. The second season are relevant in and for the network. Since we are not a has also been commissioned. community.” TV, radio or online channel, It will be interesting to see it is impossible for users to what will happen in the coming Is there a format you are accidentally zap into our months. Will funk continue to especially proud of? programme while channel- focus on its formats and remain “Singling out one format is hopping. In order to reach in the background or will it not easy, considering that since viewers, we need to use start to become a trusted brand October we have launched 60+ Facebook timelines, YouTube in itself? social media channels with videosuggestions, Instagram original content, including feeds and Snapchat stories, for Three questions for investigative journalism which having a network with Florian Hager, managing formats, the first ever snapchat a strong community plays an director of funk telenovela and a news bot for integral role. Once we have funk was launched on 1 Facebook Messenger. However, strengthened our network and October last year. Wrapping up if I had to choose one it would built up communities for every the first seven months: probably be ‘Kliemannsland’, format, we plan for the brand a format that focuses on the to play a greater role within our What surprised (granted, slightly chaotic) formats.” you the most? reconstruction of a desiccated “After launching, the thing farm in northern Germany and that surprised us most were the turning it into a playground of

28 Children’s Media Yearbook 2017

Beano Relaunch Emma Scott

Beano Studios is the new entertainment powerhouse for kids (aged 6–106!), inspired by the legendary comic and its brilliant characters. The challenge we’ve undertaken is to spread the Beano spirit of adventurous, rebellious mischief, where thinking like a kid is celebrated worldwide.

We’re powering our mission with a new, free web destination, beano.com; the Beano app; major new broadcast initiatives, plus other expansive projects in the world of film, television, live entertainment, toys, games and clothes. We’re going to be loud and proud, sharing our journey via exhibitions and exciting collaborations with some of the world’s top creators and brands.

29 CURRENT AFFAIRS AND INDUSTRY NEWS

We’re creating new, engaging Studios. Our mission? To and tested, top-secret Beano touchpoints every day and, so inspire the whole world – magic to cast amazing new far, it can all only be described just seven billion people – to spells. as being “SO Beano”. embrace the Beano spirit and Our new talent quickly Let me explain. It’s a simply “Think More Kid”. bought into the baked-in Beano complicated world out there Doing so will make everyone advantage, bought and paid but we plan to deliver confident feel SO Beano, I promise. for over nearly eight decades of clarity and set a new standard We have expanded our intense creative development. of behaviour for everyone. capacity to create more fun, It’s staggeringly simple: Beano. From now on, any person, thing more often for more people. Knows. Kids. or behaviour that is inherently We realized the surest way to It always has. Millions of awesome should be described achieve this was to share our fan letters and tens of thousands as SO Beano – a brilliantly core comic team’s editorial of school visits have guaranteed bonkers badge of honour, and secrets with a larger team of Beano creators developed an a recognition of commitment to creative geniuses. We needed innate ability to “think kid”. sharing the true Beano spirit. a bigger Beano boat and we I have learned that there This spirit has inspired our needed to row it even faster. is an unwritten contract. current metamorphosis from Our expanded team brings To “work” at Beano means an established publishing force wide-ranging expertise across committing to a powerful and into the fledging, multichannel multiple kids’ entertainment positive sense of shameless creative force that is Beano formats so they can use the tried immaturity, enabling you to

30 Children’s Media Yearbook 2017

remain fearlessly young at heart. invented an entirely original experience, we had to move All I can say is … BOGEYS! platform with Beano.com. outside the comfort zone of our Thinking like a kid isn’t Beano.com is our daily feed existing characters and story- rocket science. We’ve all been of fun, designed to make every telling formats. In widening the one. I assure you that, at Beano child feel happier, funnier and range of content we produce, Studios, we all still are. But how more inspired, whether for two we’ve been able to engage more many “real” grown-ups still minutes or two hours. From kids, who in turn have informed regularly try it? original and funny animations, other parts of our development. The truth is, it’s an attitude to brand new scripted comedy, For example, girls who that powers everything we do. boredom-busting makes, viral weren’t already regular readers It’s the way we think that’s trends, toy reviews and weekly of the comic told us they fundamental in powering Beano drawing tutorials, Beano.com expected a wider range of for future generations. We call it is jam-packed with multiple content. Brand awareness of the science of “thinkidability”. original video strands. It’s also Beano amongst girls aged 6–12 It’s sort of a science “fiction”, bursting with thousands of, has increased from 42% to technically speaking, in that frankly, quite random GIFs, 62% since we introduced more we totally made it up, but bear illustrations and animations that variety across both our digital with me as I explain… riff off the hottest playground offer and the weekly comic. Kids have a definitive trends and make our audience Since the launch last way of assessing things. They (and us) LOL. September, we’ve enjoyed an make quick, honest, insightful We encourage digitally increase in digital downloads of decisions, without fear or native kids to be active too, the weekly comic, news stand favour. So, Beano or No Beano? giving them the skills to execute copy sales and subscribers. That is the question! Anyone the perfect prank, take part in Overall brand awareness has who thinks like a kid can a daily drawing challenge, and also increased across kids make that call on anything. flex their brain-power with a and adults. We’ve proudly If you apply it to creating range of puzzles, quizzes and sponsored The Simpsons and amazing content, products and polls. Futurama on Sky 1 during this experiences, it’s a powerful tool. The free app version has period, which has accelerated Reflecting on today’s some sneaky extra features, early growth. entertainment landscape, it’s such as the prank-tastic Of course, we also unsurprising that digital is the Beanocam and a secret sound celebrate our much-loved Beano first area we focused upon. shake effect – I dare you to characters across digital, with We identified opportunities to try it in one of the quieter profiles, comic strips, and heaps quickly expand our reach via sessions this week! Be brave of archive video. Plus, if you’re entirely free digital services on like we have, another tenet of really eagle-eyed, you might just Beano.com, YouTube, PopJam thinkidability. spy the brand-new CGI Dennis and social media. What was To attract a new kid and Gnasher ahead of their TV surprising is that we effectively audience to the wider Beano debut on CBBC in November

31 CURRENT AFFAIRS AND INDUSTRY NEWS

their way (where pranks played at Bash Street School, rather than deadly weapons, are the new focus!). Meanwhile, through all the buzz, Beano continues to wow in its original format. A copy is sold every 17 seconds in the UK and Ireland. Almost 400,000 readers enjoy 36 pages of entirely original comic content every week. Over 2017. It’s an eyeball-smacking you can read about them in the 20,000 faithful subscribers – CGI re-imagination of our most comic already. up 15% year-on-year – can’t famous characters’ adventures, Cinematic CGI delivers be wrong when they pay us the 52 episodes staying true to compelling eye candy. However, the ultimate compliment and the ethos of the comic story- it’s the adventurous stories and commit precious pocket money telling, using two former Beano sheer funniness that make this up front. editors as script consultants, unique. It’s packed with multi- We’ve also created the with loads of additional layered humour, so kids of all world’s no.1 selling annual for hilarious dialogue and visual ages and grown-ups too will nine out of the past ten years. gags. find plenty to enjoy. This, despite competition from The CGI is cutting edge, The expansive scope of the superpowers like Star Wars and giving a truly cinematic look stories has generated exciting LEGO. Only One Direction and feel. Our production team play patterns, which our new sent annual purchasers in the have produced what they global licensing program wrong direction – and, let’s face proudly describe as “mini- will help fans engage with. it, they’ve not matched us for movies”: beloved creations There is role-play and vehicles longevity… designed to stand up to repeated and action figure ranges, as Beano Studios is definitely high definition viewing. well as the usual pranks and travelling in the right direction, Dennis looks different mischievous gadgets typically faster than Billy Whizz! from the comic, but he’s born associated with Beano. Thinkidability is the secret to out of concept sketches by Our growing consumer guaranteeing you’re SO Beano. comic artist Nigel Parkinson, product range has applied So, try it for free at Beano.com, who worked with animators thinkidability to tried and right now. on character and background trusted family favourites with design. Two brilliant new brilliant new Beano versions of characters, Rubi and JJ, join Guess Who?, Monopoly, Top Dennis on his adventures, and Trumps and even Cluedo on

32 Children’s Media Yearbook 2017

Children’s Content – Addressing its Decline in Public Service Broadcasting Anne Wood CBE

For most British millennials, childhood memories are devastating on multiple levels. interspersed with fond recollections of the television Not only have children become that was dedicated to them. From Rosie and Jim, one of the most underserved Teletubbies and Fireman Sam through to Grange demographics in public Hill, Art Attack and Sam and Mark’s TMi, in the 90s television, but a vast swathe and early 00s public service broadcasting offered a of the production industry, truly diverse range of original programming to young and thus the British cultural audiences. The content was not only enriching, but industry, has been affected. reflected their native cultural experiences, because it As the founder of the Ragdoll was home-grown. It became an essential component Foundation and one of the of the British cultural digest. founders of the Save Kids’ Content campaign, I believe the And yet, the number of to advertising rules and public solution must lie in proactive, new British-made children’s service broadcasting licences legislative intervention. programmes has been in sharp were made in the early 00s. Historically, public service decline since legislative changes The repercussions have been television for children has

33 CURRENT AFFAIRS AND INDUSTRY NEWS always been provided by the million in revenue, and sold programming, thus alleviating BBC, ITV, Channel 4 and £50 million in merchandising. PSBs of any requirement to Channel 5. The Broadcasting It is undeniable that children’s broadcast it as part of their Act of 1990 required television has become a core licence agreement. Since then, commercial public service component of British cultural spending on the genre among broadcasters (PSBs) to devote exports, stimulating the PSBs has seen an average year- specific amounts of time to production sector. Moreover, in on-year decrease of 13% in real children’s broadcasting, and the words of Professor Jeanette terms, falling from £196 million this accounted for the healthy Steemers, “before Teletubbies, in 2004 to £89 million in 2015. level of children’s content across preschool television was rarely This decline was compounded the channels which millennials considered a good international in 2006, when Ofcom issued remember. Although this act prospect.” But, as Professor an advertising ban on foods initially came under fire for Steemers has argued, “for with high fat, salt and sugar posing a potential threat to the BBC these programmes levels (HFSS) during children’s commercial broadcasters’ constitute a brand, which has programmes. Though an share of this market, in the end a value in ancillary rights, and important ruling for children’s the competition bred by this a long shelf life, as a new child health, the ban further reduced requirement helped drive both audience emerges at regular revenues that PSBs could make the public and private sector intervals. These shows are on newly commissioned or to produce some of their most also valuable to other public in-house children’s content. As memorable and commercially service broadcasters, who on a result, less than 1% of the valuable content. the basis of certain conditions children’s television currently The children’s production … are allowed to participate available for UK children is sector subsequently accrued a from merchandising and made up of original, first-run, huge value overseas in selling licensing receipts.”1 Not only British programmes – the the UK brand, with global has children’s programming rest are repeats and foreign successes such as Channel 5’s strengthened the public image imports.2 Peppa Pig, CBeebies’ In the of PSBs, it has given them access The decline has created Night Garden, CBBC’s Horrible to new audiences at home and a situation whereby the BBC Histories, the BBC’s Doctor abroad. has the default monopoly Who, CITV’s Adventures of In 2003, the on producing children’s Paddington Bear … the list Communications Act goes on. Teletubbies, first aired downgraded the children’s 2 Jack Blumenau, “Children’s Media Regulations: A report on the BBC in 1997 and one genre from Tier 2 to Tier 3 into state provisions for the of the frontrunners of this protection and promotion of home-grown children’s generation of programming, has 1 Jeanette Steemers, “Public media”, Save Kids’ TV service broadcasting is not (April 2011), http://www. been shown in 120 countries dead yet – survival strategies thechildrensmediafoundation. and in 45 different languages. in the 21st century”, RIPE org/wp-content/ Conference (Finland, 2002), uploads/2012/10/SKTV- It generated a reported £200 http://ripeat.org/library/ competitor-territory-research- steemers.pdf, p. 8. post-final-updated-24.4.11.pdf

34 Children’s Media Yearbook 2017

programming, a cosy consensus is thus an undeniable demand fact, its revenue from sources that has suited providers no for high-quality children’s other than advertising has longer obliged to commission content among PSBs, and increased, from 40% of its children’s content. In 2015, the little justification for children total revenue in 2009 to BBC broadcasted 82% of all becoming one of the most 49% in 2015.4 In December PSB children’s programming underserved demographic 2016, ITV also reported a and 87% of all original PSB groups. Certainly, online total revenue increase since children’s programming within streaming providers are a 2015 of 11% and consistent the UK on its two children’s growing presence on TV net advertising revenue of channels, CBeebies and CBBC. screens, particularly in genres £838 million – a state of rude Together, CBeebies and CBBC that are being underserved financial health by any measure, have consistently accounted for by PSBs. But even though which would leave room for over half of all children’s output the support of independent more philanthropic projects. on PSBs since 2002. Conversely, children’s production by Furthermore, both the creative between 1998 and 2015, online service providers is to industry and the government Channel 4’s annual output be encouraged, PSBs have a recognize the inestimable fell from 971 to 311 hours, responsibility to carry at least benefits of cultural exports and ITV’s from 1,005 to 325 equal weight in their provision in the aftermath of Brexit; hours, just 42 of which were of children’s programming. evidence of growing markets first-run and UK-original.3 The Spending on children’s for British film and television proliferation of online media programming by pay-per-view exports from China to Chile platforms over the past decade platforms, such as Sky and suggests that Britain’s “soft has also meant that children Disney Channel, has also fallen powers” are worth investing are consuming an increasing by 40% in real terms since in.5 And yet, shifts in the culture amount of content online, a 2004, while Netflix has only and mission of PSBs towards side-effect of which has been recently started to invest in a more pragmatic, market that the concurrent decline in the genre, commissioning just live broadcasting for children a handful of original British 4 Lord Puttnam, “A Future for Public Service Television: has largely been overlooked. children’s programmes so far. Content and Platforms in a And yet, television viewing The argument that Digital World” (June 2016), http://futureoftv.org.uk/wp- remains strong, with 87% of children’s programming content/uploads/2016/06/ 4- to 15-year-olds still watching threatens commercial PSBs’ FOTV-Report-Online-SP.pdf, pp. 46-47. live broadcast. Many parents do advertising revenues doesn’t 5 “Brexit Report: The impact not have the disposable income hold. ITV’s reliance on of leaving the EU on the to invest in subscriptions to advertising revenue from live UK’s arts, creative industries and cultural education – non-PSB competitors, such as broadcasting is diminishing, as and what should be done”, Creative Industries Federation Sky and Virgin Media. There new sponsors and the sale of (October 2016), http://www. advertising on its on-demand creativeindustriesfederation. com/assets/userfiles/files/ 3 PSB Annual Research services have increased. In Brexit%20Report%20web.pdf, Report 2016, Ofcom (July 2016). pp. 49-53.

35 CURRENT AFFAIRS AND INDUSTRY NEWS ideology, wherein “audiences backing of government and is effectiveness in reviving are targeted as consumers now law. This is a watershed UK children’s production rather than citizens”,6 seem moment for the future of will depend on the precise to have prevented PSBs children’s television, because conditions Ofcom will set out from remediating the dearth the legal change will give the for PSBs. It will now be up to in content aimed at less broadcast regulator Ofcom the children’s television industry immediately lucrative audiences, the power to charge PSBs with to come together and ensure children among them. investing more in UK-made that negotiations between In light of these children’s productions. This Ofcom and PSBs yield as developments, Save Kids’ new regulation is designed to much for the genre as possible. Content decided that neither make broadcasters negotiate Specifically, this means that the children nor the British an appropriate settlement production industry will have production industry could wait for children with the media to work together with Ofcom to any longer for market pressures regulator. The new powers come up with criteria that will ALCS is a membership to correct the situation. Given have the backing of the push PSBs far enough. organisation run by writers, that the government’s changes Producers Alliance for Cinema To that end, the Ragdoll to legislation in 2003 and 2011 and Television (Pact) and Foundation and Pact will for writers. had such a significant impact are intended to reverse the be hosting a reception in on the landscape of children’s significant decline in UK-made Parliament on 12 July. This television, it was time to seek children’s programmes that has event will be an opportunity its support in helping to save nearly become terminal in the to bring parliamentarians and Since 1977 we have paid over £450m to the genre’s future. After months past decade. experts from the children’s of campaigning, the Digital The new clause now production sector together writers. Economy Act now includes new included in the Digital to celebrate this significant powers for media regulator Economy Bill will provide step forward for children’s Ofcom which will prove a Ofcom with the flexibility to programming, start a dialogue Join 90,000 other writers in the vital lifeline to the UK’s ailing consider appropriate levels of on the scope of Ofcom’s children’s production sector. An programming in consultation new powers, and highlight UK and across the world and amendment, originally tabled with the broadcasters, with the economic and cultural by the Liberal Democrats’ the help of public and industry opportunities of a revived become a member. Baroness Floella Benjamin consultation. This will, in children’s sector. (former presenter of Play effect, restore children’s Find out more >> www.alcs.co.uk School), Baroness Bonham- programming from Tier 3 to Carter (cousin of the actress Tier 2 programming, because Helena Bonham-Carter) and meeting these criteria will be frontbench Labour Party a condition of PSBs’ licence Spokeswoman Baroness Jones agreements. While the passing AUTHORS’ LICENSING AND COLLECTING SOCIETY of Whitchurch, received the of this legislation is cause for celebration, its material 40 YEARS OF PROTECTING AND PROMOTING 6 Steemers, p. 3. AUTHORS’ RIGHTS 36

children's media foundation ad.indd 1 24/05/2017 08:26 ALCS is a membership organisation run by writers, for writers.

Since 1977 we have paid over £450m to writers.

Join 90,000 other writers in the UK and across the world and become a member. Find out more >> www.alcs.co.uk

AUTHORS’ LICENSING AND COLLECTING SOCIETY 40 YEARS OF PROTECTING AND PROMOTING AUTHORS’ RIGHTS

children's media foundation ad.indd 1 24/05/2017 08:26 Research

Can Reading Improve Children’s Self Esteem? Dr Barbie Clarke and Alison David

Background Over the past 12 months, 15 diverse families were given the challenge of reading together, to see whether they would be “open” to continuing, and the effects it might have on their children.

