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The Children's Television Act and Program-Length Commercials
The Children’s Television Act and Program-Length Commercials: Current Interpretations and Implications for the Future by KARI METROKA-KIRKHAM Bachelor of Science, 1985 Texas Christian University Submitted to the Faculty Graduate Division College of Communications In partial fulfillment of the Requirements for the degree of MASTER OF SCIENCE May, 2008 Acknowledgements There are so many people I have to thank that helped me through graduate school and this thesis – I know the orchestra will start to play while I am thanking them all. Although I will try to make this brief, the depth of my gratitude to you all has no limit. To all my friends, family and co-graduate students for your constant encouragement and understanding, I say thank you. You have been so patient, especially listening to me endlessly go on about my topic. My thanks also go out to Dr. Matt McCallister from Penn State who helped me clarify my thinking about this entire subject. Also, I want to thank Dr. Dale Kunkel and Newton Minow who took the time to respond to my emails as I was trying to research this project. I cannot tell you what it means to me to hear from all of you about this subject. My appreciation goes to all of the faculty and staff at TCU who have helped me through this process. I could not have done any of this without your help. A special thanks to Dr. Tommy Thomason and Dr. Julie O’Neil. Tommy – I would not be in graduate school at all if it had not been for you. -
„JETIX“ Aktenzeichen: KEK 503 Beschluss in Der Rundfu
Zulassungsantrag der Jetix Europe GmbH für das Fernsehspartenprogramm „JETIX“ Aktenzeichen: KEK 503 Beschluss In der Rundfunkangelegenheit der Jetix Europe GmbH, vertreten durch die Geschäftsführer Jürgen Hinz, Stefan Kas- tenmüller, Dene Stratton und Paul D. Taylor, Infanteriestraße 19/6, 80797 München, – Antragstellerin – w e g e n Zulassung zur bundesweiten Veranstaltung des Fernsehspartenprogramms „JETIX“ hat die Kommission zur Ermittlung der Konzentration im Medienbereich (KEK) auf Vorlagen der Bayerischen Landeszentrale für neue Medien (BLM) vom 02.06.2008 in der Sitzung am 19.08.2008 unter Mitwirkung ihrer Mitglieder Prof. Dr. Sjurts (Vorsitzende), Prof. Dr. Huber, Dr. Lübbert und Prof. Dr. Mailänder entschieden: Der von der Jetix Europe GmbH mit Schreiben vom 21.05.2008 bei der Bayeri- schen Landeszentrale für neue Medien (BLM) beantragten Zulassung zur Veran- staltung des bundesweit verbreiteten Fernsehspartenprogramms JETIX stehen Gründe der Sicherung der Meinungsvielfalt im Fernsehen nicht entgegen. 2 Begründung I Sachverhalt 1 Zulassungsantrag Die Antragstellerin hat mit Schreiben vom 21.05.2008 bei der BLM die Verlänge- rung der zum 30.09.2008 auslaufenden Zulassung für das Fernsehspartenpro- gramm JETIX um weitere acht Jahre beantragt. Die BLM hat der KEK den Antrag mit Schreiben vom 02.06.2008 zur medienkonzentrationsrechtlichen Prüfung vorge- legt. 2 Programmstruktur und -verbreitung 2.1 JETIX ist ein deutschsprachiges, digitales Spartenprogramm für Kinder mit dem Schwerpunkt auf Unterhaltung. Gesendet werden täglich von 06:00 bis 19:45 Uhr Action-, Humor- und Abenteuerformate. Die Zielgruppe sind Kinder im Alter zwi- schen 6 und 14 Jahren. 2.2 JETIX wird als Pay-TV-Angebot verschlüsselt und digital über die Programmplatt- form der Premiere Fernsehen GmbH & Co. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
American Primacy and the Global Media
City Research Online City, University of London Institutional Repository Citation: Chalaby, J. (2009). Broadcasting in a Post-National Environment: The Rise of Transnational TV Groups. Critical Studies in Television, 4(1), pp. 39-64. doi: 10.7227/CST.4.1.5 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4508/ Link to published version: http://dx.doi.org/10.7227/CST.4.1.5 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Broadcasting in a post-national environment: The rise of transnational TV groups Author: Dr Jean K. Chalaby Department of Sociology City University Northampton Square London EC1V 0HB Tel: 020 7040 0151 Fax: 020 7040 8558 Email: [email protected] Jean K. Chalaby is Reader in the Department of Sociology, City University in London. He is the author of The Invention of Journalism (1998), The de Gaulle Presidency and the Media (2002) and Transnational Television in Europe: Reconfiguring Global Communications Networks (2009). -
