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 2015

© Lynn Whitaker and Beth Hewitt 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 organisation. You must not circulate this book in any other binding or cover.

ISBN 978-0-9575518-4-8

Book and cover design by Jack Noel Edited by Lynn Whitaker & Beth Hewitt Introduction 4 Editorial Lynn Whitaker and Beth Hewitt 8 t he Children’s Media Foundation: The First Three Years Greg Childs

11 New Heroes Wanted: Creating Culturally-Inspired Media Lady Rabia Abdul-Hakim

Children’s Public Service Broadcasting Industry Reflections and Debates 15 bb C Children’s 42 Bringing Toys-to-Life Alice Webb Andy Robertson 20 Children’s Content – Crucial for 47 t aming the Future – Any Public Service Broadcaster Perspectives on the Digital World  Jeanette Steemers from BBC Children’s Daniel Bays and Jon Haywood 22 Public Broadcasting in Canada: Kids’ CBC and TVOKids 53 A Personal Experience of Kerrie-Ann Bernard and Natalie Coulter Animation Policy in Practice Ken Anderson 26 Children’s Programmes in Public Television in Poland 59 Funding Children’s Animation Agnieszka Weglinska in Ireland Michael Algar 30 Aotearoa/New Zealand: A Small House With Big Windows 62 Animating the North West Ruth Zanker of England Peter Saunders 34 Japan’s Public Service Broadcasting for Children 66 i t’s All Coming Back to Me Sachiko Kodaira Now: Remaking and Revisiting Children’s TV 38 On Private Public-Service Helen Wheatley Broadcasting for US Kids Russell Miller 68 Kids TV: Is T hat All There Is? Simon Parsons Child and Youth Perspectives Farewell and Research 101 Katy Jones 72 Ofcom’s Media Literacy Research Barney Harwood on Children’s Critical Awareness 103 t erry Pratchett Alison Preston Ann Giles 77 Childwise: Monitoring the Change 109 t erry Sue-Patt Jenny Ehren Phil Redmond 81 t he Teenage World of Media 110 Rentaghost retrospective Sophie Edwards Jeremy Swan 82 t he New Age of Media Josie Kelly 114 Afterword 84 Growing up in a Digital World Joe Godwin Flora Wilson Brown 87 How Do Today’s 115 Contributors Twenty‑somethings Engage with Digital Media? Megan Nicholson

89 t he Phenomenon of Celebrity Vloggers John Chisham

92 Making ‘I Am Leo’ – CBBC’s First Film About a Transgender Child Cat Lewis

96 Fear and Laughing Angela Salt Editorial Lynn Whitaker and Beth Hewitt

Hello and welcome to another issue of The Children’s Media Yearbook. 2015 is our third year of publication and whether you are new to the yearbook or familiar with its ambit, we are confident that you will enjoy the diverse perspectives that it offers on a wide range of children’s media topics. Published by the Children’s Media Foundation (CMF), a not-for-profit body now firmly established as the leading UK advocacy body for quality and choice in children’s media, the yearbook serves to inform and stimulate reasoned debate across the issues – whether of policy, production and audience – that are relevant to children’s media. It also acts as a record of the changing mood of the times, particularly when taking a longitudinal view of how industry responds to the needs of the audience and the impact of policy. No other publication attempts this and, given the often ephemeral nature of children’s media and its discourses, it’s really useful to have a book that captures the flavour of what was floating our boat or exercising our spleen each year. As such it is an ambitious but rewarding undertaking, of ongoing value to parents, researchers and producers alike.

4 Children’s Media Yearbook 2015 There is more – much more, - but we hadn’t really foreseen (Natalie Coulter and Kerrie- as there is much to tell – on the extent to which the threads Ann Bernard), Japan (Sachiko the work of the CMF in this of PSB discourse can be seen Kodaira) and the US (Russell introductory section, as Director, throughout all sections of the Miller). Greg Childs, offers a round-up book. Perhaps, as we gear up Our next section, ‘Industry of achievements in the last three for the process of BBC charter Reflections and Debates’, years. This is then followed by renewal – and its attendant focus critiques the current trends in a piece from a new ‘Founder on the licence fee – we shouldn’t media production and content Patron’, Lady Rabia Abdul- be surprised that questions of and explores the real life themes Hakim, who argues for greater commissioning, funding and and issues that confront the diversity in the aspirational policy run deep through the producers of animation and characters created in children’s book, given the centrality of the children’s production in 2015. media, telling a damn good yarn BBC as a champion of children’s Andy Robertson begins by along the way of how she came content. exploring the ‘toys-to-life’ genre, to be a children’s media creator Alice Webb, brand new a concept that takes its audience and why she believes the work Director of BBC Children’s, back to the world of physical of CMF to be so important. As makes no apologies whatsoever toys whilst skilfully combining it ever we stress that the views for lauding the BBC’s with games, apps and on-screen represented in the yearbook achievements for children, characters. Dan Bays and Jon are that of the individual and wants to ensure BBC Haywood take us on a journey authors and the editors too are Children’s remains, “Pioneering, into the magical world of all independent. The yearbook unforgettable, and a part of the things digital and look at the then does not reflect the views rich heritage that’s shaped our rapidly changing landscape from of CMF as an organisation but, lives and will shape the lives of inside the BBC, with the spotlight instead, fits with the avowed aim today’s British kids too.” Jeanette on Childrens as the leader of this of encouraging discussion around Steemers follows on then, in her brave new world. those viewpoints. article, to argue that children’s So, we might consider Each year the yearbook content is crucial to the mission everything to be digital now, content is commissioned (we of any public service broadcaster but what about the history of are good at arm-twisting!) in and points to the challenges and how we have arrived at this such a way as to present a range threats to that mission, not just place? The remaining articles of perspectives and it is always in the UK, but globally. Alice in the section deal in different fascinating how particular and Jeanette’s contributions help ways with history, heritage themes emerge across the to frame the themes of the five and transition. In his personal book as a whole. We make no remaining articles in the section, account of running an animation apologies for kicking off this in which models and aspirations company, Ken Anderson adeptly year’s volume with an entire of children’s public service navigates the policy rollercoaster: section devoted to ‘Children’s media are reflected on in Poland with its twists and turns, with Public Service Broadcasting’ (Agnieszka Weglinska), New its supporters and the people at (PSB) - in the UK and beyond Zealand (Ruth Zanker), Canada the top realigning tax breaks and

5 incentives, with, as always, the cross-generational interaction five contributions that follow, in financial stability of animation as helpful in “reactivating a which young people reflect on and children’s media production common culture of television their own experiences, ‘growing relying on those vagaries. It’s a that contemporary broadcasters up digital’. It’s the first time must read for all those hoping often struggle to create in an we’ve included the direct voice against hope that support is era of niche programming and of children and young people in around the corner. Next up, extensive choice”. But, “Is that the yearbook and we’re delighted Michael Algar provides a potted all there is?” asks Simon Parsons, to be able to do so, thanks to history of how the animation in his essay recounting the birth articles from Sophie Edwards, sector in Ireland has been of Teacup Travels with Great Josie Kelly, Flora Wilson Brown, supported and outlines the work Aunt Lizzie and two young Megan Nicholson and John of Animation Ireland. The article children, born digital: both in Chisham. Their reflections range serves as both a history and a the show and in the article, from nonplussed to cynical, and ‘how to’, again outlining, this nostalgia and the brave new each is, by turns, fascinating, time from an Irish perspective, digital world collide and bounce often amusing, and sometimes how creative industries policy off each other, taking us all into unsettling: together they suggest plays out in practice. the unknown. So the mantra is a definite generational zeitgeist. Nostalgia has always been a digital, the world is digital, but Following on from those pieces part of the media industry and nostalgia for the past rates high we grapple with the tricky Peter Saunders’s look back at on the clap-o-meter and whether questions of how to represent animation in the North West in spite of or because of policy, the experiences of children and of England could easily have children’s media appears to be youth and how to address the fallen into this trap. Instead, very much alive and kicking. audience and create content that it is a wholly pertinent and The third substantive section, is enriching and meaningful. contemporary look at why the ‘Child and Youth Perspectives Cat Lewis’s powerful account of North West currently boasts and Research’, opens with Alison making the documentary ‘I Am so many innovative animation Preston’s annual update on Leo’, and Angela Salt’s hilarious production companies. It’s Ofcom’s research with children, yet poignant article on digging certainly a new dawn, against followed by Jenny Ehren’s deep when writing comedy for the odds maybe, but rooted overview of the Childwise children surely stand as examples in a creativity and passion for monitor data. While coming of best practice in representing animation. In discussing the from different angles, both and addressing children responsibilities of curation and research pieces shed light on the through media. heritage in children’s content, digital trends and experiences Finally, as always, our Helen Wheatley critiques the of children and reveal much yearbook closes with a ‘Farewell’ nostalgia of children’s television about children’s (sometimes section in which we remember and the revival of the likes of flawed) understanding of a leading lights of children’s media The Clangers and Teletubbies, crowded media landscape. We’ve and reflect on programmes and considering the importance deliberately set those research institutions now past. Katy of content which provides articles as an introduction to the Jones, Terry Pratchett and Terry

6 Children’s Media Yearbook 2015 Sue-Patt are all remembered there to ensure continuity for the here - in thoughtful reflection incoming editor. So – as ever – and tribute by Barney Harwood, keep the ideas coming! Ann Giles and Phil Redmond respectively – and then, perhaps with a playful tinge of irony, Jeremy Swan presents his invited retrospective of the fabulous Rentaghost as we continue our series of looking back at classic children’s programmes of yesteryear. But we couldn’t quite finish there, because, in an issue that raises so many questions about the future of children’s public service media, we wanted to give the last word to someone who is uniquely placed to reflect on that and so we close on an ‘Afterword’ from Joe Godwin. As ever, ALL our contributors give their articles for free (and we mustn’t forget illustrations contributed by Stu Harrison and Chris Riddell) and that generosity of spirit speaks as much as anything for the passion and engagement that characterises the world of children’s media and accords with the ethos of the yearbook; you can read all the biographies in the ‘Contributors’ section. For Lynn Whitaker this is her last year as editor and she wishes to express her thanks to all the contributors over the three issues. But rest assured plans are already underway for the 2016 issue and Beth Hewitt will be

7 The Children’s Media Foundation: The First Three Years Greg Childs

The Children’s Media small tax on every cinema ticket literacy amongst parents and Foundation was first sold - designed to stimulate the children. Basically, to create conceived by Anna production of British films. A more ‘informed’ policy and a Home in late 2011 and considerable number of kids’ more media literate audience, was launched in January features were made and shown better able to cope with the 2012 as an amalgamation to enthusiastic audiences at rapid changes in content, of Save Kids’ TV and Saturday morning screenings. distribution and consumption the Children’s Film and They still have an audience today that we face in the modern Television Foundation in a series of DVDs issued by media landscape. (CFTF). the British Film Institute, which • To preserve and promote the Save Kids’ TV had spent five looks after the CFF archive. archive and the traditions of years campaigning for additional The aims of the new quality in children’s media funding for children’s television organisation were: production - looking back to in the UK, as a reaction to the • To continue campaigning for look forward - maintaining collapse in commissioning by plurality of supply, quality, the best of the past to inform the commercial public service variety and UK-relevance in future thinking. broadcasters like ITV, and had children’s media of all kinds, I took on the role of Director success in at least achieving on all platforms. midway through the first year, awareness of the problems • To establish new relationships tasked with developing a stable amongst politicians, civil between the academic and respected organisation which servants and the regulator, research community and could address the above with Ofcom. The CFTF was itself the industry - and to bring confidence and broad support. the successor to the Children’s research to politicians , It was decided not to become an Film Foundation (CFF), set policy-makers and parents industry body, but instead to be up in the 1950s to support the – in order to build a more a ‘critical friend’ to children’s children’s film industry in the reasoned approach to policy- media-makers and the platforms UK using ‘Eady Levy’ money - a making and to improve media where content is carried. Since

8 Children’s Media Yearbook 2015 the outset the Foundation has active backing - as individuals or the development of the new always put first the best interests companies - if we are to survive children’s television tax incentive of the audience in all its dealings and thrive. that we supported some years with the industry, and in the That said, we have achieved back as a partial solution to the political sphere. much already. From the start continuing funding problems in To achieve that stability, Jayne Kirkham’s dogged children’s TV commissioning. funding was an immediate issue determination to give us (and the We were able to wholeheartedly for the CMF. It was decided to issues) a voice in Parliament has support the producers approach this through a system been one of our success stories. association, PACT, on cultural of donations, and it has to be The All Party Parliamentary grounds when they developed admitted this has been a story Group (APPG) for Children’s their specific and eventually of slow growth. The CMF still Media and the Arts, under successful campaign. relies on the annual donations the Chairmanship of Baroness The idea that kids deserve of its supporters and patrons; Benjamin (Floella to her fans access to their own culture - to the larger contributions of the and her friends in the industry), hear their own voices; experience growing number of ‘Founder has continued to inform MPs their own stories; and see the Patrons’ who make a lifetime and Peers as to what is actually places they live - underpins donation; the support of various happening in kids’ media and in everything we do. We want UK like-minded organisations such kids’ media lives. It has brought kids to have the richest possible as guilds and associations; and, researchers to the Houses of media diet, with quality content most recently, the corporate Parliament, along with industry coming from every corner of the support of companies, big and specialists and activists, in world - particularly their own. small, working in the children’s respect of a number of areas, So we’ve worked in the public media sector, who see what we including the animation tax space to respond to Ofcom’s do as crucial to the continued incentive campaign; children’s various analyses of the future health of the industry. I’ll admit working time regulations; and of content delivery in the UK that funding has proved more the responsibilities of online and to push for greater care difficult to raise than we hoped platform operators to children. and attention to the children’s (though perhaps at least as The APPG has stimulated the audience in the development of difficult as we expected). As we attention of legislators regarding media policies in government: go into our fourth year we are these issues and more, and, in whether it be in considering the beginning to see progress though one case, legislation within the health of children’s output at the and if we can now build on Children’s and Families Act has BBC and the future of its funding that momentum we will reach been the result. and status; or how public service a more assured financial status Beyond that, our lobbying broadcasting is going to be that will allow the Foundation continues to bring these matters regulated in the years ahead. to do more and achieve more. to the attention of ministers Equally we have developed our That, of course, depends on and shadow minsters, and relationships with regulators our supporters continuing to Parliamentary Select Committees, like Ofcom, the BBFC, the BBC come onside and offer their with real impact. This includes Trust and the Office of Fair

9 Trading (now the Competition also been represented at the years, CMF is proud to be the and Markets Authority) to offer premier event of the children’s publisher of the Children’s Media ideas, connections to expertise, media industry – the Children’s Yearbook. Lynn Whitaker has and a specific children’s Media Conference in Sheffield. performed an amazing job as perspective into their wider Through sponsoring and Yearbook editor for the first thinking. Some examples of producing sessions on a range three editions: creating the successful collaborations include of topics, we have captured the concept from scratch; navigating a research-led consultation attention of the industry as the the complexities of print-on- process with the OFT on their leaders in thinking on policy demand and Amazon and ITunes development of games industry issues. We have also staged a distribution; and commissioning guidelines for ‘in-app purchasing’ delightful event which celebrated the content, design and layout and a continuing contribution British preschool excellence of what has became a much to Ofcom’s research agenda while bringing together over 150 awaited and appreciated record amongst the younger audience past presenters, musicians and of the children’s media story, and families. production personnel from the year by year, with the players, Research has proved a fruitful much-loved Play School on its companies, personalities, area for CMF in general. We 50th anniversary. challenges and triumphs all have launched the first iteration Looking to the future, we captured in one place – and a of Parent Portal, a web service plan to campaign vigorously to really good read! which interprets academic support the BBC Licence Fee, My thanks to Lynn - who is research to answer parents’ and to press for more regulation now handing over the Editorship frequently asked questions about in commercial public service with the help of Beth Hewitt their children’s media; and, more broadcasting, allied with a new to smooth that transition - and recently, the CMF Research ‘contestable fund’ to encourage to all the Executive Committee Blog, which is a community broadcasters to produce more and Board members who have of academics and researchers homegrown drama and factual made so much happen in so from diverse fields, interested in programmes for children of short a time. Thanks too, to the different aspects of media and all ages. We are exploring the supporters and patrons who have children, that come together to rights children can expect online made the donations which make ‘compare notes’. and the responsibilities service it all possible – we need more We have staged a number providers should fulfil to protect of you! With regular funding of events in the last three years them. We’ll be marking the 50th we can grow the CMF from this and are building an ambitious anniversary of Jackanory - later initial phase into an even more programme for more. They in 2015 - as a celebration of confident organisation. range from policy-based great British storytelling. And Please help us to help discussions that have politicians we are already planning the children’s media in the UK be in attendance, to issue-based Children’s Media Yearbook the best that it can be for our creative conversations with 2016. kids. industry practitioners. For the And, in listing the last three years, the CMF has achievements of the last three

10 Children’s Media Yearbook 2015 New Heroes Wanted: Creating Culturally- Inspired Media Lady Rabia Abdul-Hakim

Almost all great adventure stories start with these elements: a prophecy, a warrior, a mission and a weapon. My story started just… like… that. It was June, 1977. It was the summer before I started school, the summer before my fifth birthday. That was when my father told me something that would change the rest of my life. Excited, but worried about going to primary school in the fall, he had knelt down in front of me and stared into my huge eyes.