Following last year’s “Print Matters” reading to their children less continues. In report, Family, Kids & Youth and Egmont 2016, there was a noticeable year-on-year Publishing teamed up once again, this decline in parents reading to pre-schoolers, time to explore whether an intervention, and a drop in children aged five and up designed to encourage children to read with reading to themselves. their parents, would result in a greater love of reading. The project was supported in its The Reading Challenge Research early stage by bookseller Foyles. Using a mix of ethnography, telephone Concern is frequently voiced over the interviews, focus groups and behaviour declining ability of children to read, as change questionnaires, 15 families were their use of tablets and other digital devices recruited in Bristol, Birmingham and increases. The latest research from Nielsen Stratford, East London. shows that while the children’s book Egmont Publishing, one of the market in 2016 was up again year-on-year best-known children’s publishers in the (+2%), the downward trend of parents world, wanted to explore, along with

38 Children’s Media Yearbook 2017

Family Kids & Youth, the effect that an intervention would have in encouraging children and their parents to read. Families with children aged 7–9 (the age at which reading commonly declines) were asked to read together for 20 minutes each day throughout the summer holidays. We visited them at the beginning and end of the holidays and halfway through, the families took part in a “reading challenge” group session in branches of Foyles at each location (Bristol, Birmingham and Stratford East). Each week, families could visit their local Foyles and exchange vouchers for a book, chosen by the child. They found this process extremely helpful, as members of staff were able to advise children on books they might like to read next. At the beginning of the intervention in July 2016, we asked parents and children to each complete an online behaviour change questionnaire, repeated at the end of the summer holidays. Further interviews were carried out in October half-term, including a behaviour change questionnaire, and again in January 2017. We have since they haven’t found time to do this before. followed the families every two months, and While some of this tailed off over the hectic will continue to do so until July 2017, by Christmas period, all families now make which time we will have worked with them time to include reading in their day. Some for over 12 months. parents even reported that they had begun to read novels themselves, and found this So, what have we found so far? a welcome and relaxing experience. At the The families and children taking part in beginning of the challenge, many admitted the challenge have found it to be a positive to feeling somewhat intimidated by the experience, and all 15 families remained notion of visiting a bookshop, and reading with the project from July 2016 through aloud. However, they were surprised at how to Easter 2017*. The perceived benefits friendly and relaxed the visits could be. of reading together include quality time Significantly, there has been an together, with mums often wondering why increased level of confidence and sense of

39 Research autonomy on the part of the children. This was reflected in feedback from schools, which had a big impact on the children’s self-esteem. Both children and parents reported that teachers cited a notable increase in children taking an active part in lessons, a greater willingness to answer questions, and an improvement in reading levels. Children became sufficiently confident to choose their own books, no longer relying on school or parents to make the choice for them. * just one family has dropped out in this period, due to a family move

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The Reality of Virtual for Kids Alison Norrington

“To infinity and beyond!” Buzz Lightyear, Toy Story technology has finally caught up, offering experiences and stories in virtual reality. Stories take us on journeys to faraway I remain an excited sceptic about VR lands. From SpongeBob’s quirky Bikini – excellent story-telling and experience Bottom to Harry Potter’s Hogwarts; Enid design are challenging at the best of times, Blyton’s ever-changing worlds atop the and specifically around content designed for Magic Faraway Tree to the magnificent children. As someone who has had a series Pandora of Avatar, stories enrich our of headsets pushed onto my face over the world and bring fresh perspectives to the last three years, only to be overwhelmed, complexities of life. They are fundamental nauseated or disappointed, I was delighted to human growth and critical in child to be asked to be the executive producer of development. Escaping from reality and the VR thread at CMC. learning by example through diving into The birth of any new industry magical fantasy worlds is as old as time. brings caution along with a “gold rush” For decades, we have imagined a future excitement and it’s important that we in which we might transport ourselves into responsibly acknowledge that VR for a 3D virtual world, and until now theme children has arrived. VentureBeat stated parks were the place for full, if fragmented, in December 2016 that by 2020, global immersion into a story world. Now, revenue from VR “media entertainment”

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content will total $2.8billion, and at the VR to kickstart thinking about immersive World Congress in Bristol, Roy Taylor of technologies and children, policy on VR AMD (Advanced Micro Devices) advised and kids, creative story-telling and best that we all “plan not for where you think practice models along with the potential VR tech is now, but how it will evolve over for revenue driving business models. the next three years”. With headset age restrictions and no Discussion among advocates, naysayers PEGI (Pan European Game Information and cautious advisors often focuses on the rating system) equivalent; the exciting age restrictions of VR devices. There is a opportunities for animated story world 13+ limitation on Oculus Rift and Samsung environments and the challenges in creating Gear, PlayStation advises that children for children along with hints and tips for under 12 shouldn’t use a PlayStation VR exploration, acclimatization, safeguarding and, whilst there is no age specified for and suitability, you can bet there’s a lot to the HTC Vive, there is a warning against discuss. young children using one. Google stands by the 13+ restriction for Daydream, advising Beyond the “Empathy Machine”: “adult supervision” when it comes to Expectation vs. Reality Cardboard and putting VR into schools Let’s get real – the hype of VR as an with the Expeditions. Whilst there are “empathy machine” is a long shot. VR many reports praising the benefits of VR simply can’t elicit true empathy; you for children with learning disabilities, along can’t automate it. VR doesn’t remove with their educational and therapeutic the problems of gaze, helicoptering and effects, it’s evident that the field requires privilege. It can create a sense of temporary further discussion, testing and research. confrontation, proximity, and intimacy – all falling short of empathy. However, there’s “Adventure is out there.” no denying that, done well, VR creates a Ellie, Up strong illusion of embodiment, agency and evocation. VR is filled with possibilities, buzzwords As an ancillary story-driven experience and cautionary tales. It’s clear we’re in to existing IP, Cartoon Network’s I See a fast-moving industry, but as fast as Ooo is a VR experience accompanying technology evolves, VR remains a story- Adventure Time, viewable through Google telling experience medium in its infancy. Cardboard. Framestore launched Fantastic Regardless of opinions around kids’ use of Beasts VR to delve into Newt Scamander’s VR, this is happening and there’s zero value magical world, inspired by J. K. Rowling’s in sticking our heads in the sand. latest tale. It endeavours to make the user The VR sessions at CMC are feel like the protagonist: a wizard with conversation starters, an attempt to sift the a wand in hand, able to cast spells and hype from the hip across a trio of sessions control the environment.

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Google Expeditions offers a more social magician, gathering techniques to guide educational experience as students explore the viewer towards creating an experience. coral reefs, Brooklyn or the surface of Mars Sleight of hand meets sleight of mind. The through Google Cardboard, taking field fact is that with VR, the stories are locked trips right from their classroom with their behind a device, requiring a sequence of teacher as their “guide”. A truly shared steps by the viewer/user/player. The barriers VR experience can be seen with Samsung to entry are high, which means the pay-offs Bedtime Stories, allowing parent and child should be more than worth the effort. to connect across distance. As original IP VR story-tellers, Penrose “Anything can happen if you let it.” Studios continues to create Pixar-worthy Mary Poppins story worlds with shorts Allumette and The VR panel on policy will raise questions more recently the beautiful Arden’s Wake, around external vs internal regulation while Oculus Story Studio won the first VR and key factors for best practice. Whilst it Emmy for Outstanding Original Interactive may be early to discuss best practice, the Program for its short, Henry, before closing industry runs the risk of being regulated its doors and announcing that it will no from the outside, perhaps by those without longer create original content, shifting focus the vision or experience to avoid choking away from internal content creation to off the creativity so desperately needed support more external production. to assess the way forward. Our panel of researchers, child psychologists and story- “Imagination is the only weapon in tellers will discuss industry standards as the war against reality.” well as the evidence and results of early Lewis Carroll, Alice’s Adventures in testing with children, along with the short- Wonderland and long-term physical side effects, content An elegantly designed VR experience moderation and suitability of content. incorporates the fundamental pillars of a It seems that the safety of VR varies great story, from set-up to inciting incident, by the type of content and time spent using quest, return and resolution across three it, as well as the considerations of each acts – the timeless form based on structure, individual child. There are valid caution pacing and rhythm. triggers around VR for children: immersion, Interactive story-telling tools are addiction, cognitive overload and more, baked into a great VR experience along which may be solved by design structures with additional theories from architecture, such as duration, replayability and story- psychology, behaviourism, story-telling, centric interaction. This could mean that sound design and more. If the role of a VR headsets may be less of a problem than transmedia producer is often likened to that books or smartphones and it’s possible that of an orchestra conductor, then creating creative structure will play a significant VR could be compared to the work of a role in the safe and optimum experience for

43 Research children in VR. is paramount as we travel into this new frontier. There is a code of ethical conduct “This isn’t flying. This is falling with that comes with smart and responsive style.” design thinking and the effects of long-term Buzz Lightyear, Toy Story immersion and illusions of embodiment will Creatively, we need to continue testing help to determine best practices and avoid and failing, fast. The VR creative session risky content. will bring to light existing work and Although it is developing at breakneck best practices along with the challenges speed, technology still has some distance to and possibilities of creating for this go, and the role of AR/MR is perhaps more environment. When the content is device crucial in the short-to-medium term for dependent, issues such as onboarding and both the consumer and corporate markets. acclimatization centre around design, and What is clear is that VR/AR/MR are not when you have children as young as eight just passing fads – over the next three to five recounting their VR experiences as if they years we will see these technologies appear really happened, it’s worth looking at how in a broad variety of contexts, both inside to manage expectations and attempt to and outside the home, with the potential to solve some of the concerns through thinking reshape entire industries. about design. We need to establish best practices: blending ethics, great design and immersive, “Giving up is for rookies.” engaging stories with robust business Philoctetes, Hercules models. As cautious as many are about kids Of course, “show me the money” is what and VR, lots of us are rushing towards VR catapults any new form of entertainment with excitement. I remain an excited sceptic, and content creation from an indulgent with a huge sense of responsibility to create hobby to a tangible proposal. The VR safe and engaging story experiences for business session will look at the pipelines children (and adults), convinced that design of business models for children’s VR, from can alleviate many of the concerns, coupled discoverability, marketing and onboarding with story experiences that under-promise to distribution and monetization, bringing and over-deliver. experience from the gaming and app worlds. Without a business model behind “If you walk the footsteps of a VR, it loses both its glittering allure and its stranger, you’ll learn things you credibility. never knew.” Pocahontas

The Way Forward There is both excitement and fear around VR creating a strong sense of illusion and embodiment. As such, due diligence

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Can You Grow An Open Mind Through Play? Rebecca Atkinson

2016 was a big year for diversity in the toy box. Lego role models in our culture. issued the world’s first mini-figure with a wheelchair If they never see themselves and disabled characters were included for the in stories, films, toys, then first time in the Lego Dimensions computer game, they may feel like permanent Fantastic Beasts and Where to Find Them. Playmobil outsiders in the world.” is also said to be developing a line of disabled When a disabled child characters following a change.org petition signed sees themselves represented in by over 50,000 people, and Lottie.com dolls will be mainstream toys and media, releasing a doll with a cochlear implant in response they see that they matter, that to the viral #ToyLikeMe campaign later this year. they are important in society and are part of the fun and Until now, the toy industry has disabled children are at an games, which increases self- perhaps made the assumption increased risk of low self- esteem and has a positive that disabled toys are for esteem. Tom Shakespeare, effect on development. But is it disabled children, therefore Professor of Disability Research possible that there are further representing a niche market. at the University of East Anglia, benefits? Can disabled toys This would certainly explain explains that “low self-esteem help to open the minds of non- the dearth of representation in can occur because of the disabled children? the toy box to date. reactions these children face in David and Victoria Research has found that daily life and the lack of positive Beckham’s daughter Harper

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Images from #ToyLikeMe photography exhibition Toy Box Tales, currently touring UK hospitals. was pictured in August 2016 said in a BBC interview. “We minds are solid arguments for carrying a toy wheelchair measured children’s intentions increasing representation in through LA airport, prompting to make friends before and after the toy box, but how do you the Daily Mail’s Sarah Vine they’d played with disabled square this with the commercial to write a column entitled “Is characters and we found that demands of the market? If, as it healthy to give a child a children were more willing to Dr Jones’ research concludes, disability doll?”. Dr Sian Jones, make friends with a child with it’s possible to educate a psychologist and academic a disability after playing with a generations of children to have at Goldsmiths, University of wheelchair-using toy.” a more open mind by playing London, has been asking the The study, which involved with diverse toys, the market same question in a research hundreds of children, found could far outstrip the perceived project conducted at London’s attitudinal change after “niche” that is disabled Science Museum. Dr Jones just three minutes of play, children and their families. looked at the attitudes of which Jones argues could be Every nursery, childcare non-disabled children to their “profound, because it represents setting and primary school in disabled peers before and a cheap and easy intervention to the world could present as a after playing with disability combat prejudice.” consumer. representative toys. Disabled children growing facebook.com/toylikeme “There was a positive positive self-esteem and non- Twitter: @toylikeme effect on interactions,” she disabled children gaining open

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Rethinking Toddlers and TV Cary Bazalgette

“The cinema, under wise guidance, may be made a Google gave when I tried this powerful influence for good; if neglected, if its abuse search, but I am prepared to is unchecked, its potentialities for evil are manifold.” bet that virtually all of them lay somewhere on this “risks and The Cinema: Its Present Position and Future benefits” spectrum. It frames not Possibilities, p. xxi only a social media discussion National Council for Public Morals (NCPM), 1917 of children and TV, but also academic research on the Try an online search for the like; others will favour the topic – at least in Anglophone “toddlers and TV”. The results “influence for good” end of the countries. It has now extended will indicate that attitudes spectrum, asserting that children beyond TV to include a wide to screen entertainment for learn things from TV that help range of cultural forms and children haven’t changed much their language development and practices, which all get lumped in 100 years, since the above “school readiness”, or that it together under technological NCPM pronouncement. Many gives parents a break and it’s terms like “screen” or “digital” of your search results will harmless fun. and are assumed to present risks veer towards “potentialities I’ll come clean and confess and/or benefits to children. for evil”, citing obesity, brain that I haven’t actually analysed We thus have an agenda damage, ADHD syndrome and all the 34,300,000+ results that that is stifling proper discussion

47 Research about the specificities of these with others, physical dexterity, flat of the hand. Frowns, deeper different forms and practices, symbolic forms such as letters breathing and pursed lips would about the varying quality of and numbers, narratives, jokes indicate heightened attention content, and how children – and, I would argue, how to and sometimes apprehension. engage with it. It is an agenda make sense of films. You could interpret that is demeaning to children, As many scholars have this behaviour as evidence framing them either as victims admitted, the only way to of distress, anxiety or or beneficiaries, while neglecting overcome the difficulties of incomprehension if you were their achievements in figuring studying two-year-olds is viewing it through a “risk” out how to understand a wide to do it in the home. Like lens; I was not. In any case, range of densely multimodal some significant predecessors I knew these children well, media. Learning how to play (Darwin, Piaget), I studied and they were in a familiar Toca Dance on a smartphone, my own family: my twin environment – factors that, and learning how to make sense grandchildren – a girl and a I argue, are essential for of, say, Uncle Grandpa (Cartoon boy – for 20 months, starting understanding two-year-olds’ Network) each demand complex when they were 22 months old. everyday activities. The twins – and very different – sets of I observed and videoed their were sometimes frightened or skills, most of which children viewings of TV programmes apprehensive. For example, learn by the age of four. Just and DVDs of short and feature- when she was just two, Connie because this learning happens length films, accumulating 12 was extremely upset by a rope- early doesn’t mean it is simple, hours of video and reams of breaking incident in Peppa Pig: or not worth investigating. observation notes. Sports Day – not a programme I am interested in how two- The first thing I noticed likely to be high on anyone’s year-olds learn to make sense of was their intense attention to child-protection agenda. But her moving-image media. Two-year- the material that interested response indicated that she was olds are not studied as much them. Seven minutes standing engaged with the narrative arc as infants, pre-schoolers or perfectly still, bracing herself of the programme. schoolchildren. They are harder against the nearest bit of From analysing my video to access (they can’t be reached furniture to maintain her material, I am confident that through clinics or nurseries) balance, is a remarkable thing the children’s focused attention and when you do get access to for a 22-month-old to decide was driven by what the them, they don’t sit in one place to do. The twins had definite, neuroscientist Jaak Panksepp ready to be observed. But the individual preferences about has called the “seeking” third year of life is an amazing what they wanted to watch emotion. He characterizes period in terms of the learning and what to attend to, often this in terms of excitement, trajectories that dramatically standing close to the screen anticipation and investigation, accelerate: verbal language, and occasionally touching it seeing it as the emotion that imaginative play, a sense of in a delicate, exploratory way, “gradually helps cement the personal identity, empathy either with a finger or with the perception of causal connections

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in the world and thereby creates the children’s transferences of to come, identifying characters, ideas”(Panksepp 2004, p. 50). film loyalties: “they suck all enacting familiar routines with I have used embodied they can out of it”, she would their mother, like shouting cognition theory, with its say. out what the very hungry links to neuroscience and Watching my videos caterpillar was going to eat evolutionary biology, in together with the twins’ parents, next. They occupied an aural examining the fine detail of the we agreed that attentiveness environment that included not children’s volatile, emotionally and re-viewing were signs of a only the soundtrack but also expressive behaviour around self-directed learning process, the utterances of other family the TV screen. I found it which included very distinct members: comments, laughter, particularly significant that preferences about what they and emotive sounds like “ooh!” their most intensely attentive wanted to re-view and what and “aha!” This was part of moments were when they they rejected as of no interest. their growing awareness of the were presented with material The criteria that drove their family’s cultural practices, of that was, for them, new and preferences were difficult to which watching TV together unusual in some way. Either identify, but it did seem that was an important element. or both of them might demand their interest was most often However, this did not mean that to see it again, and then be engaged by material that was they always accepted adults’ equally attentive to subsequent at the edge of their capacity to choices about what they might viewings, but would indicate make sense of it. This echoes want to watch. with exclamations and gestures Lev Vygotsky’s comment But what were they when they remembered what on children’s play and its learning? On one level they was coming next and recognized concomitant learning: “in play were getting used to the basic characters or props. a child always behaves beyond “grammar” of the moving Wanting to see certain films his average age, above his daily image, for example changes or programmes repeatedly is a behaviour” (Vygotsky 1978, p. of scale from wide shots to well-known phenomenon with 102). close-ups; eyeline matches; non- toddler viewers, but one that The social context was diegetic sound. Paul Messaris has not been addressed much by another vital element of the argues that many filmic devices researchers. We tend to use the children’s viewing experiences. (such as a cutaway following an language of affect in describing Obviously I was always present off-screen gaze) are easy to learn toddlers’ love of re-viewing, when I was observing or because they mimic instinctive i.e. “he just loves Baby Jake” videoing, but usually at least human behaviour (Messaris or “In the Night Garden used one other adult family member 1994); jump-cuts and other to be her favourite, until she was there too. Either or both devices for the management got bored with it”. But in my children might be sitting on of time in narration are a little discussions about the project someone’s lap, or excitedly harder to learn. with my daughter, she invented sharing pleasurable moments The twins became the term “used up” to describe such as anticipating what was interested in modality