Children's Television
Children’s Television: Trends Around the World KODAIRA Sachiko Imaizumi As we enter an age in which children interact with an ever-increasing number of electronic media, it is nonetheless television that remains dominant in chil- dren’s lives. Around the world, there is a remarkable increase in children’s broadcasting: channels devoted to children’s television are being created, and existing channels are giving increasing priority to their programs for children. With rapid changes in society, programs are being developed in various ways to support the growth of children. There are greater opportunities for children worldwide to see these programs. At the same time, the effect of television and other media on children is a topic of serious debate and concern all over the globe. The Prix Jeunesse International marked the fortieth anniversary of this high profile children’s television festival in 2004. In addition, it was the year of the fourth World Summit on Media for Children, held every three years since 1995, which aims to improve the quality of programming and media for chil- dren throughout the world. Japan, meanwhile, celebrated 50 years of televi- sion—including television for children—in 2003, and program planners are now embarking on children’s television design for a new age. This essay presents an analysis of current trends in children’s television around the world, and explores issues for the future.*1 * The following abbreviations are used in the footnotes: HBKN: NHK Hoso Bunka Kenkyujo nenpo [NHK Annual Bulletin of Broadcasting Culture Research]; HKC: Hoso kenkyu to chosa [NHK Monthly Report on Broadcast Research]. -
Constructing Crime in an Era of Globalization
Constructing Crime in an Era of Globalization THIRD Annual International Crime, Media & Popular Culture Studies Conference: A Cross Disciplinary Exploration Gary W. Potter, PhD Professor, School of Justice Studies Eastern Kentucky University For three decades scholars in mass communication and criminology have called our attention to the role of the media in the social construction of crime. Study after study has documented how media representations in both the entertainment and news arenas has created a social reality of a dangerous world, full of danger and risk, populated by stereotyped “others” (Jewkes, 2010; Marsh and Melville, 2009). A flood of mediated images emanating from our televisions, computers, books, newspapers and magazines, movies and even popular music instruct us on the seemingly natural order of the social world. It is through this incessant institutionalized attack on our senses that we come to experience what Jock Young (2007) calls the vertigo of modern society. But, the irony of all this is that our fears, prejudices, stereotypes, and pervasive impulses toward meanness and retribution are something less than real. They are created, mediated images offered to us as news and entertainments by a handful of immense and very motivated global corporations inextricably bound to state power. As we entered the 21st Century the power of the media has reemerged as a compelling and urgent concern. As early as 1983 scholars were commenting on the problems of increasing media corporatization and the concentration of ownership in fewer and fewer hands (Bagdikian, 2004; Bennett, 2004; McChesney, 2008; Thussu, 2006; Hesmondhalgh, 2007). But, as newer technologies created new and more diverse platforms for mass communication some argued that the danger of media consolidation was being offset by access to the internet, proliferating channels on cable television and community access to some cable systems. -
Russia Russia
Tailwind® 500 TV programming for Russia Russia 147-1151-000 Revision 03/10 BUS © Copyright Rockwell Collins, Inc. All rights reserved. All logos, trademarks or service marks used herein are the property of their respective owners. ® Russian Programming For Tailwind 500 39 Animal Planet 91 Comedy TV 143 Sport 40 TDK 92 Cinema route 144 Our cinema Free-to-air 41 Discovery Science 93 Cinema route 145 Info Channel Eutelsat W4 - Encrypted 42 Discovery World 94 3-rd channel 146 Blue Hustler (Night TV) 43 Discovery Travel & Living 95 Cinema Home 147 Cinema Plus 96 TV SALE 148 Premier The following channel list is effective February 1, 44 Mezzo (Music) 2010. Channels listed are subject to change 45 Jetix 97 Rusiya Al-Yaum 149 Who is who without notice. 