11 “If anyone bothers you, just like this, “See Jane run. See shoulder-width apart, she just poke ‘um in the eyes like this,” Dick run.” I just wanted Dick stared at me, and then walked he said. Then, he made a ‘V’ with and Jane to run away. Or do away, seeming to accept that we his fingers and jabbed forward at something fun like I did: play were damned. Braids bouncing, the air. with rock babies, climb tamarind grinning and barefooted, I had I smiled and nodded, trees or tease Granny until she ran to tell my sister that Jem had enthusiastically. chased us. triumphed over Sunday school. He smiled then too, squeezed I decided then that I wanted And damned or not, we were my shoulders and said, “Yeah, to be a writer when I grew up elated. you’re going be fine. You’re a and write REALLY exciting After that, through rain little warrior.” stories. Funny stories. Scary or hurricane force winds, we A few days later, he drowned. stories. All kinds of stories. jubilantly ran to the backyard And even as I watched them But most of all, stories with to crank that Goliath satellite lower the brown casket into the characters like me in them – dish from one satellite after grave with my mother’s cries stories with ethnic characters another. Yes, I was completely rising up to the sky like broken that had universal appeal. My enthralled by those cartoons, by music chords, I decided I would mission was mapped. the music, the facial expressions, be fine. By the time my grandfather the slapstick comedy, the racing I had become a warrior and brought the massive satellite and jeering, and that bold, black my father’s words had become dish and cemented it into the outline around brilliant colour. law. backyard, I already had a plethora But I was not alone: those As stories go, my weapons of imaginary friends (characters) cartoons enticed ALL the children were initially absent. There was swarming through my mind. Still, in the neighbourhood. One by no TV when I was growing up nothing could have prepared me one they would quietly open the in the Cayman Islands in the for the power of those Saturday screen door, while gazing blankly 1970s. So, we were encouraged morning cartoons. My sisters and at the TV, and sit cross-legged on to play, to draw and to read. All I would have given up almost the floor of my grandmother’s these things would eventually anything to watch the Smurfs porch, completely bewitched. contribute to my arsenal of trump Gargamel. Those cartoons captivated our creativity. In fact, it was because of attention and wielded enormous My grandfather, who had to the (truly outrageous) Sunday influence over us. We wanted forgo his education to become morning scheduling of Jem every toy that was advertised and a seaman aged thirteen, always and the Holograms that I every character-laden cereal had ensured that I was amply boldly announced that we were to be breakfast: they were our supplied with bags of comics abandoning Sunday school. For Pied Piper and we were willingly and mystery books like Nancy some odd reason, my mother did mesmerized. Drew and The Hardy Boys. At not react with the usual litany I slowly realized that I, too, school, we were given Dick & of admonitions. As I stood there had to access this powerful tool Jane books. Some of you might with my arms daringly folded to empower my mission. I did remember those. They went across my chest and my feet this by drawing the characters

12 Children’s Media Yearbook 2015 that were swarming in my brain development. communities and our economy. and documenting their stories, Moving to the UK in June Broadcasters still defensively conceptualizing my media with 2014, and becoming a Patron of assert that multicultural a burgeoning imagination and a CMF, accords with the success children’s media IS available. Yes, mere pencil and paper. of my mission. The CMF is things have improved but I insist My weapons had appeared. dedicated to quality in children’s that in the UK more progress is As I grew up, my mission media through diversity and still needed. Like Oliver Twist, ballooned into a magnificent choice and brings together a I am calling for MORE new obsession to promote the network of stakeholders united heroes. richness and enchantment of in the belief that children’s media I emphatically believe that cultural diversity. I planned to matters; that children deserve the multicultural children’s media do this by building a global, best quality across all platforms; can be a critical tool for cultural multicultural media company. and that decisions affecting diplomacy: inevitably promoting And I promised my children that children’s media should always tolerance, intercultural dialogue this company would be a legacy have a sound evidence base. and global peace. for them, and children all over The knowledge and experience One thing cannot be denied: the world. Little did I know that contained in CMF – connecting the power of traditional media my dream would come at a price audience, industry, research and is dwindling. Media is no longer or that that little girl warrior policy - is priceless and I can corporate-born or controlled. would be in for the biggest battle benefit from that wisdom. But It is now being birthed by the of her life. it’s not about my benefit: above audiences themselves, and My story would span all it’s about the audience. The socially and digitally distributed continents and exotic lands. It audience needs a champion and to the masses, in seconds. I was the stuff legends are made of. someone who can advocate on think this trend will have an In the end, I literally risked my their behalf to help inform policy overwhelming positive impact life to fulfill that promise to my decisions. for Black, Asian, Minority children. But finally, after fifteen And we need heroes that and Ethnic (BAME) audiences. years of countless setbacks, and truly reflect the UK’s pluralistic Undoubtedly, with the rise against overwhelming odds, I did society. Though the diversity of self-publishing and easy just that. issue is being addressed regarding access digital platforms, other In August 2011, I launched, gender and sexuality, I assert multicultural creators, like me, Kaa Kaa and Tokyo, the first that additional multicultural are feeling optimistic. culturally-inspired children’s media is vital, given the global Yes, I do feel hopeful as I brand from the Cayman Islands, problems caused by racism, think about the little girl warrior created with a singular purpose: extremism and intolerance. We running barefoot and I sketch to ‘edutain’; to encourage need multicultural heroes with yet another character. I create, children to read more; to read inspiring, universally appealing represent, advocate and remain for pleasure; and to educate them stories; because appreciating steadfast. about our culture and heritage. our differences and recognizing And so, the adventure I now have other brands in our similarities, will enrich our continues…

13 Children’s Public Service Broadcasting

14 Children’s Media Yearbook 2015 BBC Children’s Alice Webb

Simon Groom. shows and characters that have service broadcaster, we’re here That’s the answer to the stayed with them for years. to inform, educate, entertain and one question I’ve been Of course, this is evidence inspire all of the 9.3m children asked the most since of what most of us know: BBC aged 0-12 in the UK today,1 taking on the role of Children’s is a great British with high quality, U-rated brain Director of BBC Children’s institution, as iconic as Big food. And this ethos sets an this March. And so Ben and just as much a part unmistakable BBC Children’s ubiquitous is the BBC’s of our national consciousness. tone which, like the proverbial homegrown children’s Pioneering, unforgettable, and stick of rock, runs through TV, that most of you a part of the rich heritage that’s everything we do – although (well, if you’re over 30) shaped our lives and will shape a lot more nourishing for the will instantly know the the lives of today’s British kids consumer. question. too. We offer children, their I don’t think I’ll ever tire of Or will it? parents and anyone else who answering it though - or any wants to engage with us - and other question about my job for Utterly amazing they do in droves - the very that matter. Because one of the We’ve already established that best multi-genre, UK-originated great joys of being part of BBC I’m new to BBC Children’s. So TV, radio, games and apps. Children’s is the connection so just this once, I’m going to take Content that’s rooted in the real many people of all ages have to full advantage of being the new lives of British families and the it. Mention it to total strangers kid on the block and do some communities they live in, and and their eyes light up as they brazen promotion and lauding of reflects them back to children in start talking about Play School, what we do. all their diverse and technicolour The Wombles, Gordon the I think BBC Children’s glory. Gopher, Blue Peter, Grange content is utterly amazing. The creativity, care and Hill and a whole range of other As the UK’s main public intelligence that goes into

15 Children’s Public Service Broadcasting

crafting our shows, apps and kids about what happens when on CBeebies Radio, which games is really awe inspiring. they sneeze on Operation Ouch, introduced the concept of war And so is the result: brilliant or Nina and the Neurons using sensitively to our littlest audience content that promotes a whole motion capture suits to explain using emotions such as bravery range of life skills from creativity to under-sixes how animation that they can understand. to language; digital expression to looks so realistic. Sometimes we’re about innovation. We enable children Sometimes we’re challenging having unadulterated fun and to learn, participate, have fun, and we push boundaries. Think laughs, such as with Wigan’s thrive and realise their full about CBBC’s BAFTA-winning most irrepressible canine export, potential in the rapidly-evolving and critically acclaimed My Life Hacker T Dog, or preschool digital world around them. documentaries. Like ‘I am Leo’, comedy sketch show, Gigglebiz. the first programme on children’s Sometimes we bring kids Content with breadth, TV to deal with transgender and parents together for noisy, quality and depth issues (Cat Lewis talks about bonkers, live-action, family fun Sometimes we’re educational – making the documentary later in - putting family members up albeit never stuffy. Think about this yearbook), or Poppy’s Day, to mischief in Sam and Mark’s Dr Chris and Dr Xand teaching a story read by Simon Weston Friday Wind-Up or subjecting

16 Children’s Media Yearbook 2015 them to the pirate obstacle and we do it with a passion that Like, how do we make sure we course in Swashbuckle. burns as brightly today as it ever keep our curious and media- Sometimes we’re about has. savvy audience with us when sharing the big news stories For my part, it’s a real there are hundreds of alternatives and the hard facts of life. Think privilege to be leading BBC across an ever-increasing range about Newsround’s moving Children’s - not to mention of platforms? report about Horace, the a huge responsibility. As the It’s opening up opportunities fourteen year old boy soldier custodian of this national like never before too: for from Leeds who was killed in the treasure I am keenly aware of not example, our two YouTube battle of the Somme after having just the brilliance of the content channels give us the freedom lied about his age in order to we offer children, but its precious and flexibility to react quickly to fight in the war. Or ‘Being Me’, value to the whole country, what’s happening in the world a Newsround special that deals young and old alike. and create the memes and clips with the complex issue of body we know our audience loves to image and how we see ourselves. The world is running fast share with each other. Just in the And, every single time, we’re – and we’re on our toes last few weeks, millions of people all about producing incredible ready to keep running across the globe have heard the content - whether inhouse, or with it names CBBC and Newsround, as with partners and a wealth of So I think we’ve established that we reported on how Harry and indies - content with a breadth, I believe we do some great stuff Charlie (stars of 800m-times- depth and quality that never for UK kids. It all sounds positive viewed YouTube smash ‘Charlie ceases to amaze me. and perfect doesn’t it? Well, Bit My Finger’), now aged yes actually. To some extent, it eleven and nine, feel about their Citizens of the future really is pretty perfect. I have infantile infamy. A wide range In a sea of non-UK and non- to say that loudly and clearly of international media outlets public service channels and because I’m in no doubt about including The Independent, The media, we offer an important how fortunate we are to be in a New York Post, Buzzfeed, ABC and valuable alternative that position to do the wondrous job News and E-Online reported looks to help build the citizens we do. But it’s not just a bowl of on our clip and there have been of the future. Not just out of cherries. over 2.1m views of the clip on duty, but because we’re in the We’re all in the grip of the our CBBC YouTube channel. enviable position of being able to most exciting revolution seen Amazing. see that when we create content for generations – the digital But it’s not just the digital that inspires children it can truly revolution. It’s fundamental, revolution that’s shaping the shape positive lives. In turn, fast moving and at the heart landscape of young lives in this inspires us to go further, of our audience more than any Britain today; just as it always think bigger, strive harder and other. It’s changed the landscape has, the nature of childhood is challenge ourselves to break new beyond recognition already, evolving and this impacts on boundaries. BBC Children’s loves challenging everything we do and kids’ lives too. Sociological, serving British kids in this way – raising some tough questions. economic and global shifts

17 Children’s Public Service Broadcasting have fundamentally altered the notion of family, childhood and community. For example, we now have more diverse children and young people than ever before, with 78% of 0-12s from White British backgrounds and 22% from other ethnic groups.2 And we know that the polarisation of lives and opportunities is especially pronounced among the 54% of kids living in ABC1 homes and 46% in C2DE homes today,3 compared to some previous generations. Given what we know about the powerful impact of socioeconomic status and parental engagement on, for example, children’s literacy and numeracy,4 we recognise the incredibly important role public service media plays in supporting learning and parenting in the home. That’s why the CBeebies ‘learning through play’ ethos is so central to all of its content, and why we continue to prioritise education for kids as they grow up with us. moving fast, the great thing is can take a look at the rather These factors may have that BBC Children’s is match excellent article on interactive been more gradual that the fit with plenty of energy and and digital frontiers, written by digital revolution, but are no passion to keep moving with it. my colleagues Jon Howard and less profound. Combined, these BBC Children’s was the Daniel Bays, to find out just how issues provide a challenge - first part of the BBC to offer (and yes, BBC Children’s earns a exciting and daunting in equal connected, multiplatform proud shout out in every section measure – that all providers of content across our TV and of this yearbook). children’s media have to meet. online platforms. And we really And although the world is have embraced it: later you

18 Children’s Media Yearbook 2015 Staying connected with many other UK organisations can a great campaign asking us all the connected generation say that? to let our love show for BBC Of course, we know we can’t I’ve broken the habit of programmes. You simply click afford to stand still for a second a lifetime to tell you, in this on the heart button next to one in our quest to stay connected to terribly un-British way, why I of our shows on BBC iPlayer (on the ‘connected generation’. And think we’re utterly amazing in the grown-ups iPlayer site only, there are some choices to make this article. And I’ve done that because our distinct CBeebies too, because creating the digital because, while we are great at and CBBC iPlayer channels are content kids love, and that works making unique content that’s ‘walled gardens’ to protect kids). across many platforms, raises worth the licence fee and fulfils It couldn’t be simpler. And if you some really big issues. a hugely important need in the follow the link, you can see what Unlike linear TV content, UK, we Brits are not always great everyone else loves too. which we finance up front and at claiming credit and shouting So if you think we’re worth can be repeated, digital content about it. it and want to champion us too, needs to be constantly updated Of course, we don’t do it love us with that heart button, and invested in. And in a world by ourselves. What you see and show us you care and join us in of hungry young minds, infinite hear on BBC TV and online talking about our unique and opportunities and myriad content platforms, made especially for important purpose for today platforms, can you guess what is UK children, is a result of the and the next generation – no very definitely not infinite? That’s vibrant, creative and passionate matter how quickly things are right, our funds. That’s just partners, indies, inhouse moving! one of the reality checks we’re production teams and talent we 1 bbC Audiences / BARB dealing with. work with. We all share the same 2 bbC Audiences / BARB So how best to do we serve ambition: to inform, educate, 3 bbC Audiences / BARB our children’s audience in a entertain and inspire children to 4 Leon Feinstein (2003) fragmented digital world? Where enjoy their childhood; to thrive do we focus our energies? Where in the world around them; and do we place some bets? Those to realize their full potential into are just some of the questions adulthood. I’ll be looking into, with the Don’t get me wrong, I know BBC Children’s team and our we’re not perfect. But it’s good partners, over the coming for all – the BBC, the children’s months. media industry and our young audiences - for us to take a A world leader in our moment to remind ourselves field and others just how special and But back to the here and now. rather wonderful BBC Children’s BBC Children’s is a globally is. unique proposition – truly a And here’s how you can help. world leader in our field. How The BBC has recently launched

19 Children’s Public Service Broadcasting CHILDREN’S CONTENT – CRUCIAL FOR ANY PUBLIC SERVICE BROADCASTER Jeanette Steemers

Good entertaining children’s content that is accessible changing media landscape. This on a variety of platforms is a really vital and essential is where the BBC has to show component of public service broadcasting. And, in that it is both distinctive and fact, when the BBC was campaigning for its charter popular in fulfilling its public renewal back in 1998, it produced a promotional video, service mission. Everyone ‘Small People’, showcasing a huge array of absolutely recognises that it needs to work amazing children’s programming produced inhouse closely with the independent and by independent producers, which reminded the sector; but it also needs to ensure public precisely of that: that the BBC has a long and that there is some distance from rich history of making wonderful and memorable the commercial objectives of its content for small people because of the “unique way partners if it is to maintain the it was paid for by big people”. trust of parents and children. If the BBC wants to appeal to the rest of inhouse production Just how important children’s future generations then this is moved into a wholly-owned content is for generating social ability to call on our collective subsidiary, suggest that the BBC cohesion and a sense of identity memory of inspiring programmes needs to take much greater care was clearly demonstrated to me made by both the BBC and a of its mission to serve children. and my colleague, Naomi Sakr, diverse range of independent Quite apart from this when we ran a workshop on producers is crucial to its very the Corporation is missing a ‘Children’s Content at the Core survival. Yet BBC management fantastic opportunity to connect of Public Service Media in a rarely mention BBC Children’s with parents, politicians and Multiplatform Era’ at the World at all. This and some nagging the public in showing just how Summit on Media for Children concerns about the extent to important it really is: because (WSMC), in Kuala Lumpur, which BBC Children’s is working if the BBC fails to appeal to Malaysia in September 2014 on with larger transnational future generations now, it will behalf of the Commonwealth production companies on surely atrophy over time as the Broadcasting Association (now classic revivals (Teletubbies, public lose those fond memories: Public Media Alliance). With Danger Mouse), combined memories which the BBC has to 40 participants from twenty with unanswered questions work much harder to generate, different countries ranging from about where the production of because children have so many Afghanistan to Uganda, we were children’s content will sit once other opportunities in a fast reminded just how important

20 Children’s Media Yearbook 2015 regulatory, institutional and was understood as opinions, and community. The abiding cultural factors are for the different genres and approaches ‘takeaway’ from this session creation of innovative and that had to encompass was that the combination of diverse content that is relevant entertainment if it was going positive regulatory interventions to children, and with which they to appeal to children at all. and funding can provide really want to engage with. We Independence was discussed in the framework for diverse, were also reminded about just terms of independence from the distinctive productions within a how good UK provision for state, but also from corporate supportive ecology of relevant children is, even compared with and commercial interests linked stakeholders. In the closing countries that are economically to advertising and licensed words of one participant, “The well developed. merchandise, and was pivotal key issues facing people involved Based on the evidence of in terms of trust. Distinctiveness in children’s screen content are: several workshop participants, was seen as closely related to getting sufficient powers to do it was clear that there was independence and diversity, but what is needed and sufficient no regulation or virtually no in terms of quality is always funding to make original content positive regulatory interventions difficult to define. Some suggested that children want to view”. to support children’s content that the only way to assess What the BBC has established in many countries. In the and measure ‘quality’ in local with BBC Children’s is a unique absence of government policy children’s content was to measure and important marker of its or support measures, combined it against both its educational or commitment to children in the with the lack of distribution entertaining purposes, alongside UK. In a more complicated outlets for local content, its attractiveness to children, a media landscape, it would help if production communities were task that may become harder in it spelled out its approach more not in a position to build the a multiplatform universe where clearly to the public in the run up development capacity necessary content is harder to locate. In to charter review. for supporting local content on these discussions it was the This piece is an extended version of an opinion piece that first whatever platform. Nevertheless orientation and objectives of appeared in the Spring 2015 Bulletin local content was clearly seen public service that mattered to of the Voice of the Listener and Viewer (VLV). The VLV champions as a means of forging identities participants, regardless of the excellence and diversity in and our participants clearly platform. broadcasting. The author, Jeanette Steemers, is a member of the recognised and understood why The institution of public VLV Board of Trustees (as is the public service values mattered service broadcasting might not yearbook editor, Lynn Whitaker). when serving children. work for all situations, but The University of Westminster will be hosting an evening event In our discussions, the principles underpinning on ‘BBC Children’s and Charter universality was acknowledged a public service ethos are still Renewal’ in association with the Children’s Media Foundation and not just in terms of delivery on valid for a variety of platforms the Voice of the Listener and Viewer on 3 September 2015. Location: widely accessible free platforms, and content, not least because University of Westminster but also in terms of content at their very best they prioritise that was relevant and readily children as young citizens with understood by children. Diversity their own sense of identity, place

21 Children’s Public Service Broadcasting

Public Broadcasting in Canada: Kids’ CBC and TVOKids Kerrie-Ann Bernard and Natalie Coulter

We both grew up loving the children’s shows on our by both a national public public broadcasters. One of us was a child of the broadcaster and provincial 1970s and grew up watching The Polka Dot Door, Matt broadcasters - all of which and Jenny, and Mr. Dressup and one of us was a child produce programming with a of the 1990s who loved Fred Penner’s Place, Today’s public service mandate. On the Special and Under the Umbrella Tree. As avid viewers national level, the Canadian of Canadian children’s TV, we never knew that what Broadcasting Corporation (CBC) we were watching was public broadcasting we just and its French arm Radio- knew we loved it enough to spend hours watching it. Canada are mandated to produce Canada has always had a mix Can’t Do That on Television, programming that informs, of both commercial and public and Sharon Lois and Bram’s enlightens, and entertains men, broadcasters who have a long The Elephant Show, have women, and children. While history of producing engaging enjoyed global success. Public on the provincial level, there and popular programming for broadcasting in Canada is an are currently four provincially children. Many shows, such interesting blend of French funded public broadcasters. as the Degrassi franchise, You and English services delivered In Ontario there is TVO and

22 Children’s Media Yearbook 2015 Télévision Française de l’Ontario and by national and provincial during the morning with (TFO), in Québec there is Télé- public broadcasters. their Kids’ CBC programme Québec, and in British Columbia Obviously public block. The mandate of the there is Knowledge Network. broadcasting in Canada is a CBC as a whole is to produce Alberta and Saskatchewan complicated mesh of many programming that speaks to the have also had public provincial entities. To more closely examine experiences of Canadians and the broadcasters; however both the state of public broadcasting Canadian way of life. In addition have since been privatised. These for children in Canada, we will to the CBC’s overall mandate, it provincial broadcasters are focus specifically on English has also developed parameters mandated to specifically provide broadcasters, the CBC and TVO, for their children’s programming. educational programming for both of which have dedicated In this case the CBC looks to persons of all age. In Canada, program blocks that focus on produce programming that fits children’s media is broadcast children’s programming: Kids’ into their ‘whole child strategy’. by all of these entities; by CBC and TVOKids. As such, programming seeks commercial broadcasters; by Children’s programming to address social, cognitive, French and English broadcasters; airing on CBC is concentrated emotional, creative, and