49 Research judgments (see Hodge and humans that motivate us to function” (Trevarthen 1995, Tripp 1986, Chapter 4), mimic, or at least empathize p. 5) and that films are part i.e. considering whether the with, the actions of others. of our culture. So, I think that presenter who says “see you Contradicting the Cartesian the industry should worry less tomorrow” really means it, and separation of body and about making a case for the which bits of a scene mixing mind, this suggests that our educational value of children’s animation with live action are capacity to “map others’ TV, and instead speak from the “real” and “pretend”. Alfie … emotions and sensations heart. developed a fear of endings onto our own viscero-motor References and became extremely adept and somatosensory systems” Hodge, B. & D. Tripp. 1986. Children and Television: A at recognizing the signs of an (Wojciehowski and Gallese Semiotic Approach. Cambridge: impending conclusion, even 2011) is part of instinctive, Polity Press. when he was not fully following early behaviour. It could thus Messaris, P. 1994. Visual Literacy: Image, Mind and the narrative. They became able be not only an important part Reality. Oxford: Westview Press. to re-tell fragments of narrative, of how toddlers make sense of Panksepp, J. 2004. Affective Neuroscience. Oxford: Oxford but I speculate that their grasp TV, but a powerful argument University Press. of narrative formats such as for the importance of TV to Tomasello, M., M. Carpenter, J. quests, tricks and magical toddlers. Call, T. Behne & H. Moll (2005) Understanding and sharing transformations was well ahead A sample of two children, intentions: The origins of of their capacity to express studied by an inevitably partial cultural cognition. Behavioral and Brain Sciences, 28, 675-735. them verbally. grandmother, could easily Trevarthen, C. (1995) The Understanding other be dismissed as trivial stuff. Child’s Need to Learn a Culture. people’s intentions and But parenting sites on social Children and Society, 9, 5-19. goals is an essential part of media are full of observations Vygotsky, L. 1978. Mind in Society: The Development of understanding narrative, but like mine: intense attention, Higher Psychological Processes. Cambridge, Mass.: Harvard it could also be the result repeat viewing, finite phases University Press. of “selection during human of interest, joyful co-viewing Wojciehowski, H. C. & V. Gallese evolution for powerful with family members. Usually (2011) How Stories make us feel: Toward an Embodied skills of intention-reading these are couched in “risk- Narratology. California Italian as well as for motivation to benefit” terms, e.g. “… so it Studies 2. share psychological states must be good for them really”. with others” and therefore Of course, most producers of something that infants and children’s TV believe in their toddlers can do (Tomasello hearts that their work is more et al. 2005, p. 690). This important than that: they know argument is strengthened that “being part of culture is by the discovery of mirror a need human beings are born neurons: structures in the with – that culture, whatever brains of primates and its contents, is a natural

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Fake News dr becky Parry

Media studies, a subject designed to develop eight and nine undertook a children’s criticality, has generally been mocked in the programme of study about UK for years now. The news media and politicians, in news. The story begins in a particular, have termed it a “mickey mouse” subject, classroom in the east of England eroding its value in schools. So much for developing on a very wintery day. The children’s skills to discern, make judgements and children had begun to gather evaluate the veracity of the news. As a former media their own news for a local radio educator, I must be forgiven for my rueful raised broadcast, a simulated news eyebrow when calls are made about teaching children production activity common to recognize “fake news”. This outcry or Twitter- to media education in primary storm was prompted because of the emergence of schools. parody news on social media – so forgive me if I think “A long time ago in a someone, somewhere is missing the joke. galaxy far, far away…”A whoop of excitement travels Trump may have stolen the certainly hard to imagine a time around the class like wild fire. term, but his redirection at when the need to develop public The teacher has just shown the big news agencies in the criticality was more urgent. his class a photo of a UFO US reminds us that all news Therefore, it seems timely to which was “seen” by another is constructed and there are share an account of a research staff member the night before. always “alternative facts”. It is project in which children aged The photo is fictional as is

51 Research the sighting – it’s part of a media educators recognize the going out to do interviews all simulated news production increasing need for media or involved the children spending activity. The children are on digital literacy which enables “money”. The task was to their second day of producing young people to navigate what produce a radio news bulletin a news programme and their Henry Jenkins (2006) describes for their target audience and excitement is not generated as the “new global participatory to make a profit and beat their by the idea that a teacher has culture”. In this activity, focused competitor groups. This may seen a UFO, nor is it disbelief; on news, we aimed to confront seem an unnecessarily complex they are excited because one what Jenkins calls the ethics simulation for a primary class, child has just worked out that challenge, that is to say: but it enabled the children to they can use the story as news. The Participation Gap occupy roles well outside their Throughout the room the The unequal access to the own experience. In doing so, children’s voices announce: “it’s opportunities, experiences, they encountered a series of news”, “we can use it as news”. skills, and knowledge that ethical dilemmas and had to They look for confirmation will prepare youth for full make what Jenkins describes from their teacher who affirms participation in the world of as “Judgement – the ability it, and they cheer. tomorrow to evaluate the reliability This memorable moment The Transparency Problem and credibility of different took place during the Economic The challenges young people information sources”. They and Social Research Council- face in learning to see clearly also had to learn to engage with funded “Developing Media the ways that media shape “Simulation – the ability to Literacy” research project led perceptions of the world interpret and construct dynamic by the Institute of Education The Ethics Challenge models of the real-world”. UCL, which focused on The breakdown of traditional (Jenkins 2006 p. 4). They had learning progression in media forms of professional training to balance the pursuit of truth education. Working with two and socialization that might and accuracy with an economic specialist media arts schools prepare young people for their imperative and they had a strict in the UK and their feeder increasingly public roles as deadline. primary schools, we undertook media makers and community In their roles as news a sequence of learning activities participants gatherers encountering the UFO in collaboration with teachers (Jenkins 2006 p. 3) story, the children were excited that enabled us to teach key During this week of news by what they recognized as a media studies concepts, right production simulation, the bigger item than those they across the age range. It is children took on the roles of had come up with so far which often assumed these sorts of reporters as well as accountants, either copied national news or experiences are superficial advertisers and regulators. resembled a school newsletter. and don’t reflect what really A cost was attached to all At this point they did not worry happens in the news-room. activities – resources (laptops, about the veracity of the story However, internationally, stationery), training and – they had a strong ability to

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suspend disbelief. However, they to blow up, it does”. Matthew raising questions about the were also developing an explicit got to rewrite his story but his moral judgements of journalists understanding of magnitude as group had to pay a hefty fine. listening to people’s mobile a criteria for news gathering, What bothered him was the phone messages. experiencing “in role” the same thought that his group might Since this research project feeling a journalist might have not win and that his peers were was reported, all traces of when a “big” story breaks. disappointed he had lied. media education are long gone Later in the process, I The process of production from the primary curriculum talked to Matthew who was created moments of crisis or in England. Perhaps criticality upset. Having been checked decision-making which enabled is surplus to requirements by the two “regulators”, the the children to grapple with in our post-truth, fake news news story he had written was some of the most challenging times; it hardly serves those found to be inaccurate. He issues we face in contemporary seeking political office or had covered a story about a society. After Matthew had been positions of power. In contrast, child who had fallen in the icy fined, the children all began media education in Finland conditions outside and rather rapidly checking their sources is advanced, with children than interview the child and of information. The authenticity studying news from the earliest find out what had happened, of the UFO story was called age and the government he had decided to just “make it into question and many of them funding the production of up”. It’s my guess that Matthew dropped it for fear of being media education resources, didn’t think it was that fined. Others decided to go including, for example, the important and, what’s more, he ahead because, although it was rather wonderful “populism knew there was a cost involved clearly fake, it was something bingo”. Given the absence of to a face to face interview. the teachers had made up – so media education in schools However, he hadn’t that was OK! This programme in the UK, perhaps it is the bargained on the seriousness of activity was key to our children’s media industry, with which the “regulators” finding, that young children with its commitment to young took their role of fact checking. are capable of grappling with audiences, who can begin to They interviewed the child complex and abstract ethical produce content which nurtures and were in possession of issues, given the opportunity the skills children need to the “facts”, quickly realizing and a particular pedagogic represent their own truths Matthews’s account didn’t approach. ethically and with judgement. match up. Later, Matthew Interestingly, the whole It’s a challenge worth reflected that “you shouldn’t lie” activity ran parallel to the confronting. and fellow group member Isaac aftermath of the Leveson Jenkins, H. (2006). White Paper: Confronting the added, “well if it’s just about Inquiry. When I interviewed Challenges of Participatory how many pieces a chocolate the children later in the term, it Culture: Media Education for the 21st Century. Berkeley, US: bar broke into it doesn’t matter, was clear they had been paying MacArthur Foundation. but if it is like the world is going attention to the news coverage,

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Coming of Age Online: The Case for Youth‑Led Digital Resilience Sam Lawyer and Yara Farran

There are currently a range of terms used to describe how young people can navigate opportunities and risks online. “Digital literacy”, “e-skills”, “online self-efficacy” and “resilience” are among the advised toolkit allowing children to benefit from digital technology while avoiding or coping with associated harms. Such language is now widely cited among media institutions, educators, parents and children alike, but a singular definition continues to evade these communities and questions remain about how children incorporate these skills into their everyday media practices. We spoke with some of the leading UK academics researching young people and digital technology to get their take on how these terms have evolved, and how children conceive the possibilities and challenges of the internet.

Although this is a topic affecting people Economics, notes that kids are in constant of all ages, there are several reasons why “learning mode” as they manage new young people have been particularly apt experiences and set life goals. Combining subjects for academic research in this area. this outlook with the digital environment Dr Sonia Livingstone OBE, Professor of they were born into, we see a focus on Social Psychology at the London School of networks, keenness to innovate and an

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openness to “just-in-time learning”. Due to their children on the appropriate skills and age, kids may also experience higher levels safety practices, and this is supplemented of adversity, amplified because they are by the training their children are given at “less experienced in the ways of the world” school. Dr Haddon cites one of the biggest and more vulnerable to societal pressures, indications of this as the institutionalized which society in turn has a responsibility to language used by young people in protect them from. interviews. When describing their online Over the last decade, academia has experiences, they are clearly using terms built the foundation for literature on online they’ve been taught to incorporate into their risk from what used to be a very limited internet vocabulary. pool of resources. Dr Leslie Haddon, a Young people are responsive to this senior researcher at the London School digital literacy training, but they also tend of Economics and co-author of EU Kids to have more positive perceptions of online Online (2014), says that today “there are opportunities and apply critical thinking to fewer and fewer areas that haven’t been such advice. In Dr Livingstone’s research, explored” in terms of online safety, and children most often list “communication, that researchers are “now at the stage of networking, identity exploration and arguing over details”. Qualitative research information” as the key opportunities of such as Dr Haddon’s is particularly useful digital engagement, with bullying, harmful in refining our understanding of the online content (e.g. violence, pornography, experiences of young people, and in humiliating content, reputational threats) challenging assumptions built into earlier and loss of privacy as the risks. Considering survey data. Thankfully, Dr Haddon notes such risks, Dr Haddon finds that across that the most serious risks online are also age groups, young people feel that the the least occurring, and the low incidence internet has positively affected their lives; rates often become clearer through they see exciting experiences where adults understanding “what’s happening behind may see threats. One example he gives is these statistics”. the long‑held worry of “stranger danger” – Such research has also been many children perceive meeting new people incorporated into the teaching of parents online as a fun and exciting experience. He and educators, who warmly welcome explains that warnings about talking to empirical evidence on this topic. Dr strangers online will not always deter young Haddon notes that because of the array of people, since “occasionally they’ll do it and publications and online forums offering it’s quite pleasant. They’ve got their own differing advice on parenting in the digital strategies for dealing with it” and “they’re age, “there’s a lot of puzzlement” and it not taking this blanket advice”. As with any can be “really quite problematic to know type of formalized training, young people what to do”. Most parents he meets are are able to extract from it what they need, trying their best to educate themselves and and develop their own strategies for those

55 Research times when their interests fall outside of the how people grow up in the digital age and framework. then go back and change things”. Amid Professor of Educational Technology the challenging task of identifying which at Newcastle University, Sugata Mitra, people are most resilient on the internet and agrees that young people online “seem far why, young people can inform us in highly less concerned with risks than we are” and pragmatic ways. Dr Livingstone asserts that emphasizes the need to support children young people “could play greater roles in as agents capable of self-directed learning. the development of public policy, industry In his view, the term “digital resilience” is innovation and educational practice, if really “more for corporates or adults than they were only consulted, listened to and for children”, which is problematic because engaged with more substantially and in all it favours knowledge systems created by their diversity”. Examining young people adults and corporations as opposed to and digital resilience is an exercise that has those fashioned by young people. Adult considerable benefits across a variety of knowledge systems tend to be prescriptive sectors, and the first step in realizing this is in teaching youth about what is “good’ to acknowledge the unique value in their and “bad”, thus possibly undermining ideas and experiences. the ability of young people to draw these The research of Dr Livingstone, Dr conclusions themselves. His research Haddon and Professor Mitra strongly suggests that peer-to-peer education fosters supports the idea that the perspectives of collective engagement, and affirms the need young people should be at the forefront for adults to create spaces for children of conversations about resilience online. to explore safety and risk on their own In intentionally developing peer-to-peer terms. Within this pro-youth model, the initiatives, digital resilience can shift from development of digital resilience becomes being an institutional endeavour to one that a transformative exercise of agency and is collaborative and liberating for media power through which young people can practitioners, researchers, parents and focus on both individual and collective youth alike. As members of the children’s learning. media community, it is imperative that we Aside from the educational and now reflect on our own perspectives and affective benefits provided by peer-to-peer practices, and make space for youth-led learning in this context, young people digital resiliency in all that we do. may also play a key part in helping us understand how to optimize digital literacy as a broader society. As Dr Livingstone says, “we’re in the middle of a huge social experiment, but we can’t assign people to digital and non-digital lives, to compare the differences [or] wait twenty years to see

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From screen to page: children’s media in their writing Lucy Taylor

We know that children are proficient users of a wide prolific and required additional range of media. They access, interact with, play journals; others wrote very with and consume visual, audio and written texts. little. However, in general, the Children can watch film and television programmes children chose to write in a designed especially for them, along with stories, remarkable range of genres and poems, comics, newspapers and more. They can play styles, including narrative, prose a variety of games on digital devices in which they non-fiction, poetry, labelled might take the form of an avatar, build and destroy illustrations, comics, lists, worlds, encounter other creatures, other players personal accounts and songs. and other selves. Children also engage with online The writing often included content, which may or may not be designed with a clear references to films, child audience in mind, following favoured YouTubers television or computer games and vloggers, watching and learning as games are with which they were familiar. played, music is performed or items are “unboxed”. Children wrote stories about Indeed, Ofcom (2016), report that YouTube is the Mr Bean, Disney characters, preferred content destination for children aged 8–15, characters from Goosebumps with younger children preferring “TV-like” content and from “Five Nights at and older children choosing “music videos, game Freddy’s” (a jump-scare tutorials and joke or prank videos”. 1 computer game). There were also references to popular 1 Ofcom (2016) Children and parents: media use and attitudes report characters from books and films, such as Greg from Diary It should not be surprising, classes of year 5 children (aged of a Wimpy Kid2 and Harry then, that the variety of media 9–10). Participants were given Potter. influences experienced by a free choice writing journal Their fiction writing children is reflected in their own in which they were asked to contained references to game writing. In a research project write whatever they enjoyed shows and contests, and exploring children’s independent writing over the period of half writing, I worked with two a school term. Some were very 2 Jeff Kinney, Diary of a Wimpy Kid series (Puffin)

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Figure 1 the children were very clear example of this was “Andy”, Manga comics. The carefully that they saw the media they whose Pokémon comics were a delineated double lined edges encountered as a potential written hybrid of the different for the panels suggest a comic resource to draw on. One media in which Pokémon can book style. However, in the writer, Adnan, whose dinosaur be played. Pokémon can be second panel Andy moves very story included a time travel played as a trading card game; clearly into the online world. clock, told me that he “got in a series of video games There is a battle between the it on TV, on CBeebies” and featuring adventures, role-play, wild Weedle and Pikachu. The another, Jake, acknowledged strategy, and puzzles and in panel shows the “health bar” that “it felt like I was watching the much-hyped Pokémon GO for each character, the Weedle’s the story while I was writing which involves hunting virtual in the top right and Pikachu’s it”. Children were creative Pokémon, via an app, in real in the bottom left. Speech in their responses: one child places. Pokémon adventures can bubbles show these words of wrote an acrostic poem using also be read in print or online in encouragement, presumably the letters of the internet comic strip form. called by the protagonist meme “Nyan Cat” and others Figure 1 shows the first two from panel 1: “Go Pikachu!, wrote comics which featured panels of a comic strip written Use thunderbolt!” and the a Pokémon version of The by Andy. In the first panel he information on the screen tells Hunger Games. It’s important introduces the protagonist who us that “Weedle used Struggle”. to say that the children drew is engaged in a game, perhaps Struggle and thunderbolt are on the styles and content of Pokémon GO, indicated by weapons that can be deployed favourite texts, not copying but his speech “Oh wow a wild in a fight; the thunderbolt imitating and transforming in Weedle!”, but is also a character is shown being directed by imaginative ways. One of the in the narrative. Pikachu towards the Weedle. most fascinating aspects of their Andy has created a setting This panel creates a hybrid writing was the way in which for the action with stylized trees of the video game experience, they were able to transform one shown at an angle in a manner represented by the stylized media into another. reminiscent of the dynamic fight scene, and the comic strip A particularly interesting visual representations seen in experience, where a protagonist

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Figure 2 participates in the events of reply “Pika”, his characteristic he makes the assumption the narrative through speech sound. In the right-hand panel, that a reader familiar with bubbles. A similar combination Pikachu has entered the tunnel, the conventions of adventure of the comic strip and video cleverly placed by Andy on the video games will know that game experience can be seen in line between the two panels so where there is a door it should Figure 2, taken from further on that both the character and the be reached and opened, and in the same piece of writing. reader have to pass through where there are obstacles they The style and organization to reach the next panel. Andy should be avoided. Below these of the panels is particularly further demonstrates his skills two panels is a long thin panel interesting. Under the title in multimodal communication stretching all the way across the “Later the next day”, Andy by showing the fearful response page. has divided the page into two of Pikachu on the character’s Pikachu is shown at the left panels, divided by a diagonal face, not in the words which of the page ready to embark on line leaning to the right. In the again only say “Pika!” an attempt to reach the door left-hand panel, the protagonist There is a door which whilst avoiding the hanging kneels in front of a dark Pikachu has to pass through, obstacles, his bouncing motion cave or tunnel entrance and but before it are a number of indicated in the wavy line on asks, “Hey Pikachu, what’s obstacles hanging from the the floor. Again, this panel is in there?” Pikachu also looks ceiling, which may be bats or much more closely aligned into the cave, with his back another kind of enemy creature. to video game imagery and to the reader, and gives the Andy gives no explanation, experience than it is to the