46 Jetix 98 VH-1 Russia 150 Cinema club 47 MUSIC 99 Bibigon 151 1-st Meteo channel 48 Eurosport 100 TV nanny 152 REN-TV 49 Eurosport 2 101 TVC 153 NTV+Football Channel Channel 50 MUSIC 102 RBK-TV 154 Music TV Number Name 51 Zone Romantica 103 RBK-TV 155 TV channel 52 National Geographic Channel 104 Ptersburg 1 TV3 53 Jetix Play 105 First Some channels may not be available due to the 2 BIZ TV 54 Hallmark 106 Music aircraft location and/or weather conditions. 3 Che-Pre_IN 55 MUSIC 107 Peace/World 4 Expert 56 CNN International 108 Time:near and far 5 First Auto 57 Cartoon Network 109 First channel 6 CHANSON 58 Zone Reality 110 RTR plan 7 K+ 59 Zone Reality 111 Top Secret 8 TOPSHOP 60 Euronews 112 5-th channel 9 ÐÐÐÐ 61 Jim Jam 113 CCTV9 10 A-ONE 62 MCM Top 114 CCTV4 11 BRIDGE TV 63 Discovery 115 MTV -
The Case for Kids Programming
The Case for Kids Programming Children’s and Youth Audio-Visual Production in Canada Nordicity Group Ltd. Prepared for the: Canadian Film and Television Production Association in association with: Shaw Rocket Fund Alliance for Children and Television National Film Board of Canada February 2007 Table of Contents Page Executive Summary....................................................................................................................................... i 1 Introduction: Now Is the Time to Take a Close Look at Children’s and Youth Programming.......... 1 2 CurrentTable ofState Contents of the Industry: Creating Canadian Content and Staying Globally CompetitivePage....... 4 E3 XECUTIVEHistory SUMMARY and Development......................................................................................................................................... of the Industry: Building on a Rich History of Creative i 1 Accomplishments................................................Introduction: Now Is the Time to Take a Close Look............................................................... at Children’s and Youth Programming..................... .....1 12 4 Social Impact: The Importance of Children’s and Youth Programming.............................................. 18 2 Current State of the Industry: Creating Canadian Content and Staying Globally Competitive ..5 5 Global Market Trends: Canadian Content under Threat from the Changing Global Media 3 LandscapeHistory and ..............................................................................................................................................Development -
Beyond Nation-Centrism.Pdf
City Research Online City, University of London Institutional Repository Citation: Chalaby, J. (2007). Beyond Nation-Centrism: Thinking International Communication from a Cosmopolitan Perspective. Studies in Communication Sciences – Journal of the Swiss Association of Communication and Media Research, 7(1), pp. 61-83. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5819/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Studies in Communication Sciences 7/1 (2007) 61–83 JEAN K. CHALABY* Beyond nation-centrism: Thinking international communication from A cosmopolitan perspective This article begins with a historical overview of international communication and an evaluation of the successive paradigms that have dominated the disci- pline: modernization theory in the 1950s and 1960s, cultural imperialism in the following two decades and, more recently, the globalization paradigm. It examines the impact of the economic and the political factors on the discipline, focusing on the overwhelming influence of the Cold War. -
Canadian Claimants Group (CCG)
WRITTEN DIRECT TESTIMONY OF JANICE DE FREITAS (CBC - RIGHTS ADMINISTRATION) 2004—2005 Cable Royalty Distribution Proceeding Docket No. 2007-03 CRB CD 2004-2005 1. Introduction I am Manager of Rights Administration for the Canadian Broadcasting Corporation/Radio-Canada (CBC/Radio-Canada) at the Head Office in Ottawa. I have worked for the CBC since 1980. For the last 15 years, I have served as Chairman of the Canadian Claimants Group (CCG). Before assuming my current position, I spent nine years in CBC’s television program distribution department eventually managing the Educational Sales unit. Those responsibilities called for me to be familiar with the English television network’s programming, and rights administration. CBC/Radio-Canada is Canada’s national public broadcaster, and one of its largest and most important cultural institutions. It was created by an Act of