23 Children’s Public Service Broadcasting physical development in an and provincial governments that Instead, public broadcasters buy age-appropriate way. While not largely fund the broadcasters are or commission most of their necessarily overtly educational, repeatedly cutting funds in the content from both Canadian each Kids’ CBC program does name of balancing budgets. At and international production address some, if not all, of the moment the Conservative houses. As a result, the great these elements of children’s Government is slashing CBC’s public broadcasting shows that development. funding, so it is becoming we both grew up loving, the TVO’s children’s increasingly apparent that our shows that referenced Canada programming (which airs both Prime Minister has little respect and had a Canadian sensibility, in the morning as well as after- for the CBC and many surmise are, for the most part, no longer school), on the other hand, is that his goal is essentially to shut being made. Instead much of the mandated to meet standards down the public broadcaster original content being produced set out by the Ontario school all together. But, while some by TVOKids and Kids’ CBC is curriculum, so while the CBC’s of the deepest cuts to the CBC the interstitial content that runs programming is educational have come most recently under between the bought shows. Short and age-appropriate it is not Canada’s current Conservative programmes like TVO’s Gisèle’s similarly tied to school curricula. government - which appears Big Backyard and CBC’s Kids’ As an educational broadcaster, to have a vendetta against the Canada. TVO’s mandate is to be CBC - this is only a continuation This original interstitial part of the public education of a trend that started in content as well as the few shows system in Ontario. As such, all the 1990s. Since then there that are still made inhouse by children’s content must meet has been a deepening of the CBC such as Chirp and The the provincial curriculum and funding cuts and restructuring Adventures of Napkin Man, TVO works with teachers and to make CBC - and, to a lesser are geared to a preschool educational advisors to create extent, TVO - more market- audience. TVO commissions a content. As an active part of orientated, shifting their focus significant portion of its content Ontario’s education system, away from public service. While including notable shows such TVO adds further support to the both broadcasters still strive as Annedroids, Odd Squad, curriculum by providing other to make strong, child-centred Doozers and Finding Stuff Out. aids, such as an online maths site educational programming, they Indeed, the majority of for elementary school children; are increasingly being hobbled by programming offered by Kids’ online homework help with decreasing budgets. CBC and TVO is focused on qualified teachers; and a private In addition to funding preschool aged children. This platform for teachers only to cuts there are government leaves older children (especially share their lesson plans and directives that push the public aged seven and up) with very discuss teaching issues. broadcasters to rely more on little programming geared to Despite the efforts of both private production houses. This them. Youth are virtually ignored the CBC and TVO, the last has led both CBC and TVO to by the public broadcasters so decade has left both facing largely abandon the production they turn to the commercial similar obstacles, as the federal of their own inhouse content. stations.

24 Children’s Media Yearbook 2015 Despite all their efforts, both education system. It is difficult them of the rich and diverse broadcasters are also under to justify funding cuts if teachers content that CBC and TVO increasing pressure to find and parents are using the site have produced for the children’s alternate sources of revenue to enhance their children’s mediascape. As such, TVO to show self-sufficiency. This education. On the other hand, and CBC are missing a chance situation necessitates that Kids’ CBC, can show their to tap into the good will and CBC and TVO compete with value by pointing to the number nostalgia that their catalogues commercial broadcasters who of downloads of their apps, of immensely popular children’s have significant budgets, no the number of visits to their programming could afford them. educative or cultural mandates, websites and the number of With Saskatchewan’s and who often emphasise attendees at their live concerts. provincial public broadcaster merchandising and licensed Additionally, by serving mainly being privatised as recently goods over content. preschool children, Kids’ CBC as 2010, the threat to public The reality of funding cuts fills a gap in the market and broadcasting is real in Canada. and the constant threat of further by doing so prove itself to be If we don’t rally behind our cuts means that CBC and TVO indispensable in the process. It public broadcasters, they and are increasingly required to is important to note that much the children’s programming that justify their legitimacy both to of this justification is aimed at they do make will be eroded the governments that fund them both upper management and until there is nothing left. What and to the public at large. It is, government. Indeed, children’s is at stake here for Canadians is during these times of austerity, media still has to struggle to not simply educational children’s becoming increasingly difficult show its value to the wider programming produced without to communicate the value public who, unless they have a commercial imperative, it is our of publicly funded children’s children, are often oblivious to national identity. content to both of these groups. its existence. Children’s media faces a further In Canada, particularly in battle in that it often even has English-speaking Canada, we to struggle to show its value to have little appreciation for the the station’s upper management. vast repertoire of children’s However TVOKids and Kids’ media that has been made. CBC have found innovative Canadian’s speak nostalgically ways of justifying their budgets about the Canadian shows they and indeed their value to their watched as children, but they respective institutions. are often not aware that these For TVO the online aids that shows were made by the public the station provides to teachers broadcaster, or even that they and students deliver valuable are Canadian at all. There is here metrics. These metrics can be a missed opportunity to remind used to illustrate that TVOKids Canadians of the value of their is an integral component of the public broadcasters; to remind

25 Children’s Public Service Broadcasting Children’s programmes in Public Television in Poland Agnieszka Weglinska

Modern media Wieczorynka in TVP slots foreign production were undoubtedly shapes our Wieczorynka was shown every also shown, such as Bob the world and its place in a day at 7pm from 1962 and Builder or The Smurfs. Between young person’s life poses was very popular. Polish public 2010 and 2014 a turbulent a challenge for education. media inherited the show from debate took place regarding The mission assumption television during PRL (Polish the role and the place of of public media is People’s Republic) times. Before evening TV programmes for creating and broadcasting the collapse of communism in children on public television programmes for children. Poland, valuable productions and it was caused by the fact This short review of dedicated to children were that Wieczorynka was losing Polish broadcaster TVP’s made. Since 1992, the Principal viewers to dedicated channels offer is focused on the Editorial Television Team for and had become too expensive youngest viewers and Children Programmes has to broadcast for TVP. The I will begin with a cult dealt with creating content for president of TVP, Juliusz programme, Wieczorynka. children. The first broadcasted Brown, noted that “Bedtime It is on purpose that I Wieczorynka was a programme shows have a smaller audience, begin my description of called ‘Jacek i Agatka’ (1962) in mainly consisting of older TVP’s offer for children the form of two puppets whose people. Children make only with Wieczorynka as adventures were supposed to 10% and pensioners 30%”. the decision to stop not only entertain but also There appeared the concepts broadcasting it caused teach. The animation studios in of creating a public dedicated a turbulent discussion in Łódź, Warsaw and Bielsko Biała channel for children and as a society and it resulted created these programmes. result the removal and loss of in the creation of a Little local content for Wieczorynka. dedicated children’s children is currently being made The problem was that, for channel ‘TVP ABC’. for modern Polish television. parents, Wieczorynka was still During children’s scheduling a cult programme: they grew

26 Children’s Media Yearbook 2015 up with it and felt connected. TVP ABC from broadcasters. Due to the Those in favour of removing Within TVP there is a thematic lack of stable financing of public this programme insisted that channel for children aged media, there will not be many it was necessary to modernise between 4 and 12 years old. premieres”. media education at TVP; give It mainly broadcasts archival The programmes on offer up on didactics; and pursue TVP productions and foreign from TVP ABC include a wide innovative forms. They showed content, such as Chuggington. At range of programmes for the that a dedicated channel directed its beginning in February 2014, youngest viewers. It broadcasts at children would be an answer the channel was announced as a leading programme for to the rich offer of commercial television for children totally children created by the Catholic channels. Those opposing without violence, and promoting programming team, Ziarno (‘The removal of Wieczorynka family and national values. The Seed’). In the relevant law on countered that it was an iconic president of TVP, Juliusz Braun radio and television there is a tradition and that children from said: “content will not include provision that “Public television the poorest environment, or from exaggeration and violence. does not forget its youngest regions with weak television It must be a channel with viewers and therefore it prepares signal, would suffer most from it programmes that ‘will always be attractive, educational and being axed. safe’. This is what parents expect adventurous programmes for

27 Children’s Public Service Broadcasting them”. Therefore, TVP creates year old Magda who visits this undertaking. popular science programmes interesting places connected with Nowadays we might mainly such as Mission in Space, culture. talk about public service media described by the TVP editorial In the evenings after 10pm, rather than public service team thus: “The programme TVP ABC broadcasts lifestyle broadcasting. In the first two concerns outer space, interesting programmes for parents. There decades of this century we phenomena such as black holes, are cooking, interior designer, can observe an increase in remote galaxies, etc.”. Some of nature and other programmes. the significance of internet the episodes were made in the Programmes of this new channel media. However, there is still Copernicus Science Centre (CSC) are also available online, its internet media which is strongly in Warsaw, the most modern website is interactive, and it correlated with social networks and biggest science museum in is possible to watch archival and civic broadcasters on the Poland. Children from other programmes there and also play net which take over those parts of Poland can take part in games. tasks assigned to public service the activities organises by CSC media. Media academic Jay by means of television. Internet Theatre Blumler holds this viewpoint, An element of language for Schools and believes that, through the education by means of television Units of public radio and activities of public service media, can be seen in the programme television are obliged to create the civic sphere benefits because Lippy and Messy which was and popularise programmes for television has taken over the role made by the Children’s Television schools and other educational of animating public debate. The of Programme 1 of TVP along institutions. Traditional internet media can be used to with an English language school television played this role in attract public opinion, but on Gama-Bell. The show offers the case of artistic and cultural the other hand they have more interactive games in English for education. At the very beginning autonomy than traditional media. the youngest children. Also worth of Polish television in 1958, It is worth pointing out that mentioning is Supełkowe AB, a a puppeteer Jan Wilkanowski TVP regional producers are show which albeit addressed to created a series, Baj, Baj, which aware of the importance of such all children is especially focused combined fun with introducing internet activities. It is worth on deaf and or hearing-impaired a child to the world of art. In quoting Paulina Sitko - an editor children. The programme teaches the eighties, Sunday afternoon from Wroclaw TVP centre: “I the alphabet, numbers, and Television Theatre for Children consider internet theatre for phrases necessary to communicate was very popular. The shows schools as part of our [public with friends who live in the world were made in cooperation with service] mission: e.g. today of silence. Another proposition, 26 theatres from all over Poland, there was a performance in Culture Behind the Scenes, is the data from 1988 indicates that the Puppet Theatre which was a programme made with the the shows were watched by some broadcasted via our broadcast resources and cooperation of 16% of viewers over sixteen, vans to 46 schools in Poland, National Culture Centre. The mainly parents with children, meaning that 18,000 pupils were narrator of all episodes is thirteen which proves the popularity of simultaneously watching it - the

28 Children’s Media Yearbook 2015 biggest audience in the world.” fact that puppet theatres from addressed to children shows This is a very important all over Poland can perform on a a tendency to create segments example showing that in national stage. Programmes for and fragment the market. The favourable conditions public children and teenagers institute channel ABC addresses viewers service related media activities an important element of a public between four and twelve years are moving to the internet. service broadcaster’s mission; old, and it seems appropriate Of course, it is partly a result involvement in such projects that, in accordance with media of the lower costs for such constitutes a statutory duty of a market tendencies, TVP should undertakings. We have to state, broadcaster. start a channel for teenagers though, that in the area of It is also important that and children under three years commercial media nobody would schools in Poland, even in villages, old. Removing Wieczorynka commission these broadcasts, where internet access can be indicated the end of an era in as it’s a very niche undertaking. questionable, have access to the TVP and the end of a ritual So let’s not underestimate the net. Internet theatre for schools connected with television. The fact that children from smaller relates to similar technological programme stopped playing a towns and villages have contact initiatives, which took place in the part of our childhood and was with theatre by means of the net. past, even in PRL times. replaced by a thematic channel This is a combined benefit of Summing up, public media that will undoubtedly continue regional centres, and also of the in Poland in the area of content to evolve.

29 Children’s Public Service Broadcasting

Aotearoa/New Zealand: a small house with big windows Ruth Zanker

It is a confusing time for everyone advocating for research truism is that kids know public service media delivery for children, and it is no what they like and will search different for us in New Zealand. As a researcher and it out relentlessly. New Zealand trustee of the New Zealand Children’s Screen Trust children are enthusiastically (kidsonscreen.co.nz) I am struggling to keep up with tapping into reruns of favourite the explosion of globally accessible platforms and cartoons; the viral news of apps targeted at children. These inevitably undermine Pewdiepie; and new apps. the viewership for content funded through dedicated The great question facing a national public funding streams. In New Zealand we small nation like New Zealand talk increasingly about how endangered children’s is: How can we enable our local public media spaces have become. children to stumble upon local New Zealand research released consumption of YouTube content in formats they enjoy in April 2015 illustrates that channels and memes cannot be and on the media platforms they YouTube is now equally popular meaningfully compared with the prefer? And where does this (for children who have access carefully programmed schedules leave public service provision for to internet) as the traditionally of national channels (augmented children in New Zealand? dominant Channel Two state- as they are by websites with their NZ is not a poor nation, but owned broadcaster’s scheduled curated repeats, interactivity it has never been easy to fund for provision. An even more and apps), but the writing seems diversity for 911,000 children concerning fact for national to be on the wall. As I write across the range of age groups. providers is the news that YouTube are branding ‘safe’ New Zealand shares challenges YouTube is now the main global children’s channels, albeit facing all smaller and/or poorer content discovery site for older with recent glitches serving up countries struggling to find the children in New Zealand. scatological and sexual content. balance between service and cost Of course the chaotic But the new audience when it comes to local media

30 Children’s Media Yearbook 2015 delivery for their children. There is one thing we need to be clear about from the start: New Zealand has never had pure public service provision (think BBC or ABC). Instead, since 1989, a pared back version of public service provision has been mandated, whereby a funding agency called New Zealand On Air is tasked with “reflecting and developing New Zealand’s identity and culture”. This model, at first glance, offers an Universality – great made part of the funding mix for enticing minimalist public service content delivered state-owned television channels funding solution for nations on widely accessible from the very start. Indeed, unable, or unwilling, to pay for platforms that is relevant all successive governments full public service provision. and easily understood. have viewed a pure public But the NZ On Air experiment Unsurprisingly for a former broadcasting television service also presents a cautionary tale British colony, New Zealand’s along BBC lines as unaffordable. or two for nations setting out early broadcasting roots drew The Broadcasting funding to establish their own versions from the Reithian principles to vote now competes with hip of public service delivery to ‘inform, educate and entertain’. operations and new schools. children. This article asks: But New Zealand politicians As a result, imports and How does it perform in its core demanded a trade-off between cheap but popular local function? And does this equate to competing Reithian principles programming solutions (studio public service delivery? which have shaped our television based, presenter led, short To help us explore these provision, and now digital shelf life field items) have questions it is helpful to focus on delivery. been favoured by risk averse four critical factors that comprise Broadcast engineers in New commercial broadcasters. public service media for children, Zealand faced the daunting and The first locally made as summarised by Jeanette expensive task of delivering children’s preschool broadcast Steemers: television broadcasts to all was a re-versioned BBC • Universality citizens across an Alpine nation Playschool. Maori Manu • Diversity with a scattered population. knocked on the door and opened • Independence Whilst the governments might the window to clips of local kiwi • Distinctiveness or ‘quality’ support this nation-building family life. American PBS Sesame How then do these apply to the Reithian concept of universal Street became a local staple, New Zealand experience? access, they demanded a trade- this time with Maori language off. Advertising income was inserts. Maori language television

31 Children’s Public Service Broadcasting still do extensive dubbing of Certainly British public Diversity: of genres and cartoons into Maori. service children’s television opinions The first locally created content has positioned itself It is widely agreed that exposure early childhood programme, for some time in caregivers’ to a rich diversity of genres and You and Me, only arrived minds as a ‘quality’ brand in cultural opinion becomes critical in 1991, after the radical New Zealand. Is it, by default, for primary-aged children, media deregulation of 1989. a reliable form of ‘public tweens and youth audiences. Deregulation paradoxically service television’ for many Young people mine the media embedded an audacious new New Zealand families (either for ideas about being grown up. funding mechanism for local as programmes filling out local What is possible? What is not? content whilst, at the same free to air schedules, or on UK Who is valued? Who is not? time, encouraging commercial pay-channels)? These imported This is where ‘the local’ competition between state-owned programmes are cheaper than begins to have resonance for and overseas-owned media. local productions, come with small nations like New Zealand At this point I would like to ready-made promotions and with who are swamped by media extend, for the sake of argument, ratings promise. versions of the world forged the notion of universal access So we have to ask: Have in American and British focus a bit further. It is a perspective ‘quality global brands’ become, groups, each with their own best understood by small/ by default, a universal, globally particular cultural tensions. poor nations. On the face of accessible, form of public service Are children in New Zealand it, ‘quality’ global brands like for preschool children at least? If well served with local content CBeebies, CBBC, The Children’s not why not? inflected by the complex mix of Television Workshop (and The answer is that, so who we are, and where we are Nickelodeon and Disney at far, New Zealand On Air has positioned in the world? Does their child-centred best) already consistently funded at least one our children’s media reflect our provide excellent content for early years strand on free to air diverse Pacific set of identities, children ‘universally’ (i.e. television accessible to all New languages and culture? globally) and across a range of Zealand preschoolers because The New Zealand On Air accessible platforms. Take, for it has a mandate to “reflect and mechanism has certainly made example, preschool provision. develop New Zealand identity and a difference. Recent research Don’t little children need the culture” for all New Zealanders, indicates that both children same things the world over? even the tiniest. Our state-owned and parents want local content. Haven’t Teletubbies, Blues Clues Channel Two and the overseas- Just under 800 hours, costing and Sesame Street delighted very owned Channel Four compete around $15 million NZ dollars, young children everywhere on a for (low-cost per hour) funding. were funded last round. Award- range of screens? Local television Early years is the only genre with winning concepts like the programmers like them too: no ads, thus protecting it from unstodgy youth drama Being translation is cheap and local the full force of the market place, Eve and the science show, Let’s inserts into indigenous languages although market purists could still Get Inventin’, have been grown are a breeze. view it as ‘opportunity cost’. through its funding. But neither