59 Research features of written comics. In well placed to draw on a variety • Given the opportunity, the panel on the bottom left, of visual, textual and narrative children are taking on the Pikachu arrives triumphantly styles to create something new, challenges of transforming and opens the door, his smiling taking the reader of a printed media in their writing in face and the large, upper case text into the world of a video creative and imaginative “PIKA!” indicating success. game. ways, from screen to page. The adventure then continues Andy’s skills as a writer This research contributes in the next panel, in the room of this type of text may not be to a wider body of research which Pikachu has just gained appreciated or called upon in demonstrating that media access to. the primary classroom, but he is production for children In creating this piece, clearly well placed to take and need not be driven by the Andy has made some make meaning from a range of requirements of the school significant decisions as the evolving media. The invitation curriculum. Those making author. In choosing to write to write freely, provided by the media for children are in a comic form in the first research project, enabled Andy modelling creativity and place, he is acknowledging and his classmates to draw providing children with that the best way to tell the on personal experiences with resources for their own story he wants to tell, or to different media. Their writing writing. And, given the right represent the experience he was quite different to that opportunities, children are more wants to represent, is to use required of them by the school than capable of responding a form which makes use of curriculum, but it showed playfully and imaginatively. text and image. The subject creativity and skill. Children are Suggestions for further reading: matter he has chosen, that of capable of taking and making Dyson, A. H. (2002). The brothers and sisters learn a Pokémon adventure, needs meaning from the range of to write: Popular literacies to be expressed in both visual media they encounter and they in childhood and school cultures (Vol. 64). Teachers and textual ways. He chooses a see it as a resource to use in College Press. multimodal approach but goes their own writing and other Willett, R. (2005). ‘Baddies’ on to adapt and transform his forms of creative work. in the classroom: media education and narrative written text by making use of The range and variety of writing. Literacy, 39(3), 142-148. the affordances of the different children’s writing in this project Marsh, J. (2000). ‘But I want to fly too!’: Girls and media he has interacted with. suggest that superhero play in the infant Where the visual features • Children’s media continues classroom. Gender and Education, 12(2), 209-220. of video games are more to play an important role Bearne, E. (2004). Multimodal appropriate he makes use of in their shared cultural texts. Literacy moves on: them in his text, and it’s the experience Using popular culture, new technologies and critical same in instances where those • Children’s media is an literacy in the primary of the comic are more useful. important resource for classroom, 16. Andy’s experiences with a children’s own creativity, variety of media mean that he is particularly their writing

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“It Wasn’t Really About the Pokémon”: Parents’ Perspectives on a Location‑Based Mobile Game Kiley Sobel with Arpita Bhattachar ya, Alexis Hiniker, Jin Ha Lee, PhD , Julie A Kientz, PhD, and Jason C Yip, PhD

On 6 July 2016, Niantic, Inc. released Pokémon GO, a location-based mobile game in which players use their device’s location-tracking capabilities to navigate their avatar in the virtual world by physically moving through the real world to meaningful locations. (One of these locations is called a PokéStop and you can now filter results on Yelp. com by “PokéStop Nearby!”) Through this gameplay based on the physical environment, players can locate, capture, battle, and train virtual characters called Pokémon, like Pikachu, Squirtle, and Jigglypuff.

Pokémon GO also has an optional since its release, and while it might have augmented reality feature so that Pokémon seemed like the craze for the game could be appear on the screen as if actually located over, on 7 April 2017 at Google Developer near you in the physical world (Jigglypuff Day at the Game Developer Conference, just might be sitting next to you right now!). Niantic announced that over 65 million According to Niantic, Pokémon GO has people worldwide still play Pokémon Go been downloaded over 650 million times each month.

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Screen time tensions and family representations, interests, and experiences. co-engagement with technology Joint media engagement (JME) includes Immediately after Pokémon GO’s viewing, playing, searching, reading, emergence, our research team at the contributing, and creating with either digital University of Washington began seeing or traditional media. media articles about the game and familial So, due to the global phenomenon of tension, with parents mediating their Pokémon GO, we were given a window children’s screen time. Such articles claimed into parental attitudes towards (and family that Pokémon GO might be “the world’s experiences with) technology on a large most dangerous game” but that it also scale, which we as a research community facilitates family bonding. It was indeed have never been able to study before. difficult, in our community, not to notice the extremely large crowds of people in public Research spaces playing the game, including many In our research, we asked: what are the families and people of all ages. It quickly experiences, perspectives and attitudes of became clear that parents and their children parents regarding their children playing were not only playing Pokémon GO location-based mobile games? We wanted to individually, but also together. And so, we learn more about three main topics: began to wonder – beyond the on-boarding • The choices parents and families make due to Pokémon itself (the franchise has on how to play the game been around since 1996, meaning that • Rules set by parents about their many of today’s parents played Pokémon children’s game use and why when they were children) – what was going • How parents might jointly engage in this on that was leading parents to allow their type of gaming with their children children to play, both solo and as a family? To answer these questions, we We surmised that location-based games administered a qualitative survey to 67 like this can change the way we think parents (the majority from the U.S.) and about screen time. There is often a fear that conducted interviews with 20 parents too much time with screens is displacing in Seattle, Washington from late-July to “healthier”, more “educational” and more mid-August 2016. We approached and “social” activities. However, Pokémon interviewed all 20 interview participants GO might provide a case to show that in a large public space like Bellevue engagement with technology can, in fact, be Downtown Park just outside of Seattle, active, educational, and social. where parents were playing with their This is important because, as the Joan children or watching their children play Ganz Cooney Center and LIFE Center have Pokémon GO. Finding participants was taught us, jointly engaging with new media not at all difficult. However, running with is beneficial for children; it leads to the families to catch Charmander or Dratini creation of meaningful connections among during the interview was something we

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first Cubone, so that was cool. But it hadn’t experienced in previous research wasn’t really about the Pokemon.” projects! 31-year-old father with 7-year-old daughter Findings Other than catching a great variety of “We go out for long nightly walks Pokémon, what did we find out? In addition as a family… We stop when we see to exercise and time outdoors, parents Pokémon and they help to catch valued the fact that play encouraged family them. [The kids] get really excited to go out for walks, so I love taking bonding. Playing together brought families them.” closer, strengthening common interests and 31-year-old mother with 3-year-old sometimes transcending beyond the game daughter and 1-year-old child itself. Pokémon GO became something a mum was able to talk to her usually “We came down [to the park] not-so-talkative son about and something where lots of other moms came that made a daughter feel excited to hang down with their kids. We all sat out with her dad. Playing Pokémon GO together… We could catch lots of also easily fit into families’ lives, either stuff. We all took turns to go off … it was a really nice afternoon. It coinciding with other activities like family was the first time [my family] had dog walks or running errands, or becoming a picnic in a couple years. It was specifically planned family Pokémon because of Pokémon GO.” GO time (which some families dubbed 44-year-old father with 4-year-old and “Pokéwalks”). 7-year-old daughters Here are a few of our favourite quotes from our participants: We found that while parents sometimes had traditional screen time concerns about “I love that this is a game we can gameplay, they also had new concerns about play together as a family, and I safety in real-world environments, including often play a little during the day worrying about their children being harmed (alone) so we can talk about my by strangers or getting hurt by not looking progress at night. My daughter’s enthusiasm is turning me into a while walking. Parents made rules and gamer!” gameplay choices centred around these 37-year-old mother with 7-year-old new concerns to ensure their children were daughter safe. For example, parents reported always accompanying their children and taking “We were both running together turns when playing, as well as staying [to catch a Pokémon], and she was in control of the mobile device during looking at me, and she was smiling. gameplay to make sure their children were It was just a great experience. It not harmed. turned out it was a Cubone [a type of Pokemon]. I think that was her

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Takeaways during the week and then shared their What can we, as designers, researchers, progress with one another and parents, take away from this study? • Focus on content, not control: Pokémon We hope it can help us begin to understand GO’s simple game mechanics allow what makes Pokémon GO successful for people of all ages to engage in play. joint engagement between parents and Parents and children were able to share children, which can later aid in designing, control, walk and interact with each studying, and co-playing these types of other, and they did not have to rely on games with children. looking at the screen continuously to Firstly, we believe that Pokémon GO play. was successful for productive joint media Secondly, based on our research, there engagement because it supports the six are other specific qualities about Pokémon conditions that help families and children GO that make it particularly encouraging come together with digital media: for productive joint family media • Mutual engagement: Pokémon GO lets engagement. As a location-based mobile people of all ages participate equally. game, Pokémon GO hinges on players Children and parents can take turns going outside, walking, learning about the catching Pokémon, or children can neighbourhood, working in teams, and throw balls in the game while parents being social. Therefore, the game reconciles evolve characters some of the issues parents have with screen • Dialogic inquiry: Family members asked time, fitting into the lives of families well. each other questions, learned about Pokémon GO even facilitated families characters together, and talked about the and children connecting and being social locations where they were playing with other people outside of the family, • Co-creation: Families can have shared sometimes in very large numbers. A 43-year- experiences while playing Pokémon GO. old mother of a 16-year-old daughter In our research, parents and children found that, “In general, other [Pokémon learned about the game together and GO] players are quite nice and friendly.” A taught each other how to play mother of a 10-year-old boy explained that • Boundary crossing: The game appeals to while playing one night, her son worked players of multiple generations. Parents with other players, “They were a team. It who had played Pokémon as kids was really nice, you know, to open up those enjoyed sharing the new game with their channels of communication.” However, this own children, who in turn were often attitude conflicts with parental concerns pleased to be able to teach their parents about strangers, highlighting the importance about it of parental mediation of this type of screen • Intention to develop: We found that all time. players were excited to level up. Parents Additionally, while Pokémon GO and children alike played separately was not designed explicitly for co-use on

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This article is based on research completed a single device, it is effectively being used by Kiley Sobel, Arpita Bhattacharya, as such. We both saw and heard about a Alexis Hiniker, Dr Jin Ha Lee, Dr Julie A. Kientz, and Dr Jason C. Yip, all from lot of passing back and forth of one device the University of Washington. This work has been accepted for publication at between family members. A 42-year-old the 2017 ACM CHI Conference on Human mother and her 6-year-old son got about Factors in Computing Systems (CHI 2017), a leading international conference five minutes each with one phone. Another on Human-Computer Interaction. The 46-year-old mother who plays with her research publication can be accessed here: http://dl.acm.org/citation. 7-year-old son said that they set a timer cfm?id=3025453.3025761. for five minutes each to ensure equal turns. Perhaps because the gameplay can be shared in many different ways, it was especially appealing to parents and children for joint media engagement. Some parents wanted to consistently play the game with (and without) their children. Other parents wanted to watch their children play and be their cheerleaders, and some wanted to help when their assistance was necessary. The fact that the roles were not prescriptive allowed different types of families to participate together. Overall, perhaps it was the Pokémon themselves that initially on-boarded families to play, but the valuable experiences of and interactions within families existed and continued to exist beyond the actual content of the game. Ultimately, it wasn’t really about Pokémon. It was about the special bond and memories that families were able to create through playing together, and the ways that gameplay challenged adults’ more traditional concerns about children’s technology use. Without these important elements, we think the game’s popularity for families would not have been sustained. We hope this work will inspire new study and design for families’ joint participation with new media!

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Call for regulation – children’s data in personalized books and reading resources dr Natalia Kucirkova

We live in an era where what you read is what you get, with personalized news services, ads and social media feeds attempting to narrow down the vast amounts of information available online. For adults, personalized reading comes under the banner of saving us time and providing us with only what we love. For children, the benefits often outlined include increasing motivation and pleasure in reading through personalized and adaptive learning.

Personalized books and personalized Put Me In The Story2) or as classic printed reading for young children range from books (e.g. Lost My Name3). In addition basic personalization (where a child’s to supporting children to read for pleasure, name is inserted into a popular fairy tale) personalization can be used in adaptive to sophisticated models of personalization algorithms for children learning to read, allowing children to add their own with texts matched to the child’s reading drawings to the story, add voice-overs or level, language scores or genre preferences replace the characters’ names with their (see the iRead project4). own (e.g. Mr Glue Stories1). Personalized There are several positives to books are offered as interactive digital personalized reading experiences. In books downloadable on touch screens (e.g.

2 http://www.putmeinthestory.com/put- me-in-the-story-free-ipad-app.html 3 https://www.lostmy.name/ 1 http://mrgluestories.com/ 4 https://iread-project.eu/

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one study5, for example, we found that have been discussed on the LSE Digital children learn more new words from Parenting platform7 and will feed into a reading a personalized book than from a toolkit that establishes ethical standards for non-personalized one. However, given the the design of children’s personalized books. rising popularity of personalized books in At a meeting with key publishers and the children’s market and the global role of designers of children’s products in March personalization in reading, it is important to 2017, there was a strong consensus among consider the potential risks and concerns of the participants that there is an urgent digital personalization in children’s reading. need for regulations and policy concerning For personalized books and book children’s personalized (reading) products. recommendation systems (such as children’s As one designer commented, “Certainly digital libraries or book finders), publishers there should be regulations around the and producers collect data not only security of data – what can be captured and including children’s names, addresses, how it can be stored – so that we make sure gender and skin colour, but also their that everything that is personalized is stored engagement patterns with the reading very securely.” content in their databases (in the case of The key concerns that emerged from digital library systems). Both pose risks our focus group interviews centred on relating to the storage, use and sharing reduced possibilities for innovative design, of this personal data as well as potential the educational use of children’s data and commercialization through aggregate data. the risk of increased marketing for young The ESRC-funded project “Supporting consumers. early language development and interest in reading with digital personalized books”6, Security and privacy risks focuses on personalization in children’s Given that, currently, there are no official reading for pleasure. The project is hosted national guidelines regarding the amount, by the UCL Institute of Education (IOE) storage or sharing of data collected by and aims to investigate how the language publishers and producers of personalized development and reading experience of books, parents and other caregivers must children can be enhanced through the trust that individual companies will have use of data. As part of this aim, we have the integrity not to misuse or misplace their conducted some focus group interviews family data. In conversation with a producer with UK children’s app designers, book of personalized books, one participant publishers, international researchers and remarked, “In talking to you I have to trust representatives from children’s literacy that in a way you are using the company’s charities. The results of these interviews own ethical standards rather than anything external. Which does raise the risk.” 5 http://journals.sagepub.com/doi/ 6 https://www.ucl.ac.uk/ioe/departments- centres/departments/learning-and- 7 http://blogs.lse.ac.uk/ leadership/personalised-stories/ parenting4digitalfuture/

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Marketisation of childhood children’s favourite books were shared The participants were clear about the risk between school and home, there could be a of digital personalization – it does not relate more meaningful dialogue about children’s to basic personalization models but those reading experiences. As yet, publishers that collect aggregate data: “It’s not about might collect some such data but are not your photos but patterns of behaviour aware of the possibilities, as one of the that predict what you will buy.” Another participants (an app designer) admitted: designer–parent commented, “It’s not “I’m not that sure about the data. I know inconceivable that a family’s aggregated we collect some data but I don’t think it’s data could be shared and could personalize at anywhere near as sophisticated a level as the experience for the consumer – the little you are talking about. Yeah, I think it’s an consumer, the child.” interesting point because we could be using the data more effectively to see what they Reduced design innovation are enjoying, what they are not enjoying.” The lack of guidance not only poses risks, A guiding document could facilitate but also hampers the work of publishers home–school dialogue around personalized and producers who are interested in the reading if it specified the security and creative and innovative design of children’s standardization parameters for capturing reading products. As one children’s app and storing data at home and school: “So producer explained, “I think the reason why having some kind of standardization to the regulations are important is that a lot of tackle storage of data would be good.” ideas die because, for example, there is a lot The desire to enhance the learning value of of stuff that we will not be able to do – it children’s data is there but the knowledge has that fear level to it. It kills it straight on how to do it securely and safely is out. So, when it comes to various aspects lacking: “If I’m gathering a lot of data from of data and how that data can be used, I my children at home and that can be shared certainly think we need some comprehensive with school in a way that helps my children regulation and thinking around that, in their formal learning environment, that’s extending what COPPA [Children’s Online fantastic. I would like to do that, I would Privacy Protection Act] does and keeping it like to know how it’s done in a secure way.” more comprehensive.” We are currently exploring the possibilities for developing UK guidance on Reduced learning the use of children’s data for personalized benefits for the child products together with the Children’s Media If there was clear guidance, the data Foundation and the All Party Parliamentary captured through children’s use of book Group (APPG) on Children’s Media and recommendation systems could be used the Arts. If you would like to be part of in a more coordinated way to benefit these discussions, please contact me at stronger learning. For instance, if data on [email protected].