Parliament in 1936, beginning with Radio. Bilingual television services were launched in 1952. CBC/Radio-Canada is licensed and regulated by the Canadian Radio-television and Telecommunications Commission (CRTC)1. CBC/Radio-Canada employs approximately 9,930 Canadians in 27 regional offices across the country. CBC programming is provided on multiple platforms: television (both traditional over-the-air and cable networks), radio, the Internet, satellite radio, digital audio and a recording label. Through this array of activities, CBC/Radio-Canada delivers content in English, French, and eight aboriginal languages. In addition to this, programming is available in seven other languages including Spanish, Russian and Mandarin on both Radio Canada International, and Web-based www.rciviva.ca, a radio service for recent and aspiring immigrants to Canada. -
Fiscal Year 2011 Annual Financial Report and Shareholder Letter
Fiscal Year 2011 Annual Financial Report And Shareholder Letter January 2012 Dear Shareholders, Fiscal 2011 was a year of great accomplishment for The Walt Disney Company, marked by creativity and innovation across our businesses globally, record financial results and numerous important steps to position the Company for the future. While 2011 brought us so much to cheer about, it was also marked by profound loss, with the passing of Steve Jobs. Steve’s incredible stewardship of Pixar, and his decision to sell Pixar to Disney in 2006, brought Steve into the Disney family, as a board member, a shareholder, a mentor, and a friend, and we were so lucky for all that he represented and all that he contributed. Disney, ESPN, ABC, Pixar, and Marvel are an amazing collection of brands that grow stronger every day as new platforms and new markets provide enormous new opportunities for high quality content and experiences. To that end, we are fortunate to have a talented group of employees who are committed day in and day out to building our brands around the world. Since becoming President and CEO in 2005, I have focused on three strategic priorities: creating high-quality family content, making experiences more memorable and accessible through innovative technology, and growing internationally. In fiscal 2011, net income attributable to Disney was a record $4.8 billion, an increase of 21% over last year, and revenue was a record $40.9 billion, up 7% from last year. Diluted earnings per share increased by 24% to a record $2.52. I’m particularly gratified by our outstanding performance in fiscal 2011, given the challenging global economic environment. -
Television Across Europe: Industry Is Grappling with These Dynamic Processes
usa-utan-1016-c-printphoto:Layout 1 10/27/2008 1:54 PM Page 1 MONITORING REPORT MONITORING REPORT Today’s pace of change in television has reached breakneck speed, affecting produc- tion, transmission, consumption, marketing, financing and ownership. Audiences fragment, owners consolidate, and technology converges: Europe’s audiovisual less independence channels, more Europe: across Television industry is grappling with these dynamic processes. To take the measure of these changes, the Open Society Institute has mapped the tel- TELEVISION ACROSS EUROPE evision landscape in nine countries: Albania, Bulgaria, the Czech Republic, Italy, Lithuania, the Republic of Macedonia, Poland, Romania and Slovakia. TV across Europe 2008 is the result. MORE CHANNELS, LESS INDEPENDENCE The proliferation of content has increased the viewers’ freedom of choice. This is a real achievement, but is the public getting more quality or diversity? Editorial inde- pendence has deteriorated in most of the countries monitored. Governments still refuse to let public service broadcasters be independent, and have even clawed back the control that they ceded a few years ago. The studies also highlight that as digital switchover draws closer, established broadcasters have largely managed to exclude fresh competitors. Meanwhile, broadcast regulators have faced the new challenges by sticking their heads in the sand. OVERVIEW An Overview chapter points out the main trends that emerge from the country reports, and proposes feasible measures to tackle the problems identified. COUNTRY REPORTS: In 2005, the Open Society Institute published Television across Europe: regulation, policy and independence, which monitored broadcasting in 20 countries. It was ALBANIA widely acclaimed as unique in its range and rigour.