32 Children’s Media Yearbook 2015 show had a long life. Being Independence from aided by sympathetic Eve was scheduled to death by corporate and commercial commissioners and matchmaking commercial programmers. Let’s interests and the state from New Zealand On Air, have get Inventin’ launched an app So far I have described the traded, juggled and explored new the very year the broadcaster implications for children’s ways of serving local children. decided not pitch for further provision from the trade-off Children’s producers are nimble production. It is a constant juggle made by successive governments and responsive. They research for producers and New Zealand to deliver children’s public their audiences and care about On Air to get good ideas into media on commercial channels. them. Their teams are often production because there is no New Zealand On Air is reliant at the cutting edge of new quota nor licence requirements, on proposals put forward by production tools. It is testament nor are there mechanisms to commercial channels (the state to their commitment to the hothouse new concepts in the broadcaster is also commercial children’s area that New Zealand small marketplace (this of course remember). These channels are on Air funded children’s shows leads to export success as well). required to have a ratings focus, consistently win international This function of hothousing yet, under current arrangements, awards, despite lack of creative ideas is one of the glories have no incentive to promote preproduction development time. of well-established public service their children’s content (which New Zealand On Air is media. lives outside prime time). currently developing a funding Animation, the favourite It is a fragile system because strategy for diverse multiplatform genre according to children in local broadcaster support for content that can be found on the recent survey, is deemed too desired range and diversity of the platforms children prefer expensive and drama is out of local content for children is to use. This will launch in mid- favour with commissioners. But not guaranteed. Furthermore 2016 and is likely to focus on it is this provision of “diversity New Zealand On Air is tasked curation; reviewing functions of genres and range of opinion under its 1989 Act to fund only for parents and navigation tools. in local and indigenous stories” programmes made accessible The challenge for those designing that remains central to remnant on free to air channels (and delivery is that currently there public service provision for online thereafter). It does not is no new money, nor any children in New Zealand fund behind the pay wall. Nor political inclination to move the through New Zealand On Air can it launch new platforms mandate of New Zealand On Air funding. independent of these incumbent away from first release on the Growing and maintaining commercial broadcasters. Plans commercially-driven free to air diversity of provision for to invent full public media for broadcast medium. Watch this children is our biggest challenge. children are very much pipe space. It is very frustrating for dreams at the moment. producers to have to court broadcasters who have only Quality or ‘Distinctiveness’ short term ratings success in Despite the challenges outlined mind. above, NZ-based producers,

33 Children’s Public Service Broadcasting

Japan’s Public Service Broadcasting for Children Sachiko Kodaira

What comes to mind when you hear ‘children’s TV in Japan’? Animation programmes broadcast all day long? Well, it is true that well-known Japanese children’s TV programmes such as Doraemon and Pokémon are both animated cartoons broadcast by commercial TV channels; however, there are many other kinds of TV programming and related online content for Japanese children, which have been developed for various educational purposes by the NHK, our nationwide public broadcaster. Japan’s broadcasting has whose source of revenue is developed through the income from advertising. coexistence of public broadcaster, Children’s programmes started NHK (Japan Broadcasting on the very first day of radio Corporation) - which is broadcasting in 1925, and same supported by the Viewers’ also of TV broadcasting in 1953. Receiving Fee System financially, In this article, I would like to so is without any advertising - introduce characteristics of and commercial broadcasters children’s TV in Japan, focusing

34 Children’s Media Yearbook 2015 on the role of public service programmes - which used to be Thirdly, the majority of broadcasting. broadcast on NHK General TV children’s programmes (and Firstly we should note that Channel - to NHK Educational TV programmes as a whole) children were always regarded TV Channel, established in 1959 broadcast in Japan have been as important audiences both by as the second NHK channel, for produced domestically, though NHK and commercial television, broadcasting programmes for there have been examples of and so a variety of programmes educational purposes (including acquisition programmes from have been developed since the schools broadcasting.) Most of other countries: Sesame Street; early days of television. After the NHK’s programmes for children Thomas the Tank Engine and huge success of the very first TV are shown on this ETV Channel Friends; Shaun the Sheep; animation series in Japan, Astro today. Curious George etc. And there Boy, in 1963, a tremendous Secondly, TV programmes are also some dedicated channels volume of children’s programmes aimed at preschool children have for children, such as Japanese - predominantly a variety of been produced and broadcast Kids Station and ANIMAX, and animated cartoons and superhero since the early days of television US Disney channel and Cartoon action dramas - were broadcast in Japan. The longest running Network in satellite channel on the commercial channels, from NHK, With Mother, services, but the penetration especially during the 1970s and which continues to broadcast rates of these pay channels with 1980s. However, they began to today, began in 1959. Moreover, additional fees is very limited decline thereafter because of the three years prior to that, in in Japan, partially because we difficulty of finding sponsors to 1956, NHK started the two have been broadcasting quite a support the programmes. preschool series intended for number of children’s programmes As a public broadcaster, viewing at daycare centers and on terrestrial channels both in NHK has been providing various kindergartens as a part of NHK NHK and commercial TV for a genres of programmes since School Broadcasting. Though long time. the 1950s: children’s drama; commercial TV had broadcast Fourthly, the existence of puppet shows; games & quizzes; preschool programmes as well, two types of programming children’s news; science shows; it could not continue. NHK has for children (or two viewing as well as studio-based variety been continuously developing styles) is another feature of shows and entertainment new types of programmes for Japanese (NHK’s) children’s TV: formats that involve children’s this age group: some such programmes for viewing at home participation. Also, from the recent examples, all highly with family; and programmes for 1970s, animation programmes evaluated internationally, are viewing with friends at schools have been provided. In the early PythagoraSwitch to encourage and kindergartens/daycares with 1990s NHK began to increase problem-solving skills, Design educational guidance by teachers. its airtime for children, with Ah! to inspire creative thinking The latter is called School a schedule including specific through understanding various Broadcasting. Radio school programmes for specific age designs around us and Mimicries broadcasting started in 1935, groups. In addition, NHK to inspire scientific thinking in ten years after the start of radio began to move its children’s preschool children. broadcasting and TV school

35 Children’s Public Service Broadcasting broadcasting in 1953, at the available on demand on the school students across Japan. same time as the commencement NHK for School website. This Learning Disaster Prevention of TV broadcasting in Japan. site also offers fun learning examines what happens in Although nowadays games and materials to use on different forms of natural children’s programmes usually interactive whiteboards. With disaster and encourages children have websites which provide search engine, curated content to think themselves about how child viewers with various and recommendations, children to be prepared for an emergency. interactive activities related to have all the tools and guidance Programmes for media literacy the broadcast content, NHK’s they need to explore any subject education, such as The Media School Broadcasting has taken on their own. Eyes and Smartphone Real Story, a leading role to utilise the NHK School Broadcasting are produced also for this goal digital technology effectively deals with a wide variety of and prepare young people for the for children since the 1990s, an subjects such as Japanese real-world challenges they will important mission of a public language, maths, science, social face. broadcaster. studies, and moral education. As already introduced, After seeking and developing Each programme engages the Japanese children watch mostly new forms of educational target age groups with songs, locally-made TV programmes; services, in 2001 NHK released dancing, drama, skits, puppet however, this does not mean that an online service called NHK theatre and more. Helping we are NOT interested in other Digital Curriculum providing children to think for themselves societies and cultures. NHK has free of charge video and is an important goal of NHK’s been involved in different kinds interactive-learning and teaching school services. There are of international co-productions materials that tie in with the various programmes to inspire in children’s and educational content of school broadcast children’s curiosity and promote programmes. Moreover, programmes. The use of this new self-expression. Think Like a NHK has contributed to the digital service has been increasing Crow! inspires children to learn development of educational gradually among Japanese how to think scientifically and media around the world, through schools over the past fifteen The Power of Logic encourages an important international event. years, and the use of NHK’s logical thinking through a Discover Science is an educational services for schools school-based drama setting. To edutainment science series, in the classroom is beginning to inspire children to take action whose main target audience diversify, with schools using the and become a driving force for is children aged ten to twelve. broadcast and digital services change is another important It started as a co-production sometimes in conjunction and goal of NHK’s school services. by NHK, NHK Educational sometimes separately. Knock Out Bullying! is a series Corporation and the Al Jazeera Today over 2,000 full-length to nurture group awareness Children’s Channel (JCC Qatar programme episodes (10-15 that leads to decisive action in 2010. Later on, broadcasters minutes each) from over 70 against any form of bullying, in Germany, Sweden and Taiwan broadcast programme titles based on the actual experiences have joined as co-production and 5,000 short video clips are of elementary and junior high partners, and this series has been

36 Children’s Media Yearbook 2015 picked up by broadcasters across broadcasting the programmes Prize is dealing with educational the world. In Japan, NHK has made by others. NHK produces media for all generations; been broadcasting this series as additional stories other than however, “For our children’s a 15-minute programme both the programme submitted for future” has been its important for school use and for family the EBU exchange project and motto from the very beginning. viewing. broadcasts that content as a Fruitful discussions about the NHK has been involved School Broadcast series (along potential of education and the in international programme- with web resources) entitled future of our children around exchange projects for children’s Colourful: Children of the the world will be expected in this better understanding of other World. So far more than 140 coming Japan Prize 2015 which people and other societies and children from over 20 countries will be taking place in October cultures, especially children’s have been introduced within this as its 50th anniversary. lives in other regions. In the series. It is hoped then that this ABU Children’s Drama co- NHK has contributed to article can set the context not production series, participants the development of educational only for Japanese public service each produce a 15-minute media around the world for media for children but for how drama episode starring children 50 years as an organizer of the other international producers between seven and nine who are international contest called and researchers may wish to trying to achieve something, and the ‘Japan Prize’. This contest engage with it and understand dramas are exchanged among was established by the NHK it in the shared interests of the participants and broadcast on in 1965 to enhance the quality children’s audience at large. each of their channels under a of educational broadcasting networked principle of ‘make around the world and promote one episode and take all others’. international understanding. For the tenth anniversary of Today, its target expands to all this project in 2014, the ten forms of audio-visual educational programmes were broadcast in media, including TV, websites, Japan during summer vacation games and cross-media projects. on NHK Educational TV The Japan Prize is not Channel, and are now available only about selecting winners. on the NHK for School website. It has provided important EBU Youth Documentary opportunities for the participants Exchange is another co- (producers, researchers, and production project in which, educators) - drawn from all over since 2009, NHK has been the world - to engage in open- participating. The mandate is to minded discussion about the create a 15-minute documentary entered works in the contest; to targeted at ten to twelve year exchange views and information; olds, and the participants and to develop ideas for future are able to bring back for educational media. The Japan

37 Children’s Public Service Broadcasting

On private public-service broadcasting for kids Russell Miller

Once upon a time, US During school vacations, there for quality. Even as a boy, I’d broadcasting offered two were Chaplin shorts. heard of legendary series like choices to kids: TV… or TV was everything else. Kukla, Fran and Ollie, Winky Educational TV. TV was what Cy Schneider, Dink and You (which Bill Gates Educational TV was the the [m]ad man who invented the reputedly called “an early USA’s first attempt at public Barbie commercial, meant when example of interactive TV”) and service broadcasting. It was he wrote “television’s first mission the original Mickey Mouse Club. paid for by foundations and the is not to inform, educate or True, all three had been cancelled government, not ad revenue. enlighten. It isn’t even to entertain. by the time I was old enough to It ran newsy features at night, Its first mission is to entice viewers watch, and it was inconceivable university lectures in the morning to watch the commercials.” that I might ever be able to see and during the school day, Schneider made no exception for any of them in those days before programmes meant to spice up children; the quotation comes VCRs, DVDs, Blu-ray or on- classroom life. After school, from his handbook, Children’s demand networked streaming I remember a lady reading— Television: The Art, The Business, digital video. But I’d heard of literally just sitting there and and How It Works. them. reading - David Copperfield. TV could nonetheless strive True, as well, all three of

38 Children’s Media Yearbook 2015 those series were cancelled on Why!, while shows like Curious deserve opportunities to play Cy Schneider’s terms. Take George and Cyberchase lay and explore and ponder new The Mickey Mouse Club: if foundations for science and worlds and ideas and culture and Wikipedia is to be believed, math. (Full disclosure: I’ve history and art. They deserve that classic failed because “the consulted on PBS media past and entertainment choices richer than Disney studios did not realize future.) the Scylla of enticement to watch high-profit margins from These are charming, commercials and the Charybdis merchandise sales, the sponsors meticulously crafted shows, and of government-mandated were uninterested in educational they even move merchandise. academic learning. programming for children, and But, goodness gracious, they’re many commercials were needed more set on kids learning than But how? in order to pay for the show.” even that worthy lady with That involves three questions: Other sources mention a ratings David Copperfield. • Where might such decline. Weak licensing, poor ad They need to be. It’s entertainment choices come sales, low ratings and the smell effectively the law in the US, from? of education: and today these are because since 1993 children’s • How might one bring them still the Four Horsemen riding series produced for public service to kids? roughshod over quality children’s broadcasters have depended on • Who will pay? TV. the Federal ‘Ready to Learn’ So much for TV. As far Act. That is, the United States Our answers are the bedrock as Educational TV goes, it’s Congress is footing the bill, of the project we’ve embarked called ‘public’ nowadays, and through the United States on. It’s called Wonderreel©. it entertains grown-ups with Department of Education. Ready costume dramas from ITV, BBC to Learn grants have, historically, Where might such comedy and documentaries on required math, science or reading entertainment choices neuroscience and a cappella objectives. Today they expect come from? doo-wop. Yet when it comes to funded shows to align with All over the world, it turns out. children, public television in the formal school standards. For instance, year after year, US is, well, it’s educational. More All of which brings me back fine children’s television - series educational than ever. to Cy Schneider, Kukla, Fran, and one-offs - is screened at two Don’t get me wrong: PBS Ollie, Winky Dink, Mickey inspiring festivals: in even years, Kids is generally genuinely Mouse, Chaplin and, yes, that the Prix Jeunesse International brilliant. Mister Rogers’ lady reading Dickens. I respect in Munich, and, in odd ones, Neighborhood and Sesame commercial television’s need for the ComKids Prix Jeunesse Street have helped generations ad revenue, and I honor PBS Iberoamericano in Sao Paulo. of preschoolers learn to count, Kids’ lofty, legislated goals. But Meanwhile, in Brazil, in the alphabetise and manage their children have legitimate interests Netherlands, in Germany, in feelings. Older kids have been and needs beyond reading, math Sweden, Norway and beyond, encouraged to read by The or even learning what to do kids’ films produced for cinemas Electric Company and Super with the mad that you feel. They are every bit as accomplished as

39 Children’s Public Service Broadcasting those made for grown-ups. And Who will pay? customers deserve ethical the UK is home to a trove in Ah, the fun part. First of all: practice more than ours. the Children’s Film Foundation No one who wants to advertise Public service broadcasting collection, administered by the to kids; but not taxpayers in the US has come a long way Children’s Media Foundation either, nor the government. from recorded university lectures. and the British Film Institute. Wonderreel© is a business, But whether by constraint, funded by investors at first and preference or tradition, its How might one bring later by the families we’ll serve. outstanding educational them to kids? But we’re a new kind of business service offers but a small slice Through on-demand networked (at least in the US). We’re a of the possibilities AV content streaming digital video, on “public benefit corporation,” or - and indeed the world itself tablets and laptops and phones “B-corp”. - holds for kids. Marshalling and connected TVs. Think of However a B-corp is not innovations in technology and Wonderreel© as an HBO Now not-for-profit. It’s very much law, Wonderreel© proposes for kids, available by low-price a business intent on reaping a new model of children’s subscription. profits with solid return to entertainment. In the process, By the way, anytime/ investors. But neither is a B-corp we find ourselves pioneering anywhere digital affects more a corporation in the usual sense: a new form of entertainment than just delivery of content. because its charter encompasses provider: the private public- It can fundamentally change public service goals. service, narrow- (in the sense of children’s entertainment. With Like digital delivery, individualized), but, collectively, physics itself constraining public service charters change more broad-than-our- timeslots in conventional everything; they up-end the forerunners-ever imagined-caster. TV, even public service meaning of “decisions in the With Beta tests on track for broadcasters seek out shows company’s best interests”. this autumn, soon enough, we’ll with broad popular appeal. Chartered to public service, a find out if it works. By moving television to the B-Corp’s management can - cloud, Wonderreel© can offer indeed must - make decisions thousands of choices to millions which advance its social mission, of kids at any given moment. By not only its bottom line. For employing ‘Recommendations’ instance, B-Corps can choose technology, complementarily, to give their services and goods we can match each child with away to people who can’t afford shows that s/he is likely to love. to be paying customers (and This is more than mere curation: many B-corps do, distributing a better metaphor is the friendly everything from sneakers to librarian. Wonderreel© can sunglasses). B-Corp status make television as personal and provides legal protection for rewarding as finding the right ethical practice. And it’s hard book. to imagine an industry whose

40 Children’s Media Yearbook 2015 Industry reflections and debates

41 Industry Reflections and Debates

Bringing Toys-to-Life Andy Robertson

Small plastic figurines that unlock characters in the video games children play have become almost unavoidable over the four years since Activision launched Skylanders Spyro’s Adventure on an unsuspecting world. As a journalist specialising in There are now four main video games for families this is titles in this space. Skylanders, a trend I’ve covered in detail. Disney Infinity, Amiibo and There are both positives and LEGO Dimensions. Each of these negatives to the trend, but have substantial differences but unquestionably it’s driven by are united by the way they are its ability to modularise both sold and the technology that video game development and powers them. purchasing options offered to Hybrid toy-video games young consumers. enter the home when a family

42 Children’s Media Yearbook 2015 purchases a starter pack. This The real action is happening These additional characters costs in the region of £70-£100 on the screen like any other and levels are usually signposted and provides the USB peripheral video game, but the physical to players with short optional that plugs into a video game toy needs to be present on the video adverts showing what you console and ‘reads’ the related peripheral sat beside the console. could access if you owned the toys that are placed on it. The Any progress or character particular toy. Although parents starter pack will also include the customisations are instantly are used to advertising of this game disc and two or three toy saved back to the toy, again with nature in TV programs, this kind characters to get players started. no buttons needing to be pressed. of promotion within a video The packs also include secondary It makes the play experience game is less expected and is items such as collectable stats simple and seamless and creates effective at driving pester power cards and items that unlock more a strong connection between the at supermarket and toy store minor content. toy and on-screen character. checkouts. The video game is played Children can take their toy The bottom line is that on any of the current crop of character to a friend’s house and although it would cost hundreds consoles; Wii U, Xbox 360, use it in their game (no matter of pounds to collect all the Xbox One, PlayStation 3 and which console they have). Placing toys in a particular range, the PlayStation 4. Some games, like their toy on a friend’s peripheral majority of the game can be Skylanders, continue to support instantly brings their customised played to completion without older platforms like the Wii and character into the game. purchasing additional toy are testing out tablet versions as This offers a great novelty figures. This typically provides well. to young players, but also locks a basic twelve-hour adventure away content and levels until you with multiplayer and additional Toys That Unlock Video- purchase additional characters missions that are likely to Game Media on top of the starter pack. The extend playing time to well This ‘Toys-to-Life’ genre, a term games are updated each year over 20 hours. Armed with this coined by Activision, are game along with a new set of 20-30 information, parents need to changers for interactive children’s new characters to collect. be willing and able to say no media because of the interplay Although you can complete to requests for ever more toy between physical and virtual the game with just the starter figures. characters. While playing the pack you won’t see all the game, placing a toy character on content on the game disc All Toys (To Life) Are Not the USB peripheral (a circular without buying a good number Equal pad with space for a few toys of additional toy characters that Adding new toys is not always called a Portal in Skylanders, cost between £7-15 each new. straightforward, not least Base in Infinity and Toy Pad in Purchasing a new toy figure and because of the complexity that LEGO Dimensions) instantly putting it on the Portal/Base/ has developed year on year with brings them into the video game Toy-Pad enables you to use the each range. In fact one selling as a playable character with no related character as well as often point being pushed by LEGO wires or buttons to press. unlocking new areas and powers. Dimensions is that you don’t