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Project Hope Lucy Murphy

I have been proud to work in the children’s media There was a rise in the reporting industry for over 25 years. In that time, there have of hate crimes and a general been many changes in what, where and how kids sense of great change and watch their favourite shows. Channels have come uncertainty. BBC Children’s and gone, top shows have burned bright and in Alison Stewart sat next to me at some cases burned out, and new technologies the dinner and as we reflected have emerged that delight and open up creative on the unsettling impact of these opportunities I would never have dreamt of a quarter global events on us as adults, of a century ago. What hasn’t changed, though, is we asked ourselves a simple the passion, drive and determination of the people question: How on earth must who work in this industry. But it’s not just a drive to kids be feeling? And, of course, succeed – what really characterizes colleagues I have a very quick follow-up question: worked alongside, many of whom I count as dear What could we do about it? friends – is the love they have for the audience, the The idea spread to children around the world who watch the shows, read colleagues around the room. the books and play with the games and toys we craft. What if we acted together? What if we were to do what It was at a Children’s Media industry, that Project Hope we do best and create great Conference dinner last July, was born. It was the summer content – content that would fly with a group of international of Brexit and the run-up to the in the face of all the negativity broadcasters, friends and US elections and coverage of and turmoil reported, instead colleagues from the kids’ the refugee crisis was constant. offering hope to kids around

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the world feeling anxious and companies around the world We’re aiming for Project fearful? will join to fund and create it Hope to become the beginning Alison and I took the and then, crucially, share it. of something: a movement seed of that idea and over the Without worrying about the that gives kids tools and following months we worked usual discussions on windows foundations that they can build on a structure to this plan. We and rights, these 12 films will on themselves and empowers decided to create a series of 12 live on linear channels, VOD them to pass on the message of high-quality short films centring platforms, websites and online. hope and kindness to others. It’s on the themes of kindness, By sharing, we will ensure that a bold ambition – but the huge empathy and tolerance, plus a they are seen by as wide an response we have had from digital campaign and a legacy audience as possible, and by the village of the kids’ media outreach project for kids aged using our global network of industry so far indicates that the 4 to 12. partners going live all at the raising of this particular “child” Rather than Sky and same time, there is maximum will indeed be shared. the BBC taking ownership opportunity for this message of If you are interested in finding out more about this initiative, of the project, the idea is hope and kindness to be heard visit joinprojecthope@gmail. that broadcasters and media around the world. com

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Opportunities in the children’s film industry Tim Clague

An industry opportunity for We need to think beyond TV the children’s media sector In the UK right now, there is a lot of We recently made a children’s feature film industry focus on children’s television, and called Who Killed Nelson Nutmeg? This rightly so. We should be proud of our TV was privately financed, with no grants or output and do what we can to encourage broadcasters attached and no commission. and support as much high-quality We are regulars at film markets, such programming as possible. But any growth as Cannes, so we have a different view on in the children’s media sector will have to the children’s film market than perhaps come from other means. Children are ready many other producers. We feel that the UK to accept media from other outputs. Are we is potentially missing out on a profitable ready to make it? sector. To enable a new culture of UK family Here are a few reasons why we think films, we think there needs to be a shift of there is a lot of opportunity for British focus and expectation regarding the realities writers and producers right now. of production as well as the financial returns. We’re not necessarily talking

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Hollywood numbers here, but the end Language result of Nelson Nutmeg proved to us that A lot of European productions will dub making a film was a worthwhile endeavour. an English version of their project to help Perhaps more importantly, we discovered a increase their international sales. Scripts new audience base keen to see more films of can easily be translated via a language this type. So, if we can make good features agency but producers informed us that these at a sensible budget with private equity, we translations were often dry, boring and are bringing new money to make films for a lacking in wordplay or culturally relevant new audience. That is real growth. gags. What’s required is a writer (or maybe a production company leading a team of British writing rules, OK writers) to lift the bland translations to a Our writing experience also appealed to the suitable level. Will the final product end up European producers we met in Cannes, for on a British TV channel or cinema? It may two reasons: or it may not, and this uncertainty could be the reason why this work is passing us Screenwriting Craft by. We are so busy focusing on our existing Producers told us that European writers UK-based contacts that we miss these wider tend to be slightly esoteric or artistic in international opportunities. their approach to writing. One producer remarked, “they can come up with some A strong market in Europe great general ideas but then they struggle As a company who makes lower budget to produce a script that is slick and children’s movies, we feel somewhat isolated entertaining.” Consequently, European in the UK. For example, our film was the producers are very willing to work with UK only live-action British children’s film at writers whom they perceive as story experts the 2015 BFI London Film Festival. There and highly knowledgeable of their craft. are very few people producing movies in

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Britain for a younger audience and it can could result in some great films, but only if be all too easy to think that this situation is we choose to collaborate and start filming. mirrored elsewhere across Europe. In fact, the opposite is true. In conclusion Germany, for instance, has a major There is definite potential to make more family film tradition. New child-focused films for children in the UK but only if films are released on a regular basis, we shift our mindset from simply looking meaning it becomes a habit for families to at the broadcasters. We must reach out go to the cinema together. Polish producers to new people across the world and be described children’s movies as a major proactive. The business is there if we decide growth market, and the same is true for we want it. Yes, we may need to adjust our Scandinavia, too. entrenched business models, but that’s true This dedicated European approach of every industry. to the family film genre provides great Nelson Nutmeg Pictures is now inspiration but also a basis for a stronger scaling up to meet the obvious demand and UK market going forward. More necessity for family films. We’re looking immediately, it offers an opportunity to get forward to making more kids’ and family involved in co-productions – now is a great films, not just talking about it. Who wants time to reach out and collaborate. to join us? Find out more about the Nelson The pros and cons of funding Nutmeg Pictures slate of film ideas at www. Several countries actively support children’s nelsonnutmegpictures.com films in a similar manner to how the Children’s Film Foundation used to operate here. In the UK, there is no special fund or provision for making features aimed at a younger audience. This is regrettable but has the positive side-effect of making us much more commercially minded and willing to explore other funding methods such as pre-sales and broadcaster acquisition. Meanwhile, some production companies in Europe have become slightly grant-reliant, as the only perceived option to getting finance. However, this is actually a good opportunity for us: such companies have access to funding whereas we can generate private investment or potentially utilize our broadcast contacts. Together this

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“Humour Is Very Much A Social, Interpersonal Act” Laverne Antrobus

It’s quite hard to put one’s finger It made me think about humour more exactly on what makes us laugh, broadly: where we find it and how much we but having just spent a weekend need it to connect us in bleak times. It made with a four-year-old, I’ve been me think about how closely humour can catapulted into a hilarious world. teeter on the edge and how important it is I watched and participated in to have some way of navigating when it has endless silly jokes and it was perhaps gone too far. heart-warming, exhausting and There is a real art form to constructing infectious, connecting a group a narrative that holds the attention of a whose ages ranged from 1 to 78. young audience and makes them want There was wonderment in the eyes more. I felt exhausted at the end of the day of the youngest among us, and I as I realized that keeping the jokes alive was too felt transported back to a time harder than my day job. Presenters keeping of carefree abandon. their performances relevant so that the

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audience keeps laughing is a real craft. Perhaps the most appealing aspect Dick and Dom are giving the keynote of the relationship and the performance speech at this year’s event and their work is to see Dick and Dom allowing their as a double act continues to command child selves airtime. There is no pretence, rich descriptions of them as legends just unbridled enjoyment of the anarchy within the industry. Their longevity, for that they create. It’s all fully owned and me, is down to a number of key reasons. consumed by them, which makes joining in They communicate their close working so much fun. relationship to their audience, and they Allowing our “inner child” to come to really show the joy they get from creating the surface is important – Dick and Dom hilariously tricky situations in which give us a unique opportunity to grapple comedic effect is pushed to its limits. with the complex emotions we can feel Their relationship is at the heart of when making fun of someone, providing why children are forever drawn into their some valuable lessons about putting performances. They are friends who have a ourselves in the other person’s shoes. They unique understanding of each other which remind us that the joke must include the includes that essential ingredient: a shared person who is being teased for everyone to sense of fun. They support each other to feel OK. think about the most precarious aspects So, back to my weekend with the of a joke and bear the burden of seeing young children. It was fun to let our it through together. One imagines they minds go to new places together, not to be have conversations that begin, “What do constrained by rules and to share jokes. you think would happen if we did this?” Above all, it was great to feel free to allow and that once the anarchic act has been my inner child to play. identified, “lived” and laughed about, they then work out the delicate path they will need to tread to reach the goal of execution! Dick and Dom have a perceptive ability to push the boundaries of humour, ensuring that risk taking is at the heart of what they do. Viewers are persuaded to come with them on the journey and to share the agony of trying to achieve the impossible with a straight face. Once Dick and Dom start to tell the story, there is no going back for anyone. As the viewers, we are invited to laugh at the unacceptable, share the responsibility for execution and figuratively hold hands with them until the end.

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Unboxing … A Toddler’s Glass of Wine? Nellie McQuinn

Did you know that if you heat a knife with five double the earth’s population, blowtorches and cut into dry ice, it screams? That and why has unboxing captured yellow play doh dries out the quickest of all the the imagination of the world’s colours? Did you know that unboxing videos have junior psyche? audio levels twice as loud as other content, or that it takes three adults to remove Batman from a bath of What is unboxing jelly? even about?! The Oxford English dictionary How does my CV look? Do ratio of glue to borax to make defines unboxing as: I get the job? My skill set is perfect slime, the lyrics to every certainly diverse. My team and nursery rhyme, and to top it off “An act or instance I can shoot up to 30 videos in we can sing them all in eleven of removing a newly a day. We work with play doh, languages. What I can’t tell you purchased product from its packaging and red-hot knives, sumo suits, is the magic formula. What examining its features, pregnant superheroes – and makes a fad? Why does a video typically when filmed that’s all in an average week. go viral? How can a gaming and shared on a social We can tell you the exact channel have more views than media site.”

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Let’s ignore for a moment performance, and heightened is now saturated. Fun Toys the fact that this absurd levels of awareness. The rush Collector (formerly of DC phenomenon has made it into of adrenaline can lead to Toys Collector fame) has the Oxford English dictionary addiction. Perhaps this is why dominated the charts for several in the first place. Unboxing the return rate on these channels years now and it feels as if … is it an act? These children and videos is so high. this fad is winding up. Multi- aren’t experiencing the reality The sound of an unboxing channel networks are looking they’re engrossed in. They can’t video is akin to the autonomous forward. What’s next? What feel the cardboard. There are sensory meridian response seemingly innocent, yet hard no paper cuts, no frustration (ASMR) videos that are core addiction can we inflict at those annoying little cable also taking the internet by upon the next generation of ties that stand between you and storm. The unboxing videos touchscreen tethered tots? your final goal. Surely that, my company creates are Perhaps this time next by definition, makes it an act; significantly more successful year at CMC we will have the a piece of theatre, drama, or with live audio (we have answer. We will all have cracked fiction. Say what you like about experimented doing unboxing the elusive code of what it unboxing, it’s capturing the videos using only music – means to catch a trend, go viral attention of every chubby-faced they didn’t catch). From a and generate huge success in the toddler gripping a smudged, production perspective, the process. Then again, perhaps grubby iPad. sound is far louder than any we will be none the wiser and a Unboxing represents the other content we create and the new trend/platform/production excitement of every Christmas volume would be considered will have surprised us all. At morning and birthday party. poor post-production technique that point, I’ll be sneaking off Your child might not be ripping in any other style of content. to wonder why I didn’t think open the packaging or touching A quick Wikipedia search on of it. I could have made that the toy, but that doesn’t mean ASMR claims that the feeling video. I should have made they aren’t physically altered of watching these videos is that video. Whilst pondering, in the viewing process. The “akin to the feeling of a mild I’ll probably have a glass of anticipation whilst waiting electrical current… or the wine to commiserate. Then for the moment of unboxing carbonated bubbles in a glass of again, maybe I’ll just watch an increases adrenaline and champagne”. Perhaps unboxing unboxing video – I’ve heard the endorphins in the brain. videos are a toddler’s way of effect is the same. There is physical change. unwinding after a tough day in This increased adrenaline causes the sandbox, the same way an air passages to dilate, blood adult has a glass of wine after vessels to contract as they work. How innocent are these redirect blood toward major videos? Are we actually creating muscle groups, a noticeable a new generation of addicts? increase in strength and The unboxing marketplace

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“Where’s Sian?” – The Importance of Female Friendships Katie Steed

When I was five, my best friend We assumed the starting position. That was Sian Divers. Sian beat me at hastily home-printed certificate had my pretty much everything: she was name on it, I was sure of it. taller than me, she was reading The gun fired. books with blue stickers on when And Sian shot off like the entire cast of I was still stuttering through ones Jurassic Park was behind her! with green stickers, and she was Unknown muscles propelled her considerably closer to being able forwards; arms pumping, legs flying, body to sit on her own hair – the sum of moving in perfect streamline motion across our joint ambitions – than I ever the finish line. was. Sian came first, and I, having spent the first few seconds of the race with my chin But there was one thing I was always a on the floor, was beaten in to third place by tiny bit better than Sian at, and that was Heidi *!*%* Stockley. running. Kiss chase, tag, stuck in the mud Looking back now, it’s hard to see how – everyone else might have been playing our friendship survived this most traumatic with a smile on their faces and a song in of events, but survive it did: my friendship their hearts, but I was studying. Gathering with Sian outlasted school, relationships, evidence. Discovering the one thing I could fads and fashions, because – to quote the finally beat her at. inestimable My Little Pony, “Friendship is This was why, standing at the start line Magic” and we need to do a better job of on our first ever sports day, my young heart representing it. was filled with what could be considered an Psychologist Shelley Taylor said arrogant over-confidence. Sian on the right “beginning in early childhood, girls develop of me, Heidi Stockley – barely a threat – more intimate friendships than boys do and on the left. I’d practised. I’d trained. I was create larger social networks for themselves. ready. Groups of women share more secrets,

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disclose more details about their lives and less stereotyped, and less defined by their express more empathy and affection for relationships with men, the scarcity of one another.” We are failing to properly female characters means that they rarely represent what is often the most important actually get to talk to each other, let alone part of a young girl’s life – the best friend. form friendships, onscreen. That women are dramatically Female friendships, when they are underrepresented in children’s media is a depicted, bear little resemblance to Shelley long-established fact (they make up around Taylor’s description, or to the mutual trust 35% of onscreen characters). While there and camaraderie that make up screen has been a heartening recent effort to versions of male friendships. They are filled make those female characters less passive, with negative emotions, or, more specifically,

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with one negative emotion: envy. we are constantly shown that only one This issue, often referred to as the woman is allowed “in” at a time. This is the Smurfette Principle, comes up time and danger of tokenism. again across the media: women are In a world where women serve as presented as different and/or interesting CEOs of just 5% of the Fortune 500 purely because of their gender, and judged companies, and make up just 15% of the only in relation to their relationships with boards, such are the consequences. men. When another woman is introduced, Negative emotions drive plots, and the first is envious – her uniqueness is are an important part of how we teach under threat, her very survival and what young minds to express their feelings and little power she has is derived from her empathize with others. No one wants to relationships with men. see episode after episode of hand holding The media that children consume shapes and hair braiding, but the emotions used who they become. Apart from the fact that to drive female-centred plots are narrow it’s pretty boring to see the same single stereotypes that pervade all media – women emotion being rehashed again and again, it are jealous, backstabbing, bitter and totally is my worry that this lack of representation willing to throw each other under a bus. I is making itself known in boardrooms and have felt every negative emotion under the offices around the world too. sun towards Sian: anger, guilt, hurt, fear Women have long been accused of – any of these could drive a plot – but I’ve not helping one another up the corporate only once felt anything akin to envy, and ladder. The image of the “queen bee” who that was when she beat me at running when fights hard to reach the top but then sees all I was five years old. other women as competition is a pervasive It makes an ok story, but it’s not the stereotype, and one that makes sense when only story.

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Values Are the New Black! David Hallam

I can hardly believe a year has passed since my they actually provided the business partner and good buddy Jon Hancock was framework to help us grow? sharing his thoughts on leaving the BBC and starting There are six values which Jon up our Indie co-venture – Three Arrows Media. One and I feel are fundamental to year on we are still plying our trade so I suppose Three Arrows: that’s something of an achievement! • Collaboration • Creativity In his article last year, Jon around the same time there • Boldness highlighted “The Value of was the announcement of • Excellence Values” – he argued that it’s Project Hope, the co-venture • Integrity the values underpinning our between BBC Children’s and • Fun business that keep us on track, Sky Kids which describes itself let others know what drives us as a “kindness campaign”. Collaboration and ultimately motivate us to It was also this year that we The absolute necessity of achieve our goals. announced our first major collaboration is something that One year on, little did commission which just happens has dominated our first year. I realize that values in their to be a show about values The majority of projects on broader sense would suddenly (more on that shortly). our slate have been the result become one of the buzzwords As I contemplate our first of collaborations – from like- of the kids’ TV business! I year in business, I thought it minded producers as far afield was lucky enough to hear the might be enlightening (and as Australia to talent-driven inspirational Kidscreen keynote perhaps a little scary!) to see the concepts and industry specialists speech from Harvard Professor difference Three Arrows’ values who bring particular expertise Dr Richard Weissbourd, in have made to our progress. Are to a project. And it’s not only which he championed the our company values simply the people who have generated idea of kids’ media promoting nice-sounding words that look content, it’s the many, many kindness and empathy. At good on a website or have lovely folk who have guided

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our steps logistically, including bold. In this regard, I feel that and gratitude for being given our non-executive director, our we have had our biggest “win” the opportunity to tackle this legal advisor and our head of of the year. When Kay Benbow subject matter head on – watch production. One of the best at CBeebies commissioned this space for the results of our pieces of advice we were given Treasure Champs in February, labours! when setting up the company we embarked on this faith and was to surround ourselves with values series for pre-schoolers Creativity talented people and give them that has boldness in its DNA There’s no doubt that the last the space to do what they do – from a diverse cast, writing year has been a hugely creative best. Amen to that! and production team, to the time for the company. We have considerable challenge of not only developed an exciting Boldness making abstract concepts such and diverse slate of projects This is one of those trickier as trust and respect accessible but have also been fortunate values which I think most and fun for 4- to six-year-olds. enough to co-create one series companies aspire to – hard to And that’s not to mention which has been on air: Asra, a achieve because more often navigating the sensitivities space-themed kids’ gameshow than not a producer’s ability of representing stories from for S4C. This is alongside the to be bold is governed by a six different faiths! We feel a significant creative challenges broadcaster’s willingness to be huge sense of responsibility of the CBeebies commission

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– mixed media, kids, animals, summed up in our company the face of cashflow forecasts, religion … you do the maths! strapline – “Aim high”. tax returns and contract One of the challenges of Over the last year, Jon and negotiations? Well, the honest being creative within a small I have been fortunate enough answer is a definite “yes”. The indie is staying focused on to sit on three award juries noise of a happy production the “main thing”. When you and it’s a privilege to be in the team is a wondrous thing but have the scope to conceive of position to celebrate and reward there’s no doubt that running anything you want, the danger excellence in others, too. a company is a bit of an lies in going off on tangents and emotional rollercoaster – one not playing to your strengths. Integrity minute you’re mini fist-pumping Creative freedom can be both As Warren Buffet once said, when a vaguely positive a blessing and curse and this “It takes 20 years to build a email comes through from a balancing act is something we reputation and five minutes broadcaster and the next you’re are still learning to manage. to ruin it – if you think trying desperately to find a new The one thing we are absolutely about that you’ll do things way of writing “I don’t suppose convinced of is that we must differently.” Ask Tiger Woods, you’ve had a chance to look keep high quality and ambitious Lance Armstrong et al. As at our project, have you…?” creativity at the heart of part of a partnership which It’s not all gags and giggles but everything we do. has clocked up nearly 40 years there’s no doubt that retaining in the business between us, an ability to laugh is essential to Excellence this is a sobering thought and surviving in the unpredictable Whilst the excellence of our one that motivates us to place world of kids’ TV. output is probably best judged integrity at the heart of Three So, that’s a whistle stop by others, there’s no doubt we Arrows. What it boils down tour through the first full year are constantly striving for it. We to is treating others as you’d of Three Arrows! Hopefully are delighted to have welcomed like to be treated (I’m sure I’ve this goes some way to proving into the Three Arrows family heard that somewhere before…) the point that values actually a wonderful production team and staying true to who we can play an important part of people from the rich talent are – even when it might be in steering and growing a pool of the North West. And it’s unprofitable or unpopular. company. not just who we’ve employed Having this as one of our Before I go, I’d like that is a mark of our pursuit explicit values holds us to to salute the integrity of of excellence, but all aspects account both externally and to all the fabulously creative, of our day-to-day business: one another. collaborative, bold, excellent how people are treated, our and fun people in children’s internal systems, our external Fun media who make this such communications and timeliness Finally, have we been able to a brilliant sector to work in. in contracting and payments. have a laugh along the way Never forget the value of what This philosophy is probably best and retain a sense of humour in you do!