43 Industry Reflections and Debates need complicated compatibility Furthermore, if you minor functions in the game. charts to understand which purchased Disney Infinity 1.0 Skylanders Trap Team enables characters will work with the you can download an upgrade players to play as the villains game. Time will tell whether to the 2.0 Toy Box but there is they encounter if they have LEGO is able to maintain its no way to upgrade and access purchased the appropriate plastic simple universal compatibility in the Disney Infinity 2.0 Playset ‘trap’ to place in the Portal at the subsequent years any better than adventure packs. Families have right moment. Disney Infinity competitors. to purchase another Starter Pack offers Power Discs that are Skylanders does a reasonable if they want to play the Marvel placed under the toy characters job of supporting all the old adventures in this year’s game, to add upgrades, costumes and toy figures in the new games. even if they already own a starter special powers. Both these cost This ensures that children who pack from the original game. just a few pounds each, although invest in toy Skylanders have an The same is true the the Infinity Power Discs were ongoing value in being able to other way round. If you have sold in foil blind packs resulting use their old toys in each new purchased Disney Infinity 2.0 in doubles - something being game. A rule of thumb is to stick you can’t access the Toy Story, switched for labelled Power Discs to characters with packaging that Pirates of the Caribbean, Lone this year for Disney Infinity 3.0. matches the game you own. Ranger, Cars, Incredibles and Nintendo’s Amiibo range of Children may at times insist Monsters University adventures smart video game-toy characters they understand which characters without purchasing the 1.0 escape much of this confusion will work but even experts Starter Pack as well. You can by being compatible with a struggle to identify some of the use all the old toy characters in wide range of games and don’t nuances of compatibility. This the Toy Box but not access their require a starter pack. Although fact is underlined by erroneous bespoke adventure Playsets. the ‘amiibos’ are sold in relation compatibility charts in store. Although I don’t consider to one game in particular, as is Although some may suggest this this a purely commercial ploy, depicted on their packaging, they is a cynical ploy on Activision’s families would have the ability to are compatible with any Nintendo part, I think it’s more a measure download any Playset adventure title that has amiibo functions of the complexity. for a related toy purchase higher for that character. Identifying Disney Infinity adds further on their priority list than Disney. which games a particular amiibo complication as it is really two Happily, Disney Infinity 3.0 is compatible with is something games in one. Not only does it promises to resolve much of this parents (or children!) will need to have an adventure element but by offering a stand-alone disc research online. also an excellent game creator or download version of the new Unlike Skylanders and Disney mode. While you can use any game. Infinity, amiibo characters of the toy characters you have Additionally, and at risk function as a companion or purchased in the game creator of losing those who have kept opponent character in the game. Toy Box mode, only characters up so far, both Skylanders and Bringing a Mario amiibo into matching a particular brand can Infinity offer a secondary line Super Smash Bros. on the Wii U be used in the Playset adventures. of products for retail with more for example brings in a Mario

44 Children’s Media Yearbook 2015 who will fight for or against in media both physically and most significant here with you rather than a character you virtually. However, whereas the its Telepods. These unlock control yourself. Also, because gaming action takes place on the characters in their range of both the Wii U and New 3DS screen for the likes of Skylanders, games and are sold as physical have the NFC technology built Infinity and Dimensions, for play packs with racing and into them already, you don’t need Anki Drive it’s on the living projectile play patterns. to purchase a USB peripheral to room carpet. Games like Angry Birds Go! use amiibos. Toy cars race around a made good use of this, although LEGO Dimensions is the large printed circuit. The cars with a complex retail model. latest addition to the Toys to automatically keep themselves Characters could be purchased Life genre and looks to correct on course leaving the child to either digitally in-app or some of the shortcomings of change lanes, control the speed unlocked with the physical toys; its competitors. Firstly, being and fire weapons via a connected so it is at times hard to determine LEGO, the characters are much Smartphone or Tablet device. which is the best value. more in the toy vein. Rather This also enables the game to Keeping digital purchase than collectable figurines to be narrate the action and have prices high may have intended to displayed on a shelf, the toys in characters interact with players drive toy sales but instead seems LEGO Dimensions have much before, during and after the to have resulted in a confused more play value, epitomised by race via the screen. Computer economy of purchases with a the fact that players have to build opponents can be loaded into slower take-up at retail; add the USB peripheral out of LEGO cars to offer a single player to this the fact that Telepods bricks before using it with the option. are optional extras rather than game — added value parents will The Anki Drive Starter essential to the experience appreciate. Pack is £150, a price tag that like Skylanders, Infinity and Another nice touch is that increases by the requirement Dimensions toys. the different franchise characters of a smartphone or tablet, will be completely interoperable. along with additional cars The Future Unlike the Disney Infinity that retail around £50: but for The Toys-to-Life category adventures that only support one families who already have the continues to grow, albeit not at brand, LEGO Dimensions will devices it offers an unusual and the rate of the early explosion enable players to mix and match accessible experience for players when Skylanders launched. characters throughout the game of all ages. The new version Having that head start, — as they would playing with - Anki Overdrive - also offers Activision’s Skylanders series is physical toys on the living room a Scalextric style clip together still the biggest in terms of total floor. Again this adds to the track system and support sales with over 240 million toys perceived value for parents. for mixing iOS and Android sold driving more than $3 billion controllers. in lifetime revenue. The Outer Limits App games too are also Growth has slowed as Anki Drive is one of a number leveraging this physical crossover competitors have joined the of products that engage children market. Angry Birds is perhaps sector that is fast becoming

45 Industry Reflections and Debates saturated. Each of the main three don’t need a starter pack possible to make strong profits offerings has distinct benefits and as the reader technology is from movie tie-in titles for young costs for young players. already built into the Wii U players - something that has • Skylanders offers endearing controller and New 3DS/3DS previously been elusive. Equally original characters crafted by XL. though, publishers understand its artisan inhouse designers • Anki Overdrive extends the importance for parents which escape the usual physical racing robot cars to perceive these expensive commercial buff/slender into the video game space investments as good value, even binary for male/female with characters, stories if those perceptions are pushed heroes. It also supports and upgradable virtual to the limit. every one of its toy figures in weapons. This year’s game Either way the trend is every new game, placing no will offer customisable clip certainly here to stay in some restriction on their use in new together tracks complete with form or other. While buying a big adventures. crossovers, banked corners starter pack every year may soon • Disney Infinity offers not and jumps. have had its day, using media only widely loved characters Currently the drive to offer to create a close interactive but also draws from its wide children a new experience every relationship between children catalogue with Marvel and year is strong, but with the level and their toys is still a powerful Star Wars. It also offers a of investment required to develop way to connect video games to comprehensive game-maker the toy and video game media it’s the real world. Toy Box mode where children likely that this will move to less can make and share their frequent major releases and more own games with educational ongoing updates. benefits. The current Toys-to-Life • LEGO Dimensions again physical products largely are draws from a wide range collectable, non-articulated of LEGO, DC Comics and figures. With the advent of Warner franchises, but also LEGO’s more playable smart leverages the (much loved) toys we are likely to see the brick building of LEGO toys. technology hidden inside more Also, this is the only Toys to traditional toy forms rather than Life product that really offers the current trend of housing it a proper toy rather than in a circular base. This will open collectable figurine. more options for physical play in • Amiibo toys work with addition to the on-screen action, multiple games on the Wii something that parents will U, offering children ongoing perceive as better value. value in unlocking extra There are plenty of content and features from a commercial cards in play here, single purchase. They also as these games have proved it

46 Children’s Media Yearbook 2015 Taming the future – perspectives on the digital world from BBC Children’s

Daniel Bays and Jon Haywood

The King (‘TV’) is dead, some kind of technological phenomenon is not just limited long live the King tournament. The reality is that to TV, it is happening across the (‘Digital’) – right? content that might once have media landscape and throughout Wrong! Well, at least, it’s been called ‘TV’ or shown as all areas of children’s lives. not quite as simple as that; ‘linear TV’ is now being made Our audiences, viewers and although ‘linear TV viewing’ still available and consumed on browsers, are ‘Born Digital’ – dominates children’s media time, any number of other screens the whole CBeebies audience watching content on a TV screen alongside entertainment and (children 0-6) doesn’t know a is in steady decline and has been information sources and, as a world without touch screens, for some time; it has the potential result, is also evolving. ‘Digital’ apps, tablets and smartphones; to be overtaken by ‘time on the is the next evolutionary step 66% of 7-16 year olds own internet’ as early as 2016.1 for media: an enrichment of a smartphone; 45% of 5-16s However, this is not due to a our experiences of content own a tablet.1 Children inhabit dominant digital usurper winning rather than a replacement. This a world flooded with digital

47 Industry Reflections and Debates

content choices (300 hours of Essentially, right now, it the opportunities afforded by the video are uploaded to YouTube seems to be a case of ‘digital or internet and new technology and every minute2). Platforms are doomed’. modes of interaction. increasingly or entirely digital So, what can we do to survive As for ‘what can we do to (between 2012 and 2014, BBC and thrive? survive and thrive?’, we’ve all iPlayer requests from handheld First, because everything been asking this same question devices rose from 29% to 59%3). is already digital or becoming for many years – both in BBC Our tools and delivery systems digital, the term is almost Children’s and the wider industry are now mostly digital and more becoming meaningless so we’d – however, with technology, content is being consumed (and better define what we mean: for audience behaviours, platforms generated) digitally than ever us, ‘digital’ refers to an approach and content all changing and before (5-16s spend on average to content, experiences, platforms augmenting at such a terrific 6.3 hours of media time each and audiences that, at a minimum, pace (and, in fact, the rate of day;1 73% of 6-12s now use utilises and, at best, actively change itself is accelerating), it’s YouTube at least once a week4). exploits and attempts to optimise a question that doesn’t have a

48 Children’s Media Yearbook 2015 single or reliable answer. Ghost Stories, CBBC can add make his game Escargot Escape So as we attempt to find ‘Audio’ also) and attempted Artistes – featuring a Parisian the best way forward, we have to improve collaboration with snail escaping from the clutches uncovered a few insights that our many partners in the indie of an Eiffel Tower chef. The we’d like to share: sector. We’ve found that the show inspired great interest best production teams now from and engagement with the Boundaries are blurring don’t conform to previous rigid audience and the game became It used to be that discrete teams definitions and have porous the fastest downloaded app in made defined content or products boundaries to allow mixing CBBC history. for specific platforms. Now that of specialisms and optimal platforms are all interconnected cooperation with others. Enhance engagement by and genres have dissolved and Although there’s still a lot of using each platform to its merged, content and products work to do, we have some great best potential are no longer separate entities examples, of which we are The devices and platforms but experiences on a single really proud, and we are always that exist today offer a great continuum. Teams have a wider looking to moving forward and many ways to experience and view and deliver value across improve: engage with content. A key multiple platforms. Let’s Go Club, a CBeebies challenge and opportunity is to For instance, one could inhouse production, will be a find ways to use each of these now argue that games and TV/ truly multiplatform production devices to their best possible video content should no longer in CBeebies, with seamlessly potential. be considered as separate interlinked online and TV To this end, CBBC has genres but, instead, two forms presence – a dynamic, active experimented with two dual of ‘Digital Storytelling’ on a online hub that provides content screen shows/experiences: single spectrum of increasing for a fun weekly TV show Ludus (Cube Interactive / Boom interactivity: images (e.g. memes that inspires the main online Pictures) and Horrible Histories: and Instagram imagery) at one activities in the following week – Gory Games (Citrus TV / Lion end and fun digital toys at the continuing in a loop. The mixed TV) are both quiz show formats other. production team will deliver using audio-watermarking to In response to this boundary a range of content and digital allow the audience to join in and blurring, BBC Children’s experiences every day over the play along on mobile devices has softened and blurred its summer holidays. in real time and compare their boundaries to enable mixing, Appsolute Genius, from performance with on-screen merging and increasing CBBC inhouse production contestants. collaboration between the classic: in association with Aardman There are a great many ‘TV’, ‘Online’ and ‘Platforms’ Digital, sees Dick and Dom challenges with this approach teams and specialisms (in enthuse their audience to become but it has proved popular and CBeebies we’re very lucky and app makers. A competition is definitely an area beginning proud to add ‘Radio’ to that allowed the amazing twelve year to come in to its own and add list too and, with Hetty Feather old Alex from Hampshire to value within children’s and, in

49 Industry Reflections and Debates particular, in the family media Empowerment trumps Three times a week, almost every landscape (e.g. The Voice, X experiences week of the year, teams from Factor, Million Pound Drop). Give a child a game and they will BBC Children’s visit schools As we explore opportunities play. Empower a child with tools and youth groups to test our on other platforms, we are and knowledge and they’ll play brands, characters, stories and starting to develop original for longer and keep coming back digital products and research our content for our YouTube (whilst also learning)! audiences – including, recently, channels too. CBeebies, in Because children are so transforming a disused shop in particular, has seen growing comfortable and confident with a Leeds shopping centre into the success on YouTube through creative activities on touch ‘CBeebies Lab’ to test new games launching bespoke brand- screen devices from an early age, and content with passers-by. related content, like our we really wanted to create a With one million unique comical, alternative ‘red-carpet’ product that would enable them downloads in the first nine experience at the cinema to creating their own apps and weeks,5 the CBeebies ‘Playtime’ premiere of The Furchester Hotel games simply and quickly, and app (CBeebies inhouse (CBeebies In-house Productions learn at the same time. production in association with & Sesame Workshop). In response, we created Mobile Pie) was launched in Using different approaches ‘Make It: Technobabble’ August 2013 in response to our to content on multiple platforms (CBBC inhouse production and audiences love of ‘snackable’ and can also help to reach new Aardman Digital): a game-maker mini-games (it continues to be audiences too: tied to a popular TV brand BBC Children’s most successful Fly High and Huggy (Darrall that engages users with simple app (4.2 million downloads to MacQueen), is a multiplatform, computational thinking while date – May 20155). multi-screen ‘crossover’ show: allowing them to concentrate After identifying ‘Stories’ a series of fun, comedy action on crafting amazing games by as the second favourite content games and short-form animation dragging, placing and tweaking genre for under sixes, CBeebies on BOTH CBeebies and CBBC simple components. developed and launched aimed specifically at reaching the its second app – CBeebies audience that might otherwise This simple but powerful tool ‘Storytime’ (CBeebies inhouse fall between the two. was launched without full production) – to encourage Different approaches can also functionality to gauge and reading and shared, family help to reach existing and new respond to audience feedback experiences. audiences better too: in 2014, and, even given this, found that Downloads grew quickly our websites and online products engagement sustained for much but then flattened out; audience were all made ‘responsive’ – longer than any previous CBBC comments and feedback made meaning that each element/ game and so reach grew. it clear that they wanted more product made works on all stories. The inhouse team of our platforms, optimising Make fast, release early responded quickly and designed production efficiency, reach and and innovate WITH the a brand new, intuitive story user experience. audience not AT them management system. App-users

50 Children’s Media Yearbook 2015 will be able to download and in CBeebies – in particular on addressing some of these needs, remove books from the app social media – have helped us to challenges and conflicts (see whenever they want and choose reach new and typically difficult Phil Fearnley’s BBC blog for from a much larger range of to reach audiences, connecting more). We’re actively working stories from a broad selection in particular with young females on how we deliver this for under- of CBeebies favourites. This from every demographic. eighteens and families in the innovative update inspired optimal and safest way. entirely by user feedback will be We’re going to need a Online safety continues to available this summer. bigger boat… be a priority for us and we are The demand for innovation and always looking for creative ways Don’t forget that parents new and/or more connected to engage kids in this important are digital too services and content is greater issue. For example, Dixi (Kindle The young parents of today than ever before however, Entertainment) is CBBC’s first have never really known a world attempting to meet these ever online comedy drama without the internet. demands raises a great many, and is about a fictitious social CBeebies is the part of the often contradictory challenges, network. Through webisodes/ BBC that engages with and for example: vlogging, companion content, provides the vast majority of • We must not only allow our interactive web chats and even content specifically for parents audiences to connect and a mock social network, children regarding parenting issues. This share freely but also limit and can explore the above issues and engagement has clearly been protect them to ensure they more, e.g. the potential dangers a great contributing factor to are safe. of social networking, online the continuing extraordinary • We must provide the privacy, safety settings, and cyber success of the brand; CBeebies broadest, most diverse bullying. currently has 150k likes on possible range of content but And because the demands Facebook,6 we’re also active on also facilitate personalisation for ‘community’ and ‘social’ Twitter and have just launched and connect with children’s connection and interaction are a new CBeebies page on the individual passions, needs not just limited to older children, aspirational platform, Pinterest. and interests. CBeebies is also working on ways We have extended our We’ve always put audiences to engage and prepare younger brand presence and developed at the heart of what we do, audiences for these wider, more our content to be more parent but we now want to put them connected experiences. Let’s focused too, with six, factual in the driving seat of the BBC Go Club is, for the first time, BBC iWonder guides written experience. First steps were offering the CBeebies audience by academics and other child announced earlier this year of the opportunity to create and development experts and how we’re going to do this. then upload their own content covering topics from ‘fussy Internally, we’ve been calling this to share on the pre-moderated eating’ to exploring your child’s ‘myBBC’. It is being developed online hub and within the show’s emotional readiness for school. as a response to the above, video content too. These extensions of our work attempting to take steps toward

51 Industry Reflections and Debates

We are all active and tools to inspire, empower participants in making and prepare them. the digital future Perhaps if we do this right As the playground of the BBC’s then, we can let the digital future future mainstream audience, take care of itself. BBC Children’s has always been a pathfinder department and we REFERENCES continue to be just that: working 1 Childwise Monitor: ‘Connected together with many internal Kids 2015’ (April 2015) and external and indie partners, 2 youTube Stats (May 2015): https://www.youtube.com/yt/ blazing a trail into the digital press/en-GB/statistics.html future. And it’s so important 3 bbC iStats AV (May 2015) that we work closely with other 4 ipsos Media CT – BBC Children’s Tracker (Base: All 0-12s = 281, All BBC teams to decide how best to 6-12s = 141). serve the young people that make 5 Relevant app stores (May 2015) up our audience today, but are 6 Facebook (14th May 2015) racing their way. We’re doing this in the knowledge that the increasing rate of development, technological evolution and digital acceleration make it impossible to predict what’s around every digital corner. But does this mean it’s impossible to predict what to do for the best? Or that we’re actually fighting a losing battle? We’re certain it doesn’t! It has been said that the best way to predict the future is to invent it and, right now, it’s children – our audiences – who are doing just that. So, perhaps we should stop trying to predict and take control of the digital future and focus instead on what we can do for our audiences now to better engage with and listen to them; and to develop content

52 Children’s Media Yearbook 2015 A personal experience of animation policy in practice Ken Anderson

Director Rachel Bevan Canada, to work together on included animated TV series. As Baker and I established a preschool series entitled The a small independent producer, Red Kite in December Secret World of Benjamin Bear, we knew about Sale and 1997 with a five-minute as an official UK-Canada Treaty Leaseback but we really didn’t commission, from Claire co-production. What made this know how it worked or how to Kitson at Channel 4, possible was a tax relief based use it. Through working with called Bee Lines. The financing incentive in the UK Amberwood and talking with the company set itself up at the time called ‘Sale and people in the UK who worked in the storeroom of the Leaseback’. to provide the funding – at that Edinburgh Film Workshop There have been varying time Film Trading Partnerships Trust and, after a lick or forms of British film-related – we began to understand how two of paint, work began tax reliefs intended to support this type of financing could help in earnest in early 1998. UK producers and stimulate us to fund our shows. Initially it In 2001 we were introduced external investment. Fortunately felt like something only available to Sheldon Wiseman, of for Red Kite, by 2001 the to the big companies: those Amberwood Productions in definition of British Film with lawyers and accountants

53 Industry Reflections and Debates on hand. It wasn’t until early But all was not lost: due to commercial channels. 2002 that the penny dropped Amberwood already having Nevertheless, in the following and we realised that it might be filed their application to the summer of 2004, we were in something we could market to authorities in Canada the buoyant mood. We were going international partners. UK government was obliged to the Cartoon Forum in Spain By February 2002 we were to honour the Sale and with our latest project: a unique in the process of completing Leaseback for our production and very funny, short-format, and submitting paperwork to and thankfully we went into animated TV sitcom series the Canadian tax authorities production on the show; the (designed using a striking black for the production of The Secret first series of The Secret World and white computer graphic World of Benjamin Bear. We of Benjamin Bear premiered style) that would eventually marketed ourselves at MIPTV in Canada in 2003. Sadly for become The Imp. And we had in Cannes that April using Sale us, though, the end of Sale and a very exciting animated feature and Leaseback to unlock new Leaseback for animated series entitled Nocturna. Feature films opportunities. The market went meant that we did not then were still eligible for the UK Sale very well and I was in high spirits participate in the subsequent and Leaseback and we definitely as I took the bus to Nice airport. further three series (at a loss of knew how that worked! While I was sitting in the millions of pounds of production Previously we had secured departure lounge, I received a that would have made a huge script development funding phone call to inform me that the difference to our business) and so for Nocturna from Scottish then Chancellor, Gordon Brown, we were set back again. Screen (now subsumed within had, that morning, announced Little did we know then that Creative Scotland); and so, with the removal of television – this was only the beginning of a the very talented screenwriter, including animation series – prolonged period of bad news for Philip LaZebnik, we started from the Sale and Leaseback the UK animation business. to work on the script with our qualifying status. Section 99 of When The Communication partners in Spain and France. the Finance Act 2002 restricted Act 2003 came into effect on The film was looking beautiful: the relief to films “genuinely the 25th July 2003, removing the young Spanish designer/ intended for theatrical release”: quotas requiring PSBs to show creators were doing amazing this was in large part due to specific hours of Children’s TV, work. So it was with a great concerns regarding tax avoidance we were still in the midst of deal of excitement that I went and, most significantly, abuses production of Benjamin Bear with my family on a short trip to by the producers of soap operas. and trying to get our newest Bilbao and across northern Spain So just when we, the little guys projects off the ground. We did prior to attending the Cartoon on the margins of TV land, not really register what the Act Forum held 22-24 September had understood how Sale and might actually mean for us as 2004. There we formally signed Leaseback worked, it was a business and as an industry. the Nocturna co-production snatched away from us due to The reality was that it heralded agreement with Filmax (Spain) the opportunistic greed of those the erosion of the children’s and AnimaKids (France). Little that needed it least. public service provision on the did we know that, back home

54 Children’s Media Yearbook 2015 on the 21st September 2004, the formally terminate the Nocturna on the UK Film industry of UK Government had announced co-production agreement which which our experience was only a plans for a new film tax credit I then in turn confirmed to microcosm. And, for those of us scheme to tackle the issue of Scottish Screen. whose main source of work was tax avoidance (a subject that At the time, I still hoped that the children’s TV business, much had received increasing scrutiny we would be able to rejoin the worse news was on its way. and become a favourite tabloid project in 2005 because when the By 2006 producers who topic). We had no idea what new replacement tax credit was worked with the children’s that might mean for us as an announced there was talk of the and animation businesses were animation production company new mechanism being in place becoming much more aware involved in developing, financing for 2005. We were desperately of the need to engage with and producing animated trying to stay attached to the film the politics of policy forming. feature films using the Sale and and, at the same time, gather as Within PACT - the UK Producers Leaseback model… But we were much information as we possibly Association - we understood the soon to find out. could about developments within need to lobby and to inform. Things became much Whitehall. Week after week However, one also starts to clearer in December 2004 and then month after month we understand that, when the tide when I attended a week-long waited for word of the new tax of public opinion goes against course in London as part of the credit system but nothing came you, there is very little you can excellent ‘Inside Pictures UK’ and eventually we had to admit do to change that. The other film executive training course defeat and leave the film. As I thing I have come to understand held within the then UK Film look back I know the cost to us is that, when it comes to Council’s offices. As we sat in as a business was significant: political point scoring, very session that day, news came both financially – having invested little scores higher points with in that the Chancellor of the so much time and resource into the public than issues relating Exchequer, Gordon Brown, the project – and in terms of to the wellbeing of children. As had announced the effective the lost opportunity. We had a result, kids’ TV becomes one cancellation of UK Sale and been poised to move into a very of the key battlegrounds for Leaseback for Film, with no clear different type of business and politicians of all kinds, whether date for when its replacement thus grow and develop as a within Westminster or positioned would be introduced. It was a company. outside in lobby groups. devastating setback for us and, In the end, it would be Ten years ago there was potentially, the project. another two years before the an increasing awareness of the That same day, I notified government finally announced impact of obesity and its long- our partners at Filmax that the introduction of the UK term effects on the health and without the Sale and Leaseback Film Tax Credit in April 2007: wellbeing of society. Childhood financing we would not be able over two and a half years obesity became the focal point to meet our obligations within since they had announced its of this debate and within that our existing agreement. They introduction! This delay had a debate the advertising of ‘junk gave notice of intention to massively detrimental impact food’ to children was viewed by

55 Industry Reflections and Debates

the increasingly fervid lobbyists Ofcom subsequently to address than anyone wanted as the most visible and easily announced the advertising to admit: especially those who justifiable of campaigns: an easy restrictions in February 2007, might be responsible for tackling win. calculating, it was reported, the problems effectively. The Therefore, it came as that there would be a loss of irony is that the very people who no surprise when, on 17 £39 million of TV advertising see their role and responsibility November 2006, there was the revenue. Ofcom stated that being the education, announcement of a planned the restrictions “could have entertainment and wellbeing total ban on TV advertising to a knock-on effect on original of children through media – children of HFSS (High in Fat, children’s programming, the children’s media production Sugar and Salt) foodstuffs. Jane scale of which is difficult to specialists - are the very people Lighting (CEO, Channel 5) determine”. In effect the burden who are being undermined by commented that “the long-term of financing children’s PSB those that claim to represent the future of UK-produced children’s programming would fall heavily interests of children (and for only programming outside the BBC is on the shoulders of independent as long as it suits them). bleak”. She was not wrong in her producers. For Red Kite there was a very assessment of the impact that this Further research has indicated clear impact on our business. policy - on top of the previous that, as the children’s television We had been working with quota removal and loss of the industry argued at the time, the Cromarty based producers Don Sale and Leaseback - was to have long-term impact was and is and Lindy Cameron of Move on the industry. far more complex and difficult on Up Productions: initially on

56 Children’s Media Yearbook 2015 an animated series and then proportion of net proceeds [AMH], the intended driver for on our first ever live-action available to producers. The business growth in Asia and the series, based on the books benefit to the UK film industry West. Unfortunately the merger entitled Katie Morag by author/ over the following years was did not work out and after two illustrator Mairi Hedderwick. significant with the studios and years I decided to demerge from CITV helped to fund a short VFX business in particular seeing AMH and start again. So, on pilot, which was shot on the Isle a dramatic increase in business the 29th March 2013, Red Kite of Lewis, and subsequently gave volumes. Unfortunately for Animation exited AMH and us a commission to produce a children’s TV and - in particular looked to the future. A future series. However, with the loss - children’s TV animation that would include the new UK of advertising revenue CITV producers, there was a continued animation tax credit. But I’m knew that their children’s service decline in funding of original PSB getting ahead of the story… would not be sustainable in programming. Although there Back in May 2010 I had its existing form. They gave us were emerging opportunities been approached by Oli Hyatt of three months to confirm our within the US Children’s Blue Zoo to join the Animation financing. Previously they would networks that were subject UK steering committee that have tracked the project and to a European quota: clearly had been established to speak earmarked the funds, knowing illustrating the impact of quotas up for the specific interests of how hard it was for producers to on local content producers. the UK animation production secure finance. Ultimately we had The pressures of being community. I had been a member to turn down the commissioning within a system in the UK that of PACT and on the Children’s offer and leave the project. It was clearly not working for and Animation Group there, on took another five years before children’s TV production led me and off, for a long time. With the BBC backed Katie Morag to conclude that we needed to do PACT Scotland’s help I had set which has gone on to become an something more proactive: that up the Scottish Animation Group award-winning series. A credit to we had to look for places and and had been part of the efforts the efforts of Don and Lindy and opportunities where there was to find ways to fund animation everyone involved. growth. So, during 2010, I started via a series of initiatives Today it is almost to look at where those places and proposed to government. It was unthinkable that CITV would opportunities might be – focusing clear to me that a single issue pay an independent producer to on South East Asia. As well as the lobby and much broader support make a programme like Katie UK, I had grown up in India and base would be far more effective; Morag at the level of funding Hong Kong - and also I worked in additional context is that there available less than 10 years ago. Asia with HSBC after graduation were some very large beasts in In April 2007 the government from university - so I had some the ‘High End Drama’ world introduced the new UK film familiarity with the region. moving in the same direction tax credit, considered to be a In October 2011 Red Kite and an increasing focus on the significant improvement on the Animation merged with a newly creative industries as a driver for previous Sale and Leaseback created entity in Singapore UK economic growth. structure due to the higher called August Media Holdings On 21st March 2012,

57 Industry Reflections and Debates

Chancellor George Osborne’s development of the UK children’s and spending responsibilities; budget speech confirmed that and animation business. As a supporting the development of the lobby had been a successful sector, children’s TV sits looking UK children’s programmes with one, with many people across enviously at just about every funding, etc. numerous related sectors other genre in television: genres The genuine and guaranteed helping to secure the inclusion where they receive development decentralisation of spending of animation within the UK tax funding for their projects and to the Nations and Regions credit. The energy and drive of have a clear and transparent would see, for example, people like Oli Hyatt, and the tariff structure; and where they BBC Scotland Children’s support that enabled him to are paid properly. Department given control take on the role of champion, As a Scottish based children’s over the Scottish allocation meant that we had, from the 4th and animation production of funding and becoming a April 2013, a new source of tax company, I also wonder genuine commissioner of local relief based financing in the UK. where the PSB money that is content for a national network Oli wrote about the successful allegedly allocated for Scottish audience from local producers. campaign in the 2013 issue of productions has gone over the What a difference it would make this yearbook. past two decades… if the PSBs helped to pay for Whilst extremely welcome, I firmly believe that the BBC the development of children’s and desperately needed as a is one of the greatest media programmes by independent driver of investment into the UK companies in the world and that UK producers and then paid a and into the animation sector, it has led the way in innumerable genuine commissioning fee for the tax credit isn’t the end of areas of our business and should those programmes. the story. The erosion and loss continue to do so in the future. As I say, I am hopeful for of funding by the traditional The discussion about the licence the future. If everyone in our public service broadcasters fee renewal shouldn’t be about industry and those who care of animated content, and the if we have a licence fee but how about it engage properly with the explosion of digital channels and much more could be done with issues, and are actively involved, online providers, means that the an increased licence fee? As a then they can make a difference: prices paid to acquire the content nation we should back the ‘Best I have seen this for myself. We developed and produced by of British’ companies; we should need to continue to support those independent producers does not back the BBC. institutions and organisations meet the costs of production. Think of the opportunity to which have been at the heart of As I sit here at the end of increase the funding to the UK our industry and help them to be May 2015, poised to start children’s and animation industry better at what they do, so that production of our first original by increasing the allocation they in turn can help us to be series in a long while, I am of funding to children’s PSB better at what we do. And most feeling hopeful that the tax across the channels, but with of all we need to keep developing credit and further positive BBC Children’s leading the way: and producing wonderful content steps in government policy will setting the standard for fair for each and every child that drive continued growth and payments; devolving production makes up our audience.

58 Children’s Media Yearbook 2015 Funding children’s animation in Ireland Michael Algar Zombabies © Keg Kartoonz © Keg Zombabies Although Ireland has a relatively small population for RTE, is state-owned and dual- its land mass, its television programming successfully funded through licence fees competes internationally due to its high quality and advertising along with and standards, particularly in children’s animation. commercial revenue. From Because of the limited amount of funding available its resources it outputs three for production, Irish animation studios regularly national TV channels, as well look overseas for co-producers and international as a variety of radio services, broadcasters who can financially augment what is digital outlets, music groups available locally. and other utilities. The main TV There is a bewildering array and TG4 largely relies on channel, RTE1, is the national of international TV channels international purchases dubbed flagship serving the wider available to view in Ireland but into Irish with occasional licence population with RTE2 focusing there is only a small number fees for local productions. It runs on a younger demographic and of local broadcasters. Of these, children’s programming during having emphasis on sport and TV3 and UTV Ireland don’t daytime hours. comedy while RTEjr is aimed at transmit children’s programming, The main broadcaster, children aged under seven. RTE2

59 Industry Reflections and Debates runs children’s programmes include animation, as well in preparation for pitching to during weekday daytime hours as live-action drama and broadcasters and other funding and RTEjr transmits 7am to 7pm documentary. Applications sources. Typically, the Board daily. RTEjr is advertising-free. may be made by broadcasters lends €20,000 to individually RTE produces a large or independent producers. The selected projects for development volume of its output inhouse, scheme itself is funded by 7% although amounts vary. with a small but growing of the TV licence fee. One of The Board also provides amount outsourced to the minimum standards for production funding for selected independent producers. In the eligibility is that a programme projects. This in itself represents case of children’s animation, will be broadcast in Ireland, so a validation of the financing of the financial contribution to that a prior commitment from a project, as the Board looks independent studios currently an eligible broadcaster was a at its commercial potential averages €500,000 per annum: prerequisite but this standard and international market this typically translates into has been reviewed this year and acceptability. Between cinema supporting three or four series. a broadcast commitment may be and TV, the Board has loaned Funding is mainly provided as a sought after the BAI has made a over €9 million production broadcast licence fee. In addition, decision in favour of a project. finance to animation features there is a purchasing strategy for On average, the S&V scheme and series. Film Board funding is completed series which have been has awarded €350,000 per provided as a non-recourse loan, funded elsewhere. Commissioned animation series with typically with a charge taken over the series are initially run on RTE2 three series supported each year. recipient company. and subsequently on RTEjr. Since its inception in 2006, the The most significant source The Broadcasting Authority scheme has contributed almost of production funding is the tax of Ireland (BAI) operates the €10 million in animation incentive known as Section 481. Sound & Vision scheme which production funding. Originally introduced in 1987 grants funds for the production Established in 1981, the Irish as a replacement for the Irish of programming which meets Film Board receives a grant each Film Board, it was enhanced certain criteria. To meet EU year for the development of the and simplified in 1993 when the requirements, the criteria Irish film industry. With the Film Board was re-established. include that programmes must advancement of the animation Designed to encourage private be of high quality and be based sector (mostly children’s sector investment in production on Irish culture, heritage and programmes), the Board has by offering a tax break, it has experience. These factors often broadened its remit to support just been reformed as a tax credit prove limiting in attempting to television as well as cinema system operated by Revenue. attract international interest in production. Most significantly, Private investors are no longer those programmes especially the Board is the only state body involved with one of the results with children’s animation providing funding for project being that most of the costs which may be consciously development. For animation associated with investment are non-specific regarding locale. studios this is vital in getting eliminated. Eligible programme types projects designed and written A production company can

60 Children’s Media Yearbook 2015 an © Keg Kartoonz D ependable an © Keg

apply for a tax credit of 32% The company can apply for pay the excess. This is a summary of eligible expenditure incurred the full credit on completion, of the incentive; there are fine on the production of a single or 90% in advance. If claimed details not noted here! project (i.e. a feature or series). in full on completion, Revenue These four sources of The company itself must have will pay the credit within 30 funding together seldom cover been trading for at least twelve days of receiving a compliance the total production cost of a months and then have made report. If claimed in advance, project originated by an Irish a corporation tax return – so Revenue will seek Film Board animation company. Inevitably, twenty-one months total. The or BAI certification, or proof on producers look for international credit relates to the cost of all financial closing that 68% of broadcasters, financiers and co- cast and crew working in Ireland eligible expenditure is lodged to producers to work with them (regardless of nationality), as the project production account, in bringing their concepts into well as goods, services and or a tax credit guaranteed by a production. Animation Ireland facilities purchased in Ireland. financial institution. 90% will is a grouping of companies The credit is based on the lowest be paid once one of these three involved in the sector which of eligible expenditure, 80% criteria has been met. The final specifically promotes its members of the total cost of production 10% will be paid on receipt of a and their work internationally. of the project, or €50 million compliance report. Payment may It acts as an umbrella under (under review). A minimum be claimed against the production which Irish animation studios spend of €250,000 must be company’s corporation tax collaborate with each other to incurred and at least half of that liabilities. If the relief is greater raise the profile of the country’s must be eligible expenditure. than any tax due, Revenue will industry.