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Everything Is the Same, Only Different: The fundamental needs of children Katie French

BBC younger audience needs model – a research study to understand the fundamental psychological needs of children to find out what their motivations and triggers are for accessing media and content.

As the famous saying goes, “The only thing something that does stay the same: the that is constant is change”, and for our fundamental needs of children. Children children’s audience we can all agree this still have the same developmental stages and is certainly true! The world children grow needs they have always had, it’s just that up in is constantly changing. The rise of a the environment in which they satisfy these digital-first market has seen the emergence needs is evolving. of a plethora of new online entertainment Why is this work on the needs of brands and content destinations. These children important? have fostered the desire in children for more In an increasingly fragmented world, control and to access content on‑demand, where content makers and brands are as well as leading to personalized and fighting for the attention of children, it social experiences becoming increasingly is becoming more important for media, appealing. As a content maker or entertainment and content makers to take commissioner, it can sometimes feel hard to an audience-centric approach. keep up! We need to ask the question – are we However, in the midst of these changes, creating and commissioning content that it’s important to remember that there is truly meets the needs of children?

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Table 1: Core needs and sub-needs of children aged 2–15 What will this tell you? Core Need Sub Need It provides a simple framework Learning & Discovery: Ability: Help me learn and understand of the psychological needs of new things. Need to explore individual younger audiences, explaining skillset and learn more about Mastery: the motivations and triggers the world. Help me improve my skills. for accessing content and Authority: media and ultimately providing Help me gain control and a springboard for content influence over others. Independence: innovation. Need to become an Self-expression: independent being on the path Help me to express myself. to adulthood. What did we do? Identity: There is a plethora of academic Help me to establish who I am & what I represent. literature on this topic already, Bonding: so the first stage aimed to Help me to get close to my utilize this knowledge through family and learn how to behave with others. commissioning a literature Social Connection: review by Dr Adam Galpin1. Need to interact with friends Acceptance: and family. Help me fit in with my peers. Based on the literature, a framework of children’s needs FOMO: Help me to feel involved and was developed. part of the group. The needs framework is Wind down: fundamentally based on the Help me to relax. academic literature, but we also Mood Management: Stimulation: conducted a second stage to Help me to be actively engaged Need to regulate mood and develop the needs framework energy levels. and entertained. into something user friendly Filling Time: Help me to fill time and be less and easily accessible by content bored. makers. For the second stage In order to address this, it is important we commissioned a children’s specialist to understand the fundamental motivations research agency, Crowd DNA, to conduct and triggers that drive children’s behaviour a longitudinal primary research study and media use. Although developmental following a cohort of young people aged stages are well documented, there is a 2–24 over a six month period. The findings clear lack of a straightforward audience- in this article are focused on the cohort of centric needs model. This work provides a 1 Galpin, A. (2016). Towards a theoretical framework to help content makers continue framework for understanding the to create content and experiences that development of media-related needs. Journal of Children and Media, 10(3), 385- children need and love. 391. http://www.tandfonline.com/doi/abs/10 .1080/17482798.2016.1194373

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Table 2: Sub-needs by age group those aged 2–15. 2–7 year-olds 8–11 year-olds 12–15 year-olds The aim was to Learning & Mastery Acceptance explore both the conscious Discovery and unconscious needs of Learning & Authority FOMO the children’s audience, Discovery so observation research methodology was employed, Self-expression Authority Identity as well as deprivation and exposure tasks and in-depth Bonding Self-expression Authority interviews with peers and families to understand how Wind Down Identity Killing/Filling Time brands and content were meeting the needs. Stimulation Acceptance Wind Down

Learning & Wind Down What did we find? Discovery The fundamental psychological motivations and triggers that Stimulation Mastery drive children’s behaviour and media use can be characterized Killing/ Filling Time into four core needs. Each core need has sub-needs which help to describe how the four needs play out Table 2 highlights which sub-needs are across the age groups. most important at the different ages. Table 1 sets out the core needs of children and how they break up into specific 2–7 year-olds sub-needs. There are six key needs for the youngest children. Children aged 2–7 use various Four Core Needs techniques such as imitation, role-play, The four needs are integral across all ages. questioning and exploration to fulfil needs However, the relative importance of the of learning & discovery and self-expression. needs do shift as the audience gets older. For There is a huge desire to do things children under eleven years of age, the needs independently. Forms of technology (e.g. of ability and independence are central to tablets) help children to exert control over their lives. Turning eleven heralds great their media choices and fulfil the authority change. At this point, the social connection need. need really becomes prevalent and mood management becomes a way to cope with Parental needs the increasing demands and stress of school This research also explored the needs of and exams. parents and the most important parental

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need of all was distraction. Parents use school, children are faced by the daunting media to help them get things done, yet exciting prospect of secondary school. whether that be housework, cooking tea, Their social world expands and the need for looking after other siblings or on the go social connection and acceptance becomes in car journeys or day trips. Media that is very strong. It is also at this point that they portable and easy for children to use with usually get access to their own smartphone minimal parental input really helps to meet which fully opens up the world of social this need. Other parental needs include: media. With it develops an insatiable learning and education, mood management desire to be “always on”, characterizing and promoting good behaviour. what is well known as the fear of missing out (FOMO). Children and teenagers do 8–11 year-olds not want to miss out on what is going The challenge of engaging children becomes on with their friends and the world and harder as they get older, as a result of are compelled to check their social media increasing fragmentation of the market accounts any chance they get. This coincides and the fact that children are gaining more with the ongoing development of their control over their media consumption. identity and use of social media to reflect on Adding to the challenge is the growing content they consume and the opinions of amount of needs that these older children others to iteratively understand and develop have – nine to be exact. who they want to be. By the age of eight, although learning This generation has also grown up & discovery is still important, the mastery with the backdrop of austerity, rising costs need starts to develop. At this point, of further education and no guarantee of a children have a good foundation and good job or ability to buy their own home breadth of knowledge and they now seek to in the future. As such, they are focused and gain depth of knowledge through mastering seek to “get ahead” through hard work and their skillset and pursuing more complex ambition. In this context, the learning & challenges. discovery need shifts to focus on curriculum As well as mastery, other new needs goals and passing exams. Increasing develop from eight onwards, including pressures to do well at school and the stress identity and acceptance, as children start of exams means that media is used as a to wrestle with concepts of who they are great way to wind down. versus who they want to be and the desire to fit in with their peers. So, what’s next? The fundamental basis of this research is 12–15 year-olds the long standing developmental literature, The age of eleven onwards heralds a period so it will be no surprise that as experts in of great change and instability. Once they children’s media, a lot of content makers leave the familiar surroundings of primary and commissioners of children’s content will

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already be in tune with these psychological needs. However, the aim of this research is not to teach you to suck eggs but to provide a user friendly framework and invite content makers and commissioners to answer the question – are we creating and commissioning content that truly meets the needs of children? We know from the research that, in some cases, content and brands are great at meeting certain needs. However, there are definitely gaps and opportunities, particularly as children get older. • So, for the youngest children, how can you continue to offer ways in which they can interact and develop relationships with characters and brands to help express themselves and explore notions of identity? • How can you ensure that products are easy to use for the youngest of children to help them gain authority, as well as meet the parental need to distract? • As children get older, how can we better meet the mastery need and give children more opportunities to engage with their hobbies and interests? • How can we ensure that children and teenagers have access to distinctive content that can help shape their identity, as well as give them ways to relax and escape increasing pressures of school and exams? In a world where change is a certainty, let’s ensure we evolve and adapt in a way that doesn’t lose sight of those fundamental needs that will stand the test of time.

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Children’s Documentaries: My Life – Alive and Well in a Digital World Kez Margrie

The My Life single documentary strand is now in its ninth season on CBBC. The films follow the lives of some extraordinary children and the series has gained international recognition, winning awards across the globe. I’m lucky enough to be the BBC executive producer who looks after the strand. It’s an immense privilege and I get to work with a fantastic range of passionate and dedicated indies who bring us the children and their stories. Some of the recent films we’ve commissioned have dealt with children coming to terms with the death of their mother (made by Big Deal), the hectic life of a junior vlogger facing major surgery (Blakeway North) and two brothers who live (literally) on a desert island (MCC Media).

As we all know, the way children engage 2016 the linear TV series did better than with media is continually changing. When ever before, with each episode landing in you consider some of the current broad- the CBBC channel’s top ten shows for that brush beliefs around how kids consume week. Even more gratifyingly, each episode content, on the face of it My Life probably was in the top 40 of the most-watched shouldn’t exist. It isn’t a format; every programmes on BBC iPlayer. That isn’t the show is unique; there is no narrative arc or top 40 most-watched children’s programmes recurring character across a series; you can’t on iPlayer, but the top 40 shows across the turn it into merchandise or an app; and whole of the BBC’s output. most of the films are 28 minutes long in an How has this come about? Shouldn’t age where attention spans have supposedly documentary be dead in our hyper- evaporated. competitive marketplace? Well, some These are big obstacles. And yet in things we know will resonate with any

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generation – compelling stories, fascinating voice-overs and, while the video diary contributors, subject matter which is current format is not new, as the first generation and relevant. I believe that there are other of digital natives, children in 2017 are reasons, too, some of them to do with how very proficient at self-filming. The personal we’ve developed the strand on television moments they capture are nearly always over the past few years, and others centring where the strongest and most emotional around how we engage with the audience content comes from. Casting is also on digital platforms. incredibly important. What all the My Life children have in common is a real self On TV awareness and ability to tell their story So, TV first: a key aim for us has been in their own words. Grown-ups have to to give increasing power to the child really earn their place in these films. They contributors themselves. They do all the can be there to affirm what the contributor

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is saying, but certainly not to take over enhanced through our ability to organize the narrative. This is a vital part of the the films into a collection. It’s a useful way commissioning criteria – these are not films of grouping all the unique episodes into a about kids but by them. single place that our audience can discover How we handle tone has been an and enjoy. interesting journey too. The My Life films When it comes to the CBBC website, are constructed in classic documentary we work closely with the producers to style, but that isn’t the same as constructing choose short compelling moments from the them for documentary aficionados. We films, giving a taster of what’s to come each have to make the films engaging for young week to build excitement. We can now also children who may not be familiar with the do the same via CBBC’s official YouTube documentary format. I passionately believe channel, which gives us the benefit of being that documentary is the strongest form of able to reach additional kids who may not story-telling and if we are able to build be frequent viewers of CBBC or users of our the next generation of documentary lovers website. through the My Life brand, then job done! We also have activity on CBBC’s To that end, we use pop or commercial Facebook page, which is where we are able music tracks to help draw kids in to the to reach teens and parents. The nature of stories, despite the sometimes gritty subject My Life’s public service topics means that matter. We’ve been helped enormously in it does garner a wide interest, and presents this by working with such a wide range of opportunities for co-viewing. The older kids indies, often companies that are new to us, and parents we are able to reach on CBBC’s who bring great stories to the strand. Facebook page need something they can very quickly dip into. With the last series, Other platforms we experimented with producing short one- So, it does well on TV, but CBBC is more minute films that get directly to the heart than a TV channel and in order to be of the story. They come with embedded relevant to and discoverable by children text, as we know that nearly 90% of people (and their parents), we have to ensure watching content on Facebook do so that there is a My Life presence on all our without any sound. We live in a world of platforms, with BBC iPlayer key. “I want it now!” so if the one-minute short The strong stories that we feature really has excited someone to view the whole cut through on our celebrated on-demand film, it needs to be available to them there service, and beyond the children’s area too. and then. For that reason, we posted the The main documentaries category, and also shorts on Facebook only after the CBBC the iPlayer homepage, will often feature channel TX, so the episodes were ready and episodes of My Life as they perform so well available on iPlayer. Pushing to a TX slot with the wider BBC audience. The My Life just wouldn’t work in this space. So, did it digital footprint on iPlayer is additionally work? Absolutely. The posts have regularly

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received tens of thousands of views. We have experimented with Twitter in the same way, although only dipping our toe in the water. The built-in brevity of this platform presents us with a challenge, given the in-depth nature of our content. However, promoting specific moments of awe and fun seem to work, and it’s something we may explore further for the next season. On the subject of social media, it’s worth mentioning how much session that I’m producing for the Children’s more care we have had to take with our Global Media Summit on 5–7 December contributors in recent years. These are real in Manchester. This event is the latest kids, not actors, and given the nature of incarnation of the World Summit on Media some of their stories, we have to be sure for Children conferences, which have taken that they and their families are robust place around the globe every three years enough to cope with the potential interest since 1995. It is coming to Manchester for in them on social media. All families are the first time. carefully briefed before participation, and One of the five broad themes know who to contact should anything arise that we are exploring at the summit that they need help with. We expect to is empowerment, and how children’s have an ongoing dialogue with them about media can give kids a bigger voice on our safeguarding advice throughout the the global stage, along with what role it production process and beyond. may play in fostering or combating our To date, despite the sometimes unconscious biases. My Life’s diverse range challenging nature of these films, the of contributors is one of its key strengths, overwhelming response has been very and a subject close to my heart. I’m looking positive. In general, people recognize that forward to drawing this out in the session the contributors themselves have the right to that we are planning. tell their stories. However, the darker side of Do please visit http://cgms17.com if trolling and cyber bullying is always a risk, you’d like to find out more. And look out and we try to be as prepared as possible. for season 10 of My Life on CBBC in 2018! The advantages and disadvantages of the digital world, along with my interest in child-centric content, will also feature in a

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Musical Youth: My Unlikely Heroes of the 80s Chris Banks

It seems that every other week, Channel 5 shows a retrospective of the 1980s. Coiffured New Romantics queuing up for the Blitz Club, pin- striped yuppies yelling into bricks, Duran Duran camping it up on yachts. But that’s not the 1980s I remember.

I was in primary school throughout the record the theme tunes onto cassettes and decade, surviving in a Welsh village so work them out on the piano. Find me a remote you couldn’t even receive FM radio. keyboard now and I’ll serenade you with No Top 40 home-taping for me. My musical a medley of Jonathan Cohen’s greatest upbringing came from just two sources: hits: Play Away, Rentaghost – I even do a my parents’ old record collection (mostly passable Galloping Galaxies! Beatles, Monkees and the complete works By the end of the decade, I was of Gilbert & Sullivan) and those golden taking my hard-earned pocket money to hours between four and six every evening – Woolworths, striding purposefully past the children’s television. latest Kylie and Jason albums towards the In those early years, my influences “Other” section at the back of the shop. weren’t The Jam, The Cure, or The Police, My bounty: World Of TV Themes, Best they were Grange Hill, Terrahawks, The Of BBC Children’s TV, TV’s Greatest Hits Mysterious Cities Of Gold, Bertha, Gruey, – whatever compilations I could lay my ten- Jossy’s Giants, Simon and the Witch. I’d year-old mitts on. Saturday afternoons were

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spent cross-legged against the hi-fi speaker, to write a song for our childhood hero, in thrall to the music of Captain Zep, Mop Derek Griffiths. Perhaps better known as and Smiff and Think Again, again and a legendary TV presenter, Griffiths is also again. a multi-instrumentalist and composer. The To my pre-teen ears, these tunes were hilarious post-rehearsal curry at which he more powerful than any pop record. I regaled us with his memories of Bod and couldn’t articulate what it was that made Heads and Tails is an evening we’ll cherish the reggae groove of Benni Lees’ Pigeon forever. He was humbled when I gushed Street so irresistible, nor the strains of Kerr about the influence his music has had on and Faulkner’s Bagpuss so melancholic. ours and we made it our mission to get him But the answer was simple – the composers recognition. cared. Yes, they were writing “for children”, With the aid of fellow composer Paul but perhaps that’s the very reason they Farrer, we successfully campaigned for cared so much. Their formula: musically Griffiths to be awarded a BASCA Gold encapsulate the feel and intent of the Badge for his services to music, alongside show you precede, imbue your melodies other notable greats from the pop and rock and lyrics with a virulent ear-worminess, industry: Bob Geldof, Kate Rusby, Alison make no harmonic concessions for your Moyet. But at the Savoy ceremony, it was young audience, and task good musicians Griffiths who received the warmest reception, with playing great arrangements on real including impromptu tributes from Radio 2’s instruments. That’s the way you create a Jo Whiley and Anne Dudley, ex-Art of Noise formative soundtrack that for some, like member. Kids’ TV composers may not share me, would last a lifetime. the glamour of pop stars, but their music can It’s the standard to which we current last just as long. kids’ composers aspire. Paul Moessl’s catchy Derek Griffiths is one of many. When music for The Numtums shares a sonic I look back at the 1980s, I don’t think of sensibility with Sesame Street. Listen to our your Spandau Ballets, your Bananaramas, punchy ZingZillas theme and you’ll spot your Whams. I think of Derek Griffiths, rhythmic echoes of Jamie and the Magic Jonathan Cohen, Mike Amatt, Pete Gosling, Torch. Byker Grove sounded fresh and Johnny Douglas, Benni Lees, Freddie contemporary back in the late 80s, just as Phillips, John Faulkner, Sandra Kerr, and 4 O’Clock Club does now. Oasis called it all the other brilliantly creative songwriters “Standing On The Shoulders Of Giants”. who helped shape the musical tastes of But where are those giants now, and why children like me. They may not appear in aren’t they better remembered? Channel 5 retrospectives – most of them A few years ago, my composing aren’t even household names. But their partner Wag and I worked on the annual music inspired the next generation of TV CBeebies Christmas Show. The honour was composers. They are the real heroes of my made all the greater when we were asked musical youth.

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And They Call it Puppet Love WarRick Brownlow-Pike

At the age of two, I happened to see The Muppet Show on television and immediately my fate was sealed. I was completely captivated and my obvious fascination inspired my parents to buy me my first puppet. It was from that moment that my passion for performing began and was to become my career.

I would puppeteer for anyone who would expressions and capabilities were. So, my watch. I dreamed of working with the Jim mum and I began to work out how to build Henson Company, with the Muppets and our own. With scraps of foam and fabric on Sesame Street. I scoured magazines (and many glue gun burns) we learned and television programmes and read and how to bring to life the characters I’d held watched everything that I could, to learn in my imagination for so long. This was a exactly how the puppets worked. My mum massive leap, from watching characters on Jacqui would take me all over the UK, television, to creating characters of my own. to any venue that was holding puppetry After many years of mastering my exhibitions or screenings, because her craft at home, I decided the time was right puppet-obsessed son couldn’t get enough! to take the leap and audition for a TV By the age of about eight, I started show. That first audition was for Space to get frustrated with my shop-bought Pirates, on CBeebies. I got the job and since puppets, realizing how limiting their that first lucky break, I’ve been working

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professionally non-stop. whenever Fozzie’s regular Over the past ten years I performer was busy working have racked up hundreds of Miss Piggy. hours of air time, working with For the past seven years, I the BBC Children’s Presentation have had the pleasure of being team on series like Ed and able to perform and develop my Oucho’s Excellent Inventions, character, Dodge T Dog, and Transmission Impossible, I love every minute of it. He Hacker Time, Spot Bots, Get presently resides in the CBeebies Well Soon and BBC Three’s House and gets to entertain, Mongrels. It all came full circle with my help, thousands of in 2013 when I began working adoring preschoolers on the with the very same company CBeebies channel every day. that had originally inspired me This year I flew to New at the age of two! I got a job York City, where I became a working on The Jim Henson member of the Sesame Street Company and BBC’s That Muppet performers team for Puppet Game Show. Dream Sesame Street’s forty-eighth fulfilled. season. Working on a show Other highlights have seen which has inspired me for such me become Elmo from Sesame a long time is humbling – I feel Street’s right-hand man in the so privileged that, every day, I’m UK, and a lead performer in doing what I’ve wanted to do the Sesame Workshop/CBeebies since I was two years old. co-production The Furchester I recently set up my own Hotel. It was on this show that puppet-based production I was given the opportunity to company called Planet develop my very own character, Pumpkin, so I can take the next Gonger, the little furry pink step in my career by developing chef. and producing my own In 2014, I was selected ideas. I’ll always want to be a as one of only four full-time puppeteer and I’ll always want core UK Muppet performers to create engaging content that for the most recent Muppets entertains people. It’s the best film, Muppets Most Wanted, job in the world. with Ricky Gervais, Ty Burrell and Tina Fey. It was here I got to perform my childhood favourites such as Fozzie Bear,

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A twinkly time, long, long ago… Simon Partington

One of the best bits of working in animation is getting experience. It brought back the opportunity to design the world and characters memories of cream and brown for a brand-new series. A blank canvas is so exciting patterned carpets and curtains, and it’s an even sweeter prospect when the project white plastic record players allows you to draw on the TV shows that you adored with slightly fuzzy speakers as a child. With the production of the CBeebies and happy feelings of me sitting programme Old Jack’s Boat and the subsequent in the family home with my spin‑off Old Jack’s Boat: Rock Pool Tales, nostalgia parents and sister. has never been far away. It has been lovely to think As I watched, it was back regularly to my own childhood viewing and interesting to compare the ponder what is was about those classics that meant images I imagined as a child so much to me then, and still inspires me today. against the director’s vision, and to see how I had misunderstood One of the first connections and the other more familiar or wrongly imagined certain I can remember having with residents of the magic garden scenes. It surprised me how animation was with Dougal really caught my imagination. I much of the dialogue I could and the Blue Cat. My love for can still clearly remember lazy still recite from the film even The Magic Roundabout, and afternoons sat around the record though it was years since I had this beautiful film in particular, player listening to the story heard it. started back in the late 1970s play out, imagining images to What part this early when my mum and dad would accompany Eric Thompson’s introduction to an animated play an LP of the narrated marvellous narration. property had on my choice of soundtrack from the film to me Fast forward to 2010 career is unclear, but what I and my sister. and the fully restored film was am sure of is that this created I had one point of reference released on DVD. I finally sat world and others like it (The for the look of the film at the down to see the film I’d been Wombles, Chorlton and the time – a single image of the imagining for the past 30 years Wheelies, The Flumps, Bagpuss characters lined up on the record or so. The film was brilliant, and Ivor the Engine) seemed sleeve. The wonderful Buxton of course – that didn’t surprise to fuel my fertile childhood the cat standing amongst me – but I wasn’t prepared imagination and have continued Florence, Dougal, Dylan for it to be such a nostalgic to inspire my own artistic

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attempts throughout the years. I recall It was such a privilege to be discussion in the involved in the early discussions early development for Old Jack’s Boat with the of the show about in-house production team at having an animation CBeebies and to play a part in style that gave a developing a brand-new world nod to children’s for its core audience whilst, television of the hopefully, bringing warm and past. So, we worked nostalgic feelings to the fore for on a “cut-out” style, parents and grandparents alike. deciding on charm The chance to work with over glossiness. The Bernard Cribbins (performing animation style is Old Jack himself!) was a dream limited in many come true for a huge fan of ways (there is no The Wombles. The man who perspective, for created the memorable voices for example) but it feels the much beloved stop motion totally at home with series would now be performing the simplicity and and 2 BAFTAs later, the show new voices for the characters setting of the programme. certainly seems to continue to my team and I were designing A deliberately handmade find its audience. I have heard and animating. This was a very feel to the art direction was of families sitting down together exciting prospect for all involved! developed using a mixture to watch and enjoy it which is It’s still a thrill to get the of photographs, textures such a lovely thought – and I rushes (raw footage) back and craft materials to give a even know of a few big kids who from the edit and listen to very illustrative aesthetic to watch it whether the children are how Bernard has perceived the world, all in an attempt in or not! the animated cast from the to design something that My hope is that in 30 early illustrations we provided. hopefully harks back to the way years’ time, children watching So much of the animated animations used to be made. now may remember Old Jack’s performance, movement and I know the whole team at Boat with the same fondness personality is dictated by the life Flix Facilities are very thankful and affection that I feel for the he breathes into the characters. to be involved in such a beautiful television of my own childhood His performance and perfect CBeebies production and it is – those warm and fuzzy feelings delivery of the stories have the wonderful to see all the work, of nostalgia that can transport ability to transport people back love, care and attention that goes us back to another place and to perhaps a simpler time, and I into every process of making time – or, as Old Jack would feel that this is a big part of the each Old Jack’s Boat story. A say, to “A twinkly time, long, show’s heart and appeal. combined 85 episodes, 2 specials long ago”.

99 farewell

John Noakes: A Tribute Richard Marson

In 2005, a special dinner was held for all five Blue Peter editors up to that point, myself included, together with Edward Barnes, another of the programme’s founding fathers, and a one-time deputy and head of the children’s department. During the evening, talk turned inevitably to which had been the most successful and effective presenters. The unanimous feeling around the table was that, despite some tough and talented competition, the greatest presenter of them all had been John Noakes.

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However, it could all have been a different procession of mishaps and mistakes, the story, and indeed, Noakes’ television career audience was let in on the joke, and began very nearly came to an ignominious end just to relax and enjoy Noakes’ natural anarchy a few months after he landed his first Blue and boyish charm. If, as he later claimed, Peter contract, towards the end of 1965. his marathon stint of 12 and a half years on Like many other presenters before and Blue Peter was mostly just a performance, since, he’d worked as an actor, and he found then it was one of the greatest sustained it a special form of agony transitioning examples of television acting ever. His to a job in which he principally had to bravery, his subversive sense of humour be himself. “This glass eye, the camera, and his celebrated relationship with four- stripped me naked,” he later commented. legged companions, first Patch and then, “I actually shook with fear, the voice from 1971, Shep, proved an irresistible tremoring as I said the words. The first combination. If Valerie Singleton was few months were quite terrifying. I went rather like a member of the royal family, through murder. I even went to a hypnotist then Noakes was the comedy footman, and a faith healer to try to get me out of it.” frequently stumbling and making mistakes, “I don’t think he looked at the right and bringing a genuine warmth and humour camera once,” remarks Edward Barnes, to the twice-weekly programmes. When a who was then the senior producer on Blue baby elephant called Lulu famously visited Peter. “It was painful to watch. I remember the studio in the summer of 1969, Noakes one time we had a very smart, very upright added to the chaos, exclaiming “Get off Corporal of Horse from the army in the me foot!” He later admitted that the poor studio. Noakie got completely lost during animal hadn’t actually trodden on him at the item and asked him, “Have you got any all, he had simply seized the opportunity idea what’s coming next?” to borrow the catchphrase of the now- “No, Sir!” shouted the Corporal of forgotten comedian Frank Randle, who had Horse. been popular when Noakes was a lad. “Nor have I,” shrugged Noakes. “And But, as well as acting the clown, it’s getting to be quite a problem!” Noakes also defined the role of the action Noakes was actually dropped from presenter. He seemed utterly fearless, the 1966 summer expedition, and serious claiming that his feats of supreme bravery consideration was given to dropping him were possible only because he had “no from the programme itself. But then, at imagination” and that he was only ever last, everything began to click. He started truly scared on two occasions: once while to develop “this idiot, who is not really trying out a vertiginous tree swing, the other the real John Noakes. I’d got rid of my while trying to remain atop a circus sway Yorkshire accent at drama school. I brought pole. Health and safety were then in their it back and used it as part of a character.” infancy so these films were approached with Now, instead of cringing at the a mixture of common sense, working with

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or came top in the exam. Their hero, John, admitting defeat.” His other remarkable adventures are too many to list but the highlights include dodging out of the way of the erupting Mount Etna, completing a four-mile high freefall with the RAF Falcons, scaling one of the towers of Fulham Power station, coming off a bobsleigh at high speed (he showed off the impressive bruises to his backside back in the studio) and, perhaps the most celebrated of them all, climbing to the very top of the experts and a hefty dose of pure luck. Nelson’s column. He actually did this twice Indeed, one steeplejack film which Noakes – first in 1968 and then again in 1977, a made in his final months on the programme jaw-dropping piece of film which has been was never shown because, tragically, the repeated countless times since, and which man in charge fell to his death shortly after never loses its power to shock and impress. the filming. The director was Alex Leger, who recalls: One of his early edge-of-the seat “John made it all the way to the top via a achievements was his ascent to the towering series of ladders roped to the sides, with no mast of HMS Ganges. It was extremely harness of any kind. But the really tricky hazardous and indeed, just a few years part was when he reached the overhang of later, the entire exercise was abandoned the plinth at the top. Climbing the ladders due to the mortality rate among the naval here meant supporting his full weight too. cadets who had to master it as part of their Then, when he’d finally made it, the sound training. Noakes nearly made it to the top recordist told me that there had been a but, totally exhausted, was forced to give technical problem so he would have to go in at the very last minute, giving him the back and do it again. Noakes didn’t moan; unwelcome headache of changing places he just got on with it. He was incredibly with a cadet 38.7 metres from the ground. brave.” Biddy Baxter, the show’s editor at the time, This was the era of three channels only, felt it “... was almost better than him getting so his antics were enjoyed by a vast captive there because it gave encouragement to all audience which sometimes reached the the viewers who never quite won the race dizzy heights of eight or nine million people

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– unthinkable now. In 1975, there was a spin-off series, Go with Noakes, built around the mammoth popularity he enjoyed, in which he (and Shep) explored the highways, byways and coastlines of the UK, trying out all kinds of activities along the way. Noakes eventually left Blue Peter in the summer of 1978, having appeared in more than 1,000 programmes. He returned to make special appearances for the 35th, 40th and 50th anniversaries of the programme, as well as to help dig up a time capsule in 2000, when he and his fellow “exhausted. The pressure was terrible. I’d presenter Peter Purves were both honoured done all these things and I don’t think any with the programme’s highest award, a gold of them really realized how difficult it was. badge. It was a Peter Pan existence, a bit like an However, it is no secret that Noakes’ overgrown schoolboy’s job.” departure from Blue Peter was tinged with By the end of his extraordinarily long bitterness and rancour, principally over stint, he may have been exhausted, but he the ownership of Shep. Like most of the was also undoubtedly Blue Peter’s superstar, programme’s pets, Shep officially belonged his achievements unsurpassed by anyone to the BBC. When Noakes left, he was who followed him. News of his death, after offered the chance to keep the dog on one a long battle with dementia, unleashed condition – that he didn’t use him in any a huge outpouring of deep affection and advertising. Noakes refused the condition respect. For many, John Noakes was and Shep was retired to live with the a definitive and inspiring part of their programme’s then animal handler, Edith childhood – a funny, tenacious, down-to- Menezes. It broke Noakes’ heart and, in earth hero whose bravery and jokes made years to come, he became tearful on more life better and anything seem possible. than one occasion when discussing Shep and their separation. When he looked back over his departure from the show which had forever cemented his name with the British public, Noakes admitted that he was

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peter sallis: A Tribute nick park

I’m so sad, but He could make the feel so grateful simplest incident and privileged sound hilarious – to have known just by the way he and worked said it. with Peter When I look over so many back I’m so blessed years. He was and fortunate that always my first and only choice he had the generosity of spirit to help out a for Wallace. I knew him of course poor film school student back in the early from the very popular long running 1980’s, when we first recorded together, BBC series Last of the Summer when neither of us had any idea what Wine. He brought his unique gift Wallace & Gromit might become. and humour to all that he did, and Peter’s unique, charming quality, encapsulated the very British art of together with oversized vowels and the droll and understated. endearing performance, helped me fashion Wallace from the beginning; the way he Working with Peter was always a delight first said “We’ve forgotten the Crackers and I will miss his wry, unpredictable Gromit” and “Cracking toast Gromit” or humour and silliness – that started the just “Cheeeese!” soon lead to Wallace’s moment he greeted you at the door, and enormous “coat-hanger mouth”. didn’t stop when the mic was switched off. They don’t come along very often like He had naturally funny bones and was a Peter Sallis – he was a unique character, on great storyteller and raconteur off stage and off screen, and an absolute honour to too and would keep us amused for hours. have known him

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Myke Crosby 1961 – May 2017 Karl Woolley

The industry lost one of its finest when Myke Crosby sadly passed away on 18 May this year.

Myke was an inspirational and passionate producer of kids’ TV and digital content having worked at Fox Kids, Prism Entertainment and Bin Weevils where he created and built the hugely successful kids online world of the same name. Everything Myke touched bore the hallmarks of his wonderful personality: fun, irreverence, wide-eyed engagement, an infectious smile and a wry laugh at the world. Myke never talked down to the kids he entertained because at heart he’d never really grown up himself. He will be sadly missed by his wife, Amelia, his beautiful daughter, Natasha, and all of us who’d had the great privilege to meet him and work with him.

105 contributors

Margret Albers Laverne Antrobus Cary Bazalgette Margret has been CEO of the Laverne is a consultant child and Cary worked at the British Film Institute German Children’s Media Foundation educational psychologist and has from 1979 to 2007, having been a GOLDENER SPATZ and director of worked with children and families teacher of English and filmmaking in the Media Festival of the same name in most need of help over the last 20 London secondary schools. She wrote from 1996 to 2016. She is the board years. Having trained at the prestigious and edited a number of classroom spokeswoman of the Association for Tavistock Clinic in London, she then resources for media education and the Promotion of German Children’s worked in local authorities and now for published and spoke widely on this Film. Together with Thomas Hailer and the NHS. Laverne appears on popular topic in the UK and around the world. Greg Childs, she is responsible for the daytime broadcasts and is often asked As head of BFI Education from 1999– direction of studies at the Academy for to give a psychological perspective on 2006, she led the development of new Children’s Media. She is also project issues that affect children and their approaches to teaching and learning director for the initiatives Outstanding families in both radio and print media. about moving-image media for the 3–14 Films for Children and Television from She has made programmes on childhood age group. She is now undertaking Thuringia. In addition, she is president for the BBC and currently appears doctoral research at the Institute of of the European Children’s Film on the CBeebies Grown-ups website. Education, London, on pre-school Association (ECFA). This year she will be joining the team children’s encounters with moving- of psychologists on the Channel 4 image media. www.carybazalgette.net programme Secret Lives of Five Year Olds.

Rebecca Atkinson Rebecca is a children’s writer and Warrick Brownlow-Pike creative consultant specializing in Warrick’s passion for performing began the representation of disability in Chris Banks when he was two, whilst watching children’s industries. She is the founder Chris is one half of Banks & Wag, Jim Henson’s Muppets. His credits of toylikeme.org and listed in the 2017 the award-winning London based TV include Ed and Oucho, Hacker Time, Power100 list of influential disabled composers with credits including Go Get Well Soon, BBC Three’s Mongrels people for her work in this field. Jetters, Blue Peter, Friday Download, and Henson’s That Puppet Game #ToyLikeMe is an arts and play based Wanda and The Alien, and ZingZillas. Show. Warrick is a lead performer on not-for-profit celebrating disability www.banksandwag.com The Furchester Hotel and was a core representation in toys and calling on the UK Muppet performer for the movie global toy industry to better represent Muppets Most Wanted. Currently he is 150 million children worldwide with Dodge the Dog in the CBeebies House disability and difference. toylikeme.org. and has just returned from working on Sesame Street in New York. As well as a puppeteer, Warrick is an accomplished illustrator and puppet designer and is constantly developing new ideas for his production company Planet Pumpkin.