61 Industry Reflections and Debates

Animating the north West of England Peter Saunders

These are challenging times for producers of The origins of the North West animation in the UK, particularly producers animation industry date back of animation for children’s television. Falling to the 1960s when two young budgets; audiences drifting away from terrestrial graphics students met at the broadcasting; a decline in children’s programming Manchester College of Art and on commercial channels; risk averse investors, the Design (now the Manchester rise of gaming and social media; the list goes on Metropolitan University). Their and on… These challenges are faced nationally and names were Brian Cosgrove and no doubt internationally but the question I would Mark Hall. like to pose is whether the North West of England, After graduating from which has evolved as a hub for children’s animation college, both Brian and Mark over the last fifty years, is poised to survive these went to work at Granada challenges better than other areas of the UK or is it, Television, which was the in fact, more vulnerable? commercial television station

62 Children’s Media Yearbook 2015 covering the North West of we see today in the North West’s programmes - a state of affairs England at the time. Both vibrant animation industry might that contemporary, independent worked in the graphics be very different. animation companies can only department supplying titles and Under the patronage of dream of. credits for locally produced Thames TV, Cosgrove Hall So, in setting up their shows, Mark even supplying the Productions (CHP) flourished. animation subsidiary in graphics for Ringo’s bass drum At the time I joined in 1977, Manchester, with Brian and when The Beatles appeared on an the number of staff had just Mark at its head, and by evening news programme! entered double figures. At the supporting it with commissions In 1969 Brian and Mark height of the studio’s powers in and financing, Thames Television quit their jobs at Granada the mid-1980s, over 150 staff played a major part in helping and set up their first company, worked there producing such the animation industry in Stop Frame Productions. The programmes as Danger Mouse the North West to become company created both drawn and The Wind in the Willows. It established and to thrive. and stop motion animation for was Thames’ enlightened view On 16 October 1991 that all commercials, public service films and appetite for animation that came to an end. and eventually a children’s TV helped the company to grow Thames Television was the series called The Magic Ball so significantly, and gave CHP commercial weekday franchise followed by the first animated three special advantages. Firstly, holder for the Greater London series of Noddy. They also television was very much a conurbation. Their franchise produced animated graphics for ‘closed shop’ at the time: you came up for review in 1991 and, a Thames TV children’s series had to have a union card to against all expectations, they called Rainbow. This was to be work in the industry but, in a failed to have it renewed, it being their saving grace when Stop classic Catch 22 situation, you awarded instead to Carlton TV. Frame Productions hit troubled couldn’t get a union card unless Over the course of the waters in 1975 and had to close. you had a job in the industry. following two years Thames Impressed by the quality and This was a real barrier to young Television scaled back their professionalism of Brian and people joining the sector, not operations both in London and Mark - and needing a company just in Manchester but the whole Manchester, eventually laying to continue the animation for country. As a major force in off all Cosgrove Hall staff and Rainbow - Thames Television British TV at the time, Thames closing the company down. set the two of them up in a had the clout to get young talent It’s at this point that the subsidiary company, calling it the necessary union membership animation industry as we now ‘Cosgrove Hall Productions’. and did so routinely. Secondly, see it in the North West started Significantly, London-based Thames liked the animated to evolve. The animation talent Thames Television allowed the programmes Brian and Mark that had been nurtured, trained new company to be established produced and wanted more of and employed at Cosgrove Hall in Manchester. Had Thames them in ever-increasing numbers. no longer had a major employer insisted that Brian and Mark Thirdly, Thames had the to turn to for work. Small groups relocate to London, the scene wherewithal to fully finance these of ex-Cosgrove Hall employees

63 Industry Reflections and Debates set up their own businesses or arm of HIT Entertainment themselves relaunched, this time found employment in other local led and largely staffed by ex- with new owners and a renewed fledgling companies. Instead Cosgrove Hall employees), sense of purpose. of the North West’s animation were free to produce children’s It can be argued that the talent being concentrated animated programmes for events of 1991, unpleasant as within one large organisation, broadcasters other than the ITV they were, actually helped secure the same talent was spread network, unlike Cosgrove Hall the future of the Manchester across a wide variety of smaller which was obliged to provide animation industry and gave companies, with more diverse programming exclusively for impetus to the digital sector. portfolios. It was at this time Thames Television. HOT’s most The multiplicity of companies that Ian Mackinnon and I also famous production is probably that Cosgrove Hall spawned set up our own company, the Bob the Builder, but they also encompassed a wide variety rather unimaginatively titled produced other great children’s of disciplines from traditional Mackinnon & Saunders Ltd! series including Pingu and puppet animation to high end The effects of this Rubbadubbers. digital gaming, many of which diversification, as we can now Flix Facilities, now the still exist and thrive today, see with the benefit of hindsight, major post-production house almost 25 years later. were pivotal for the growth in in Manchester, was started by The benefit of having the North West animation and Leo Casserly who was one of a cluster of sector-related digital sector. Cosgrove’s Hall editing team. companies is that it enables the In the early 1990s digital Flix’s body of work is no longer formation of a viable, local, animation and gaming was still solely related to animation and freelance pool of talent. Most in its infancy and the sudden covers a diverse range of output production companies in the influx of animators and designers including television, computer media have project-based work onto the North West’s labour graphics, feature films and flows requiring them to crew market enabled many of the local programme development. up at the start of a project and digital companies, both game As for Mackinnon & scale back on its completion. design and animation companies, Saunders, well we’ve been lucky This modus operandi is to take on highly skilled staff to enjoy a greater variety of work standard in London where that they would have otherwise as an independent company than there are many independent had to train themselves. This ever would have been possible production companies and a gave them an advantage over before. large freelance community at digital companies trying to So by 1993, although their disposal, but it is rarely establish themselves elsewhere Cosgrove Hall had gone (albeit to be seen in the provinces. in the country (perhaps with the temporarily), a new animation The legacy of Cosgrove Hall exception of London). community had been established is that there is now a thriving Also, traditional, stop in its wake, virtually all of group of independent producers motion animation companies whom, it could be said, shared in Manchester that enables such as Manchester based HOT the same lineage. In fact, after freelance talent to find sufficient Animation (the production a short hiatus, Cosgrove Hall work to settle in the North West.

64 Children’s Media Yearbook 2015 As well as sharing a effect of BBC Children’s move level of programming currently flexible workforce, there is to Salford. At the moment commissioned by the terrestrial also collaboration between their relocation here has most broadcasters. companies. For instance our definitely been a force for good. Despite the above, I’m own company, Mackinnon There has been a marked increase optimistic about Manchester’s & Saunders, recently hired in the production of programmes future as a centre for animation studio space from Factory for both CBBC and CBeebies by production. And we have greater Create (another local animation North West companies, which resilience as a cluster than if we company that can trace its is to be welcomed. However, worked in isolation. Companies lineage to Cosgrove Hall) there is always the danger that here are receiving more whilst at the same time Factory such an upturn in work could approaches for commissions commissioned the puppets for lead to an over-reliance on the from abroad than ever before the ground-breaking series BBC, in much the same way that and more work is beginning to Strange Hill High. This type of Cosgrove Hall was totally reliant come in for digital-only content. close cooperation helps keep on Thames Television for work. Brian Cosgrove and Mark costs down and helps maximise With the BBC’s Charter up Hall started something very production efficiency. for renewal in 2016, and the special when they formed their There is also a growing Government of the day possibly first company all those years ago. awareness nationally and not being the most sympathetic I doubt they thought that they internationally that the North to the organisation, there is were founding a new industry for West is becoming a centre of uncertainty as to if, or how, our the North West of England but in excellence for animation and main public service broadcaster effect they did and it is still going digital media, particularly since might have to change. Despite strong after nearly 50 years. I the arrival of the BBC Children’s the BBC’s Children’s Department hope it survives at least another Department to MediaCityUK. being recognised internationally 50! I am under no illusion that for the excellence of its work, it Note. The views expressed in this article are my own and not Manchester will ever rival sometimes feels to me that it is necessarily those of Mackinnon & London in this respect but whilst not always appreciated or valued Saunders Ltd. the cost of living continues to as much as it should be closer rise at such an alarming rate in to home and it may suffer from the South East, the North West unjustified budget cuts. represents a very cost-effective There is also the increasing place to do business. threat to traditional terrestrial So why then, if there are all broadcasting as more people these advantages, could North access content through digital West England be more vulnerable platforms. A new model of to the winds of change blowing commissioning is emerging through the animation industry? from companies like Netflix and The first potential drawback Amazon but it is too early to could be, ironically, the positive say how this will compare to the

65 Industry Reflections and Debates

It’s all coming back to me now: remaking and revisiting children’s television Helen Wheatley

The idea of a children’s services like Netflix and Amazon ‘good sense’ of forms of nostalgia classic is one that is Prime, or even clips of more television as cheap and populist familiar to all of us. From dubious quality on YouTube), are programming which corresponds the ‘100 books you must our children to be encouraged to with the commercial safety of read before you’re 14’ lists return to the classics of children’s reproducing past successes and compiled by organizations television, or does the constant familiar forms”. Anne Wood, the like the Book Trust, to the demand for the ‘new’ mean original creator of Teletubbies endless lists of the best that these classics are being too recently registered her sadness children’s films of all time, quickly set aside? at her show being remade: “It it is accepted that there This question is partly comes down to the times we’re are certain story worlds to prompted by the recent slew of in: people feel safer remaking hits which we can return again remakes of ‘classic’ children’s of the past rather than investing and again, and to which television: Thunderbirds in something new… It would be we might want to take our Are Go!, The Clangers and nice if more encouragement was younger relatives. Teletubbies are all being given to new work”. When it comes to children’s remade in 2015. Whilst, on One could understand this television however, are we as the one hand, this signals a commissioning decision if it was willing to install the notion of healthy industry in which new, apparent that the original shows a ‘classic’ text? In an era where big, expensive shows are still did not stand up to presentation television circulates easily beyond being made, it also might be on the bigger, higher definition, its initial moment of broadcast seen as evidence of what Amy television sets many of us are (via DVD box set, digital TV Holdsworth (University of now watching, but the original repeats, streaming through Glasgow) calls “the economic Teletubbies was being broadcast

66 Children’s Media Yearbook 2015 on the BBC’s preschool channel, the classics of children’s choice. It makes television CBeebies, until very recently television, instead of, or even as inheritable and creates new (and indeed its contemporary, well as, remaking them for the audiences for archival material. Pingu, is still shown daily). The contemporary child viewer. This same intergenerational new Teletubbies is to have a In relation to this, Joanne audience is also being addressed “refreshed and contemporary Garde-Hansen (University of in the Heritage Lottery funded look” according to the BBC, Warwick) and Kristyn Gorton exhibition ‘The story of but perhaps it’s possible that, (University of York), who children’s television from 1946 in producing such a look, the are currently undertaking the to today’ at the Herbert Art programme makers might lose AHRC funded ‘Inheriting Gallery & Museum, Coventry some of the allure of the acid- British Television’ project, (22 May to 13 September 2015). bright play world of the fuzzy illuminate the cultural, social The exhibition, developed by aliens. and emotional value of the Herbert along with Rachel Maybe then these rescreening children’s television Moseley and Helen Wheatley of commissions speak of the to wider audiences for the the Centre for Television History, nostalgia of commissioners who promotion of intergenerational Heritage and Memory Studies want to relive the popularity communication. In interviews at the University of Warwick, and success of such shows? Is with the BFI as well as other is an interactive exploration of nostalgia always a bad thing television heritage organizations children’s television in Britain, though? Arguably, the lists of they found an acknowledgment and contains original material ‘classic’ children’s cinema and of a notable increase in public from some of the nation’s literature are partly inspired engagement with children’s favourite children’s programmes. by nostalgia for really good television if programmes selected, Moseley and Wheatley point out stories: for films and books curated and screened promoted that “the ingenuity and creativity which withstand rereading or the sharing of conversation and of early television explored in reviewing. Thus it is legitimate memories between generations. our exhibition lives on in modern to add television programmes Their work shows that children’s TV which owes a huge to this list of much loved texts not only does nostalgia pull debt to the programming that that we might look forward to older audiences to screenings went before”. The exhibition will returning to in our encounters of past children’s television encourage nostalgia as a more with a younger generation. but that those audiences use positive force: it is hoped that Certainly as an aunt, and later as the opportunity to bring their it will get families talking and a mother, I relished sharing The children and grandchildren. This encourage the revisitation of the Flumps with the children in my provides a marked opportunity classics of children’s television. life, just as I looked forward to for cross-generational reviewing reading Maurice Sendak’s Where of television: reactivating a the Wild Things Are or watching common culture of television that The Wizard of Oz. This suggests contemporary broadcasters often that there is real potential for struggle to create in an era of repackaging or rebroadcasting niche programming and extensive

67 Industry Reflections and Debates

Kids’ TV: Is that all there is? Simon Parsons

There was an old lady sip from one of those big china and so would begin another who lived in Liverpool cups that you had to balance in adventure, just an old lady and in a house she shared a saucer, the kind of cup that, a boy and two cups of tea. Quite with three sisters and back in his house, only the adults how old she was was hard to say a brother. Out of eight used. But at Auntie Liz’s house because if anyone ever asked, children only three had you were trusted. she’d tell them she was 4000 married. The rest lived “Pick a treasure!” she’d tell years old. together in the tidy house him and Anthony would gaze at Teacup Travels, which aired with green gates and a the ornaments that gleamed on for the first time on CBeebies in neat privet hedge. the polished window sill or the February 2015, is the brainchild Often on a Saturday a young lad sideboard or the mantelpiece. of Anthony Bibby, a little boy called Anthony would sit and “Ah the Mexican Dancers…” who used to sip tea from a china

68 Children’s Media Yearbook 2015 cup, who grew up, built an at Plum Films (Micky and Tina) the old lady from the house with advertising agency, sold it and and me, it is now business; and green gates. now works as a consultant. His for a group of people it was the To begin with the stories had mum still lives in hope he’ll get a labour of love that paid their been fantasy tales about pirates proper job, like many mums do. mortgages last summer. You and dinosaurs but somewhere A lot of us probably miss the work for the money of course along the way we came to targets of our mother’s ambitions you do, and if you make a profit the idea Liz would have more but grandparents and great you can keep going and make mystique if her ornaments were aunts often have the wisdom to another show; and so on we real ancient artefacts. If it turned avoid the mistake of painting too go making shows for kids in out she really was 4000 years detailed a picture of the future. a world far different to that old she could even have picked They have the gift of being more which Anthony, and I too for them up back when they were objective and more fanciful all at that matter, grew up in. Time just bric-a-brac. Historical fiction the same time: an ability to open presses in on parents in a land for CBeebies? And not only were the door to a world where rules where now people from all over the objects genuine so was the are merely guidelines. That’s the world live in a great rich woman. not to say that parents are all tapestry, but where families are Liz was a woman who rule-bound disciplinarians or so extended kids often have no pushed at the boundaries of a that all children have the perfect connection with those outside conservative world with only relationship with the older the nuclear circle; where street a glint in her eye to betray the generation, but that kinship games are unthinkable and even mischief she concealed beneath one step removed is sometimes the pavements have been co- an otherwise conservative endowed with a kind of magic. opted by adults as improvised car surface. Whether she was Thanks to the nurturing parks. Great Aunt Lizzie’s world 4000 years old or not she was support of CBeebies and our is a thing of the past, so alien to certainly an adventurer as all friends at Creative Scotland, many modern British kids it’s the photographs of her testify: what began with that house another world. It’s why Teacup astride a motorbike; standing in Liverpool and a collection Travels looks so old fashioned; in China on an ornamental of ornaments would become so unrealistic it’s believable. garden bridge (or was it the a TV series with a catalogue I first read about the house winter-gardens in Southport?); of museum pieces. Auntie Liz on College Road nearly four even draped in the arms of a became Great Aunt Lizzie thanks years ago. When we began mysterious stranger. There are to the extraordinarily gifted (and pulling the threads of the Teacup values in her world, some of BAFTA winning) Gemma Jones, Travels team together we had them old-fashioned, but at the and Anthony became alternately no idea we’d end up with a bottom of it all are some things Charlotte and Elliot. The series BAFTA winning top actress, about children some modern is successful in its own terms and still less a double Oscar-winning adults forget. the future is an open book. But it production designer (step in When Anthony and his screen is something else too. Leslie Dilley). It happened cyphers Charlotte and Elliot For Anthony, for my partners because they were enchanted by take a sip of tea and head off

69 Industry Reflections and Debates

into the adventure Lizzie evokes ornamental plate is a raft tossed stories while they sipped from a with nothing more than the across the carpet sea. And if they china cup. power of words, they are not are lucky enough to know an old It is likely that, in a hundred - as some Facebook comments lady who claims to be 4000 years years, all this stuff we all have it - telling adults in faraway old there is no limit to where make - week in, year out - will places how to behave. For a brief they can go. be nothing more than data moment they are adults, coming So we turned Auntie Liz into sitting on a massive drive in an face to face with grown-up Great Aunt Lizzie. We wrote unfathomably vast ‘cloud’. challenges, in the safety of 25 historical fictions and sent But is that really all there is? Lizzie’s kitchen over a cup of tea. an invitation to a nation of Time is precious and in the And what about that tea? kids to head for the museum. space where the Great Aunts It’s funny the number of people (The fictional Lizzie’s collection used to be, there is sometimes us. who’ve had a quiet chuckle. is scattered from Inverness to And if we are lucky enough to be “What’s in it?” Like so many Exeter with Belfast and Swansea on their screen as they lift a cup things we say about children and Durham and London and for a sip of juice, we’ll transport it reveals more about the points in between.) them off on an adventure. commentator. Children don’t As for the real Liz, she, like And if they happen to share need crutches to help them leave most of that generation born in it with an aunt or a grandpa, behind another grey rainy day the early years of the twentieth they will remember. The next and roll off into the world of century, has gone forever. The story you tell might be the one their imagination. Give them the house with green gates was sold they remember for the rest of power of suggestion and you long ago and all that remains is their lives. can’t hold them back. A wooden a collection of ornaments split camel gets up and heads away between a group of adults who across the cushion sands. An remember an old lady telling

70 Children’s Media Yearbook 2015 Child and Youth Perspectives and Research

71 Child and Youth Perspectives and Research

Ofcom’s media literacy research on children’s critical awareness Alison Preston

To what extent are our Children and Parents: of information: “serious things children aware of how media use and attitudes report that are going on in the world”; search engines operate; interviewed 1660 children aged “fun things like hobbies and how they are funded; 5–15, and 2391 parents of interests”; and “how to build, what and where ads are children aged 3–15. We carried make or create things”. As Figure positioned? How do they out some in-depth qualitative 1 shows, for serious things, over decide which content research examining how children half of them nominate the BBC, to trust online and how thought about issues of risk and one in five Google. much trust to they tend to and trust. We also began, in For fun things, one third give to different sites? 2014, our Children’s Media nominate Google, followed by a As children’s lives become Lives qualitative longitudinal quarter saying YouTube and one more enmeshed with online study, which follows the same in five social media. For ‘how to’ activity, these questions become 18 children aged 8-15 for three information, YouTube was used more pressing than ever. It is years. This article sets out by one third, as was Google. increasingly important for them Ofcom’s research findings in the The importance of the BBC to be able to ‘navigate knowingly’ area of critical awareness. as a news source was underlined through the media they consume Before turning to the issue in our qualitative research, and interact with and to make of how children think about with many children citing it informed choices about the the information they receive as their main source of news content and services they use. and seek out, it is useful to start information. This was due to Ofcom has a statutory with a reminder of what they a range of factors including its duty to promote media literacy are using for such information position as a key ‘offline’ brand, which we carry out through sources. In our 2014 survey we and reinforcement from parents the provision of research and asked 12-15 year olds to say and from school that this was a its dissemination to a wide which of the (prompted) sources brand they could trust. range of stakeholders. In 2014, they would use for various types The use of Google was also

72 Children’s Media Yearbook 2015 Figure 1: Online sources of accurate/ true information among 12-15s

QC48A-C 6 5 9 I’m going to read out some 7 8 types of information you may 11 5 want to find out about and I’d don’t know 6 26 like you to say which one of None of these these you would turn to first for youTube accurate and true information 20 33 Social media online about… Wikipedia 18 (prompted responses, single coded) Google Base: Children aged 12–15 who use 4 BBC the internet at home or elsewhere 4 6 (584 aged 12–15) Source: Ofcom research, fieldwork carried out by Saville Rossiter-Base 53 in April to June 2014 33 31

7 7

Serious things Fun things like How to build, that are going hobbies and make or create on in the world interests things

Figure 2: Understanding of paid-for results returned by Google searches, among 8-15s who use search engines

8–11s 12–15s QC30 These are the Here’s an image (SHOWCARD sponsored links/ adverts/paid to 13% 34% OF IMAGE) from a Google appear here search for ‘trainers’. There are three results at the top which are in a shaded box. Do you know why these three results Don’t know 60% 38% are shown in a shaded box? (Spontaneous responses, multi- coded) These are the best results/ most Base: Children aged 8-15 who go online at home or elsewhere and relevant results/most 26% 27% use search engine websites or apps popular results used (396 aged 8-11, 530 aged 12-15). by other people Source: Ofcom research, fieldwork carried out by Saville Rossiter-Base in April to June 2014 Other reasons 3% 1%

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Figure 3: 12-15s’ understanding of results listed by search engines, 2014-15

10 Don’t know 8

QC28A “If they have been listed Which one of these is the by the search engine 20 the information on that closest in your opinion website must be truthful” 32 about the truthfulness of the information in the websites that 18 “I don’t really think appear in the results pages? about it. I just use the (prompted responses, single coded) sites I like the look of” 15 Base: Children 12-15 who go online at home or elsewhere who ever use “Some of the websites will search engines or apps show truthful information and some won’t” (313 aged 12–15 in 2009, 503 aged 12–15 in 2011, 479 aged 12–15 in 2013, 52 530 in 2014) 45 Significance testing shows any change between 2013 and 2014. Source: Ofcom research, fieldwork carried out by Saville Rossiter-Base in April to June 2014 2014 2013 ubiquitous in our qualitative basic function of a search engine the best or most popular results. research, across all age groups, as an aggregator, rather than Qualitative research from and children of all age groups providing a gated editorial stamp our Children’s Media Lives placed considerable trust in it: of approval. project provides further insight “I just use Google. I’d just As Figure 2 shows, children into the extent to which rather use it because I’m aged 8-15 have a limited children were able to identify used to it. I think Google understanding of why the paid- advertising. It found that for is more trusted. On most for results appear on a Google most of the children, TV adverts computers, you can go straight to Google.” search results page (at the were the most recognisable as 10-11 year old boy, Leeds time of the survey, these were ‘advertising’. Any online video represented by a shaded box at adverts, such as those at the We also have a range of the top of the page). One third of start of a YouTube video were survey questions that assess the 12-15s who use search engines therefore also relatively clear extent of understanding that correctly said that such results to the children. Many of the children have about the search were sponsored links or ads, but older children were also aware engine, to gauge how far they are only one in eight 8-11s knew of adverts that ‘pop up’ on aware of its means of funding; this. Six in ten 8-11s didn’t know websites or are embedded in the how far they are aware how to the answer, and four in ten 12- website content. However, even distinguish between advertising 15s. And around one quarter in in these fairly straightforward and editorial; and the extent each age group gave the wrong examples it was rare for the to which they understand the response, thinking that they were children to know the basic

74 Children’s Media Yearbook 2015 Figure 4: Children’s belief in the truthfulness of websites used for school/ homework

All is true Most is true Some is true don’t know QC18B/A On sites or apps used for school work/ home work % When you go online you may visit [TYPE OF WEBSITE]. 2011 41 42 10 8 Do you do this? IF YES - Do you believe that all of the information you see is true, 8–11s 2013 36 38 15 10 most of it is true or just some of it is true? 2014 20 40 30 9 (prompted responses, single coded) Base: Children aged 8-15 who use the internet to visit relevant 2011 42 46 9 websites at home or elsewhere). Source: Ofcom research, fieldwork carried out by Saville Rossiter-Base 12–15s 2013 30 52 12 6 in April to June 2014

2014 16 51 29 4

business model underpinning the of the less traditional kinds “I don’t really think about adverts, and that the channel or of advertising, with in-game whether or not they have truthful site displaying the advert would advertising, product placement information, I just use the sites I have been paid to do so. When and personalised advertising like the look of.” prompted about why the adverts almost completely invisible to As Figure 3 shows, around might be there the children came them. half of 12-15s give what is up with some creative responses. In our survey, we also ask 12- the critically aware response: Moderator: ‘Do you know 15s about the truthfulness of the that some websites will be why the Disney Channel information they get back from a trustworthy and some won’t. might have adverts and search engine results page. They One in five say they don’t really CBBC might not?’ are asked which of the following think about it, and a further one Nadia: ‘I think because statements they agree with: in five think that “if they have the Disney Channel, if “I think that if they have been been listed by the search engine it’s a movie, you have to listed by the search engine the the information on that website take a break, because if information on the website must must be truthful”. This latter it’s filmed right now they might be exhausted.’ be truthful.” group are therefore particularly Nadia, aged 9 “I think that some of the at risk, as they assume that the websites in the list will show sites they visit are going to be Many of the children, truthful information and some kind of safe environment particularly the younger ones, some will show untruthful given their status of being also mostly failed to notice many information.” returned by the search engine.

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It is useful to note, however, also of note that they tended to and trust in information that since 2013 there has been think that video material was illustrates some increase in some improvement in children’s intrinsically authentic – that levels of awareness that not understanding in this area, with the camera didn’t lie. They all that is online is truthful a reduction of twelve percentage were also very clear about and safe. However, given that points in their belief that sites the commercial motivations 92% of online 12-15s say they listed on a results page must be of companies and brands and use search engines, and, as we truthful. tended to see companies as saw earlier, 20% of this age In our qualitative research, therefore unlikely to provide group would go to them first children claimed to use a variety unreliable or misleading content to find out accurate and true of techniques for authenticating or services. They tended to think information about serious things the trustworthiness of online that companies would not want that are going on in the world, information. Younger children to jeopardise their businesses by the level of understanding about aged 8-11 tended to accept what providing such content. what is an advertising message they had been told by parents Over time, however, from on such sites and what is not and school about managing the evidence of our surveys and should give us food for thought. online risks and as a consequence qualitative research, it appears In addition, there remains were relatively cautious in their that there are some signs of considerable unawareness approach. 11-14s were more increased critical awareness relating to various other forms inclined to take more risks, not or media savviness in relation of advertising and funding, least as part of their overall to children’s belief in the leaving children potentially development as new teenagers, information they encounter vulnerable to some types of and therefore their behaviour online. We have asked the advertising, for example product tended to belie their level of same question since 2011 to promotions on social media. knowledge. Older teenagers 8-15 year olds about the level Clearly then, critical tended to place more importance of truthfulness they find on understanding skills are on trust than their younger websites or apps “used for important. Children need to counterparts, borne out of their school work or homework” and develop ‘media savviness’ earlier experiences. “about news and what is going alongside their increasing Overall, children tended to on in the world”. As Figure 4 consumption habits. Doing so know that it was important to shows in relation to the former, will keep children safer online, cross-reference between three children aged 12-15 have shown increase their digital competence different sources – although a decreasing tendency to say in line with their confidence and it was unclear how often they that “all” the information is reduce the risk of negative online actually did this in reality. They true across both areas, and experiences. tended to rely upon the look rising proportions opting and feel of a site, upon whether for “some”. or not it was a major (offline) This brief overview of brand and upon parents and Ofcom’s current research on the peer recommendation. It was topic of critical understanding

76 Children’s Media Yearbook 2015 CHILDWISE: Monitoring the Change Jenny Ehren

talk to if it wasn’t for the The 2015 CHILDWISE whilst also transforming internet.” Monitor Survey reflects the humble mobile phone Girl, age 11 a changing landscape in into a sophisticated hub of children’s digital media information and entertainment. “It’s the new generation consumption. For starters, Our technology has become of communication and more kids now own a ‘smarter’, allowing more and fun. But it can cause more trouble than it’s tablet than a laptop and more devices to connect to worth sometimes e.g. more 11–16 year olds can the internet – whilst content is Facebook, Instagram, upload a picture to the continually refreshed and can be Twitter…” internet, than can boil accessed anywhere, at anytime. Girl, age 13 an egg. CHILDWISE Nowadays, most children have been studying have never been a part of a CHILDWISE Monitor data media consumption and world where the internet is not illustrates how children’s media purchasing behaviour omnipresent – and as a result, use is in a process of continual among children aged 5-16 they engage with technology change. Traditional television for more than twenty differently. viewing is declining and internet years. We have tracked “I basically live on the use is rising. Mobile phones are the rapid growth of the internet. It’s just amazing. becoming increasingly pivotal internet and subsequent But if it goes down e.g. among older children, whilst my router stops working connected technology and tablets dominate the attention or there’s high traffic, we have watched closely then I just cry inside.” of younger children, despite as an online ecosystem Boy, age 15 only gaining prominence in has emerged, permanently the last few years. Households changing the way in which “The internet is my life, I have transformed since Monitor children and young people literally love the internet. first began, from having just a consume media. Whoever created the television set, to having four or internet deserves a It is now easier than ever to five different devices: PCs, mobile prize because they are access information, as well as super cool. It makes me phones, laptops and now tablets to share content with peers. happy and helps me have all become commonplace, Mobile technology has made connect with people who with some of the older gadgets communication more convenient I wouldn’t be able to now declining.

77 Child and Youth Perspectives and Research

already so it would be would be on their tablets In 2015, the majority of pretty boring because and there is nothing on children now have their own my tablet’s got games, the TV.” computer or tablet, phone, YouTube and more.” Boy, age 13 games console and television Girl, age 11 – but console and television “I can’t live without “I love my xbox, I always ownership is falling and phones my iPad because I can play it. I would rather are static, though more of these FaceTIme people on it, have fun playing online message people on it, on Call of Duty: Blacks are now smart phones. Tablet listen to music on it, go Ops 2 with my friends, ownership continues to grow on the internet, watch than watch TV all day” although this too is slowing. things on it, go on my Boy, age 12 Parents have thrown their weight apps e.g. Instagram, behind tablets because they are Snapchat. I cannot live With traditional television controllable – a tablet can be without my music and viewing in decline, children have social network sites” given or taken away to reflect drifted away from mainstream Girl, age 12 good or bad behaviour, in a television channels, in favour way that is not possible with a “I have tried not of paid for on demand content, conventional television set or watching TV for a day via services such as Netflix. The computer. Apps can be purchased but I couldn’t, I was majority now watch TV via soooooo bored. So I just as rewards, and, with the alternative devices, though the have to have it because it growing use of tablets in primary entertains me” television set is still the preferred schools, there are perceived Girl, age 10 method for most. However, educational advantages. One television should definitely not in three children aged 5-7 now “I love my phone and be written off prematurely, and have their own tablet: double the without it I feel like a there should be no doubt that it number recorded a year ago. For nobody.” still plays a very important role in Boy, age 14 older children, where patterns the media lives of children. The of technology use are already “My mobile phone is resurgence of Hollyoaks, The Big established, the tablet is slower barely out of my hand. I Bang Theory and EastEnders, to displace existing allegiance use it a lot just on social and the enduring appeal of media such as WhatsApp, to a laptop or smartphone, Friends, have given it a greater Snapchat, Facebook, especially among teens. Mobile Instagram etc.” focus in the last year, while cult phones are increasingly used for Girl, age 15 series such as The Walking Dead internet access and are the main and The 100 catch the attention way of listening to music among “I’ve got so used to of older children. older children. coming home doing But as new technologies “My tablet is my favourite homework and going on come and go, the fundamental my games console that because I love to play principles of what engages it just wouldn’t feel right on all my apps and go children remain static. Children on YouTube. Otherwise without it. Also I wouldn’t will always look for an element it would be my TV but know what to do with I’ve got BBC iPlayer myself as my parents of play and entertainment in any

78 Children’s Media Yearbook 2015 new technology or media they alongside Instagram, Snapchat, user profile is becoming ever adopt. This is evidenced by the and to a lesser extent Twitter, younger, and the recent sell-out two biggest hits from last year: as a place to keep in touch and to Microsoft has been greeted YouTube and Minecraft. Both share experiences with friends. with concern by some hardcore are linked with the further rise of The growing popularity of users, worried that commercial tablet and smartphone ownership vloggers, such as Zoella and Alfie imperatives will change the game. among children and the trend Deyes, is in part an extension of Despite the ever-increasing for internet access to emulate this diffusion. These sites give use of the internet and modern the ubiquity previously enjoyed teens a chance to tune in to the technology by children across by television. TV viewing still thoughts and antics of others not all ages, the printed book occupies the greatest amount so dissimilar to themselves, and continues to hold a place in their of their time but internet use is feel part of a wider community lives. There are signs that print, steadily closing the gap. (which is reassuringly hard for alongside other old technologies, YouTube is the top favourite adults to comprehend). is fighting back and adapting to website for boys and girls Minecraft is widely popular ensure survival. Most children across the age range, displacing for boys and girls across the age read books for pleasure, Facebook among all bar the range, with children engaging although only a minority do so oldest girls. Two in three across a range of channels and every day, and children’s titles children visit each week. Past equipment: playing the game on have seen great success this year. concerns about the risks of computers, tablets, consoles and Seven out of the ten top selling encountering unacceptable smartphones; watching demo titles across the market are material on YouTube have largely videos on YouTube or uploading children’s titles, and an eighth disappeared, with parents of even their own; talking to friends as - Guinness World Records - is the youngest children now happy they play; and also reading the largely aimed at this age group. to let them use this to access their growing range of print manuals Links with internet, film and favourite television programmes, and other books that feature the television are key drivers. Four music, games, demos and game. of these top titles are Minecraft vloggers. YouTube is increasingly Part of the initial attraction, manuals, plus the latest books the place where they will go especially for older children, from David Walliams (well to search out information and has always been the sense that known from TV), Jeff Kinney online material; in the same way this is a collaborative and user- (Wimpy Kid originated as an that Google Images superseded directed game, comparatively online series), and young adult Google as the search portal of non-commercial by today’s online writer John Green (The Fault in choice, YouTube has now taken standards and with an anarchic Our Stars, released as a film last this a step further. slant. It is a game that each user year). These three writers have By contrast, Facebook has can adapt to their own personal another ten titles between them long lost the primacy that it preferences, encompassing in the top one hundred. Vloggers enjoyed a few years ago. It design and building, challenge, Zoe Sugg (Zoella) and Alfie remains a must-use utility for competition, communication, Deyes both had books in the top most older children, but now sits and much more. However the thirty as well.

79 In the next two years… Recent trends indicate that over the next Magazines have failed to emulate this resilience couple of years, children’s use of the internet however, with sales and readership falling year on is likely to overshadow the time they spend year. Apart from football magazines among boys, watching television. Traditional TV viewing this year’s only success is Marvel, acquired and continues to decline at a steady rate whilst hours spent online will increase. The internet relaunched by Disney and capturing readership enables children and young people to seek among girls as well as boys. The ephemeral out their own content and as such, we nature of magazines makes them an easy target expect the use of on-demand services such for the wide range of internet sites that offer as Netflix to become a routine activity. We also expect Smart televisions to be widely similar material, often for free, for any child who adopted, further enabling children to find chooses to look online. Sharing a magazine in the the programmes they want to watch rather playground or on the school bus has given way to than be restricted by linear television listings. pocket games, music, or sharing posts and pictures on social media via their mobile phones. In the next five years … The next five years could mark a period As we move into the future, there can be little of convergence for the technology that doubt that children will continue to spend more and is currently in use. The recent release of more time on the internet, particularly as growing the ‘phablet’ – a mobile device designed to combine or straddle the form of a numbers acquire devices that are ‘always online’, smartphone and a tablet, could become such as smartphones and tablets. Connectivity a popular gadget for children and young has become a fundamental need for young people, people. Televisions are likely to be internet- and whilst this remains, there is little sign of the connected in some format, allowing for the streaming of content from portable devices technological revolution reaching its end. to the big screen, whilst Cloud technology Our latest report – Connected Kids , will further encourage an environment where highlights the progressions of the last twenty children and young people will expect to years, using past data to make predictions on how be able to access their files and information anywhere and on any device. children will interact with technology in the future. To the left are some of the themes that we believe In the next ten years… are likely to emerge in the coming years. Looking further into the future, children will have little understanding of a world without the internet. The ‘internet of 1 CHILDWISE Monitor Survey – a comprehensive annual research study with more than 2,000 children things’, a concept in which many household and young people aged 5-16, across the UK. The objects communicate and share data using study looks at children’s media consumption and Wifi, could become an accepted norm – purchasing behaviour, and at aspects of their wider whilst having appliances which cannot be life. Children are interviewed via the CHILDWISE schools panel http://www.childwise.co.uk/reports. controlled using a smartphone or some kind html#monitorreport of online dashboard may be seen as dated 2 CHILDWISE Connected Kids Report – highlights the and old fashioned. Wearable technology is progressions of the last 20 years, using past data to likely to have progressed significantly by this make predictions on how children will interact with point. Most children will have some form of technology in the future. http://www.childwise.co.uk/ wearable tech., be it a smart watch, smart reports.html#specialreport glasses or a virtual reality headset. Whether these devices will be used to the same degree as mobiles and tablets currently remains unclear. people’s lives when you’re on the couch. You can never get bored. The Teenage At the moment I am trying to spend less time on my phone World of Media because it has made me less of a productive person; I wonder Sophie Edwards what I would’ve done in that one hour I ‘wasted’ on my phone. However, I believe once our Media, in my view, is all encompassing. I find that generation is older, we will all be you can waste hours on an app with it feeling like too busy to spend as much time mere minutes. The super availability of media is on our phones. affecting how we think and feel about things. I only Media is growing with my use certain social media: Instagram, BBM, YouTube, generation and I feel in the future Spotify, Shazam, BBC, Buzzfeed, Netflix and Duolingo there will be apps I wouldn’t along with photo editing apps. Personally I do not even believe possible. Obviously use simple addictive games such as ‘Flappy Bird’ or I have considered the negative ‘Crossy Road’ since I’m too busy! future - everyone on their About two or three years ago up with bedhead. So, especially phones, nobody actually talking I began watching YouTube if you are young and naive, you face to face - but I do think this videos and it made me realise might compare your ‘boring’ is very extreme and we as a how similar you are to people. life to that of more ‘exciting’ human race couldn’t cope with For example these YouTubers, strangers you will probably never those conditions. who were just normal people in meet. This is definitely a negative It’s important to remain Britain, had the exact same sense approach to media but it should aware of the bigger picture of humour as me. Originally I not be ignored. though and watching BBC news thought you would have to be I have come across many on morning TV whilst eating older to get some of the humour. online shops selling homemade breakfast isn’t enough to stay Maybe knowing that adults and arts and crafts. I think this is informed. I know that there’s children aren’t so different made such a nice way of using media so much going on in the world me mature more quickly. to your benefit. Even teenagers that I’m not aware of. Whilst my Through YouTube and other are selling their art over parents get their news from the social media sites like Facebook, Instagram and I find that pretty website and occasionally inform I find that you compare yourself amazing. me, I still feel I am yet to engage to people a lot. Through media A lot of my friends don’t with media in a more considered you can sculpt your life as you watch TV anymore: it has been way. I feel media is an ever- would like it to be seen. For replaced by phones and tablets. changing and unassailable entity. instance you would never post a Rather than sitting watching TV I can see it, I can reach it, but it picture of yourself crying on the you will find yourself talking to only exists as far as I perceive sofa or when you’ve just woken friends and browsing through it.

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The new age of media Josie Kelly

As a self-proclaimed that the progress in across the Atlantic and television addict from technology has advanced immediate contact with about the age of two, I our communication fellow obsessive fans via feel I have appropriate abilities to what, even ten Twitter and other social qualifications to analyse years ago, would have media platforms. Each and critique the media seemed unimaginable: discovery made of a new platforms given to the be it hashtags or instant social media website British public. With video messages, people or app seems to just technology changing day of all ages have instant slot into our lives and by day, this rapidly connections to one somehow manage moving, media-fuelled another globally. This to break the mould environment seems all a could be argued to have and overtake Facebook bit too alien for many: yet, facilitated the crazed for its brief ten months of as an eighteen year old, online fangirling of fame. Remember BBM? this new technological hit TV shows such as Well that was one social revolution we are all Pretty Little Liars and ‘hype’ that came crashing currently a part of feels Keeping Up with the down once the (for now) bizarrely normal. I can’t Kardashians, as we now seemingly untouchable NOT state the obvious have instant access iPhone conquered