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the DfES, Al Jazeera Children’s, CITV, Youth and was formerly a director at Teachers TV, ITN, Avid and the GfKNOP. Barbie completed her PhD European Broadcasting Union. Greg is in child and adolescent psychosocial the co-creator and editorial director of development at the University of the Children’s Media Conference, now Cambridge, Faculty of Education, where in its fourteenth year in Sheffield. He is her published research has looked at also one of the heads of studies at the early adolescents’ use of digital media. German Akademie Für Kindermedien, She taught postgraduate students at the Helen Brunsdon and is the founding director of the faculty for five years. She is a trained Children’s Media Foundation. child therapist and has worked with Helen is director of Animation UK. She young offenders and in secondary has extensive experience in the animation schools in Tower Hamlets. A fellow of industry as a BAFTA-winning producer the Market Research Society (MRS), of short films, television series, festivals Barbie regularly writes articles and gives and events. She has worked with some papers at international conferences, of the most creative talent in the UK and has appeared on TV and radio including Aardman, Joanna Quinn, commenting on youth research. Arthur Cox, Brothers McLeod and as an executive producer she has worked with CBBC, Disney UK and CITV. Helen has a passion for nurturing talent Tim Clague and since 2014 has been an associate Tim is a BAFTA-nominated writer and for Creative Skillset working across the winner of the Jerwood Film Prize and animation, VFX and games sectors. She works in games, TV and film. His work is also a visiting tutor and advisor for as writer/director has been broadcast several universities, a member of festival on BBC 1, Channel 5 and ITV. Recently advisory boards, events producer, co-host he has moved into children’s content of Show Me the Animation and director and has been directing commercials and Alison David of Animation Associates. early years’ development material as Alison is consumer insight director at well as promotional material for LEGO Egmont, the UK’s leading specialist and Star Wars. He recently wrote for children’s publisher of books and the CITV show Oddbods and RTE’s magazines and home to many of I’m a Fish and is currently lead writer the world’s favourite stories, best- on a new computer game. He co-wrote loved authors and illustrators and and co-directed the live action children’s characters including Thomas & Friends, feature film Who Killed Nelson Disney Princess, Disney Frozen, Nutmeg? alongside Danny Stack. Star Wars™, LEGO®, Teletubbies, They have since set up Nelson Nutmeg Michael Morpurgo, Enid Blyton, Julia Greg Childs Pictures Ltd with Jan Caston and are Donaldson, Lemony Snicket, Michael the UK’s only production company Grant, Andy Stanton, Winnie-the- Greg spent over 25 years at the BBC that exclusively produces live action Pooh, Tintin, Mr Men, Stampy Cat as a researcher, director, producer and children’s films. and Minecraft. Alison has worked in executive producer – mainly in the the media and publishing industry for children’s department. Following a over 30 years and with research as a TV career producing Play School and creator, analyst and end user. Through Record Breakers (amongst others), he her extensive research, and as a parent developed the first BBC websites and herself, Alison has a real insight into interactive television for children, and the challenges facing reading. Her as head of children’s digital he created research programme at Egmont includes the children’s channels CBBC and “Reading Street”, a longitudinal study CBeebies. After leaving the BBC, Greg investigating children’s reading and consulted on digital innovation and the environment in which they grow management strategies for production Dr Barbie Clarke up to understand what it takes to companies and broadcasters across Barbie is the founder of award-winning inspire them to read for pleasure; a the world. His clients included Disney, research agency Family Kids & consumer segmentation study sizing the

107 contributors children’s book and magazine market on to be nominated or win national and identifying the motivations and and international awards. David has aspirations of parents in regard to an honours degree in Communication their children’s reading for pleasure, Studies with Education from the “Print Matters”, an exploration into University of Middlesex and lives in parents’ and children’s responses to Barnet, North London with his wife reading children’s books, including print Clare and two children. books, eBooks, apps and magazines and most recently “Print Matters More”, Katie French a groundbreaking study that turned Katie is currently head of the children’s reluctant readers into enthusiasts in and learning audience team at the just 6 weeks. Alison is also the author BBC. She ensures that research and of Help Your Child Love Reading, a audience insight informs the design and practical guidebook for parents to help continuous development of products them inspire their children to read for and services for flagship brands like pleasure. CBeebies, CBBC and BBC Bitesize, to ensure these brands remain fit Anna Home OBE for purpose in a digital age. Prior Anna is chair of the CMF Board and a to working in media research, Katie founding patron of the organization. worked in the healthcare sector and She joined BBC radio in 1960 and headed up a market research team at started in children’s television in 1964 the National Institute for Health and where she worked as a researcher, Care Excellence (NICE). She started then director, producer and executive her career as a health researcher for producer, latterly specializing in organizations such as the National children’s drama. She started Grange Yara Farran Institute for Health Research and is Hill, the controversial school series. Yara is currently pursuing a Master’s published in the area of self-care and From 1981 – 86 she worked at the in Media and Communications at the mental health. ITV company TVS where she was London School of Economics, after deputy director of programmes. In completing a Bachelor in Arts and 1986, she returned to the BBC as head Science at McMaster University. Her of children’s programmes, responsible interests are primarily in media identity for all children’s output. She revived and youth literacy, representation, and the Sunday teatime classic dramas and participatory modes of development. one of her last decisions before retiring Alongside her current posts as a was to commission Teletubbies. After co-editor of the Children’s Media retiring from the BBC, Anna was chief Foundation newsletter and an editorial executive of The Children’s Film & board member of UnMediated, David Hallam Television Foundation until it merged the LSE’s journal of politics and David co-founded Three Arrows Media. into CMF in 2012. She has won many communications, she has assisted Before this, he headed up development awards including a BAFTA lifetime in pedagogical projects to increase for three blue chip Indies: The achievement award. She was the accessibility and community engagement Foundation/Zodiak Kids, Initial Kids/ first chair of the BAFTA Children’s in higher education; community Endemol and Zenith Entertainment. He Committee, has chaired both the EBU development projects within the arts cut his teeth in production on seminal Children’s and Youth Working Group and culture sector; and grassroots series such as The Big Breakfast, The and the Prix Jeunesse International youth-led initiatives. Word and GamesMaster. For the last Advisory Board. Anna was the chair 20 years, he has been a development of the Save Kids’ TV Campaign and specialist across all kids’ genres and the Showcomotion Children’s Media demographics. David has been involved Conference Advisory Committee. She in the creation and development of now chairs the Board of the Children’s over 30 series including Fort Boyard: Media Conference, and is a Board Ultimate Challenge, Scrambled!, Zack member of Screen South. & Quack and Mister Maker’s Arty Party. Many of these series have gone

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company developing and producing parental controls. content specifically for a children’s and family audience. She designs and leads children’s media courses for Creative Skillset and is also a director of award- winning EYFS online numeracy scheme “Ten Town”.

Dr Natalia Kucirkova Natalia is a senior research fellow at the University College London Institute Anne Longfield OBE of Education. Her research concerns Anne was appointed children’s innovative ways of supporting children’s commissioner for England in March book reading, digital literacy and 2015. In this role, she has legal exploring the role of personalization responsibility for representing the views in early years. She developed an and interests of the nation’s 12 million award-winning children’s app, “Our Sam Lawyer children to the decision-makers who can Story”, and is widely published on Sam is a Master’s student in Media and make a difference to their lives. She must early literacy and children’s technology. Communications at the London School also promote and protect their rights. Her publications have appeared in of Economics and previously received Her work must focus on vulnerable Communication Disorders Quarterly, her BA in English Literature from groups of children in particular. Anne First Language, Computers & the University of Pennsylvania. Her is a leading figure in the children’s Education and Cambridge Journal of current research focuses on comparative sector with over 30 years’ experience Education. She has been commended cultural studies of young digital media of and expertise in shaping the national for her engagement with teachers and audiences in the US and UK. She is also policy agenda and delivering services to parents at a national and international co-editor of the monthly Children’s children and families. She is passionate level. Natalia currently leads an Media Foundation newsletter and an about championing children’s interests Economic and Social Research Council- editorial board member of UnMediated, and improving their lives and has funded project focused on children’s the LSE’s journal of politics and led numerous high profile national personalized books. communications. campaigns, inquiries, commissions and research programmes that have effected positive change for children. Prior to becoming children’s commissioner, Anne was chief executive of 4Children during which time she advised the government on children and family policy in the Prime Minister’s Strategy Unit at Cabinet Office.

Terri Langan Estelle Lloyd Terri started in children’s media in Estelle was born in France and spent 2011, following 15 years as a sport most her career in New York and and factual producer and as head of London. After early work in investment development for indies in London and banking, she founded VB/Research in Manchester. After having twin boys and 2006. In 2014, she founded Azoomee, becoming increasingly absorbed in the the app where kids can access hundreds programmes they watched, Terri joined of hours of content – TV, games, BBC Children’s in 2011 and led the tutorial videos, audiobooks – in one Nellie McQuinn CBeebies in-house development team secure place. It offers tailored, age- Nellie has been in the entertainment for almost four years. Her commissions appropriate content that changes industry for over 20 years and has included BAFTA-winning series Old and develops as the child grows. The worked in Australia, New Zealand, UK Jack’s Boat as well as Swashbuckle and NSPCC is the company’s founding and the USA. She joined Grass Roots the RTS-award-winning Stargazing. partner and advisor on safety and Media as company director in 2006. Terri now runs Little Critics, a

109 contributors

Under Nellie’s direction, the company an executive producer at Twofour, has expanded into the digital media where his credits include four series industry and now specializes in creating of CBBC’s Our School. His books short form digital content for children. include Inside Updown: The Story of The company creates content for some Upstairs, Downstairs, Blue Peter 50th of the most prolific children’s brands Anniversary, Totally Tasteless: The Life and channels and the channels Nellie of John Nathan-Turner and Drama and produces for have over seven billion Delight: The Life of Verity Lambert. views – a busy month can see her team Alison Norrington producing over 300 videos! Alison is founder and creative director of storycentral Ltd, specializing in thematic and experiential storytelling with global partners in entertainment. She is also a bestselling novelist, playwright and journalist and a PhD researcher with a Master’s in Creative Writing and New Media. Alison Lucy Murphy is conference chair for StoryWorld Lucy was appointed the first head Conference LA, executive producer of Kez Margrie of kids’ content at Sky in 2015. virtual reality sessions for CMC and a Kez is a commissioning executive with She is responsible for all of Sky’s two-time TEDx speaker. She is a BAFTA independent production companies at on demand kids’ content, a library Guru and member of the International CBBC. She is responsible for delivering with a selection of over 5,000 Academy of Television Arts & Sciences, factual and fact/ent content across all episodes, including the Sky Kids app The Writers Guild of Great Britain and CBBC platforms. Kez looks after some which successfully launched in March Women in Film & TV. of the channel’s most successful factual 2016. Since joining Sky, Lucy has brands including the multi-award- started commissioning exclusive Sky winning My Life series, the BAFTA- original kids’ content including brand- winning Operation Ouch!, Our School new episodes of family favourite Morph. and Ice Stars. She has a background in Lucy has over 25 years’ experience in production and now works closely with producing and brand managing shows independent companies to produce the for children’s and family audiences. As a best, most relevant content across all producer, script editor and development our platforms for 6- to 12-year-olds in executive, she has worked on over 500 the UK. episodes of children’s shows ranging Kate O’Connor from hit CBeebies show Bing Bunny, Kate was the executive director and family favourite The Gruffalo and deputy CEO of Creative Skillset since Aardman’s Tate Movie Project; working its inception and was responsible for for a diverse slate of clients from small developing key industry partnerships, indies to major international media policy and strategy for the industries groups. Prior to joining Sky, Lucy sector skills council. In January held a role at Azoomee, a kids SVOD 2015, Kate established and now runs platform, as creative director and head a successful consultancy practice of content. specializing in education, training and Richard Marson skills in the creative industries and Richard joined Blue Peter in 1997 and works with a range of clients in the UK stayed for a decade, with four years and internationally. In November 2016, as the programme’s editor, during she was appointed executive chair of the which he won a BAFTA. In 2007, he newly formed Animation Council, now was executive producer of BBC Four’s officially part of the UK Screen Alliance Children’s TV On Trial. In 2012, he and representing key screen sectors masterminded Tales of Television Centre including animation, VFX, studios, for BBC Four. Since 2013, he has been post-production and facilities. Kate is chair of the BFI Research Committee

110 Children’s Media Yearbook 2017 and a member of the BAFTA Learning own research interests lie in children’s previously the managing director of and New Talent Committee. storytelling across media forms and Freesat, the UK’s fastest-growing TV playful approaches to the teaching and and on-demand service, and an ITV and learning of literacy. Her research focuses BBC joint venture. Prior to founding particularly on children’s film and media Freesat, Emma was chief of staff to as well as film and media education. She the BBC director-general, Greg Dyke, is author of Children, Film and Literacy, where she led the launch of Freeview, published by Palgrave Macmillan. Becky created the BBC’s first on-demand was formerly a teacher and cinema digital platform, and established a new educator and has managed numerous TV region. Emma began her career international creative media production working as a researcher in the House Nick Park projects with children and young of Commons for a Shadow Cabinet people. She has a strong interest in minister. ​ Nick is a four-time Academy Award® participatory and arts-based approaches winner, three in the category of Best to research with children and is keen Animated Short Film – Creature to undertake research which creates Comforts, The Wrong Trousers and A impact, developing a socially just and Close Shave and more recently in the more tolerant society. category for Best Animated Feature Film for The Curse of the Were-Rabbit. All four films were created and produced at Aardman, where Park is a co-director with founders Peter Lord and David Sproxton. In 1996, Nick and Aardman Kiley Sobel were honoured with a BAFTA Special Kiley is a PhD candidate and National Award for Original Contribution to Science Foundation graduate research Television. In 1997, Park was awarded fellow in Human Centered Design a CBE. He is currently directing his & Engineering at the University latest feature film Early Man with Simon Partington of Washington. She is interested in film partner STUDIOCANAL, set for Simon is the head of animation at Flix inclusion, design research, and assistive global theatrical release in 2018. In Facilities Ltd. Simon has contributed technology. Kiley’s primary research 2016, Aardman celebrated its 40th to numerous animation and puppetry is in understanding how interactive anniversary. series including Postman Pat: SDS, The technology might help increase Furchester Hotel and Toby’s Travelling opportunities for children with diverse Circus. He is the animation director and abilities and needs to equally, actively, designer of the BAFTA-award- winning and meaningfully participate in the BBC children’s series Old Jack’s Boat same setting. She has also done assistive and was producer and director of technology research with Microsoft Poppies, a Remembrance Day film for Research, has volunteered as a teacher’s CBeebies and CBBC. assistant in early childhood education classrooms, and co-designs technology with children on an intergenerational Dr Becky Parry design team called KidsTeam UW. Becky is assistant professor at the University of Nottingham in the School of Education, and is a member of the Centre for Research in Arts, Literacy and Creativity. Becky has extensive experience as a lead researcher in two key projects, “Tracking Arts Learning Emma Scott and Engagement” at the University of Emma is the founder and CEO of Beano Nottingham and “Developing Media Studios, a global kid’s entertainment Literacy” at the University College of business based on the spirit and Katie Steed London Institute of Education. Becky’s rebellion of the Beano. Emma was Katie is an award-winning director and

111 contributors co-founder of animation production been funded by the British Academy, children’s at TV-am, producing Roland company Slurpy Studios, who produce the Leverhulme Trust and the Arts and Rat and Rub-a-dub-tub. The huge animated content for commercial, Humanities Research Council. following that developed for these educational and entertainment clients, programmes gave Anne an inkling ranging from BBC Learning to the of the gap between children’s needs British Council. Away from the studio, and the provision of good children’s Katie is a well-travelled advocate television. Since then, Anne has devised of animation, guest teaching and and created innovative and pioneering mentoring at the NFTS, UCA Farnham programmes for younger children. All of and Falmouth, and has recently returned these programmes fulfil Anne’s driving from a British Council-led initiative to principle: “I want children to be happy educate and promote the Zimbabwean inside – in this uncertain world they need animation industry. Katie has a keen Lucy Taylor to feel secure and loved, only in this way interest in furthering and bettering the can they grow into confident and creative Lucy is a former primary school teacher representation of women and minorities individuals”. The continuing worldwide specializing in literacy. She has worked in the media, and frequently writes for success of Ragdoll programmes bear in primary schools in the UK and Skwigly animation magazine. witness to the truth of this belief. Europe and has a particular interest Anne was awarded a CBE in the 2000 in children’s reading and writing. Millennium Queen’s Honours List for After studying for a Master’s degree in her services to children’s broadcasting. Education she worked as an associate lecturer in Children’s Literature at the Open University and as module leader for Primary English on the PGCE course for trainee teachers at the University of Leeds. At present, Lucy is a doctoral researcher funded by the Professor Economic and Social Research Council Jeanette Steemers at the University of Leeds, investigating Jeanette is Professor of Culture, Media children’s independent writing. and Creative Industries at King’s College Karl Woolley London. A graduate in German and Karl is the managing director of Russian at the University of Bath, she Laughing Gravy Media and has worked completed her PhD on public service in children’s television for 20 years. broadcasting in West Germany in 1990. He was managing director of Tell- After working for research company CIT Tale Productions from 1999 to 2004 Research and international television in which time the company produced distributor HIT Entertainment, she Tweenies, Boo, and Fun Song Factory. rejoined academia in 1993. Her book He was managing director of Impossible publications include Changing Channels: Anne Wood CBE Kids, from 2010 to 2012, when he formed Laughing Gravy Media with Jon The Prospects for Television in a Digital Anne came to TV via publishing, and Doyle. Whilst working at Impossible World (1998), Selling Television: British could see no reason why children’s Kids, Karl and Jon made 52 episodes Television in the Global Marketplace television should not be of the same of Buzz and Tell and 52 episodes of (2004), European Television Industries quality as a children’s book. “Children, Fleabag Monkeyface for CITV. They (2005 with P. Iosifidis and M. Wheeler), their dreams and feelings, their ready also secured two new commissions, Creating Preschool Television (2010), enthusiasm, their vulnerability, their Dinopaws (CBeebies) and Animattter The Media and the State (2016 with T. essential humanity and their sense of (CITV) which are now owned and Flew and P. Iosifidis), European Media fun” was the inspiration for setting up produced by Laughing Gravy Media. in Crisis (2015 with J. Trappel and B. Ragdoll Productions in 1984. By that Thomass) and Children’s TV and Digital time, Anne was already a TV producer of Media in the Arab World (2017 with long standing, having produced several Naomi Sakr). She has published widely award-winning series for Yorkshire on UK television exports, European TV such as Ragdolly Anna and The public service broadcasting and the Book Tower. She had also been head of children’s media industry. Her work has

112 Dick and Dom ••• The Children’s Media Yearbook 2017 From a very young age, we were obsessed with kids’ TV. The Broom Cupboard, Wide Awake Club, Going Live! – you name it, we binge-watched it. Children’s BBC and ITV were visual oxygen to us. By the age of 12, we still hadn’t met, but we both wanted Phillip Schofield’s job and set out on our own paths to get it. Six years later we had walked through the hallowed gates of BBC Television Centre (oh, what a building, televisual heaven preserved in 1960s bricks and mortar!). We met, and the rest is history.

Over the next 21 years, our career exceeded our dreams. We’re proud of our programmes, conceived and made by some of the most innovative and creative producers in the business, dedicated to serving the audience with original Edit e d by Te rri LANGAN & fr an c e s t ideas just for kids. There isn’t a day that goes by without “Bogies!” being shouted at us across the street, including by a whole new generation who have found it on YouTube.

Media for kids matters – even when it’s about seeing the funny side of life. That’s why we’re really pleased to support the Children’s Media Yearbook and celebrate what the Children’s Media Foundation achieves. It flies the flag for the best in children’s content, encouraging diversity and the need to represent the kids of today, which can only be a good

thing for the future of our much-loved industry. a ffi n d e r

ISBN 978-0-9575-5188-6

9 780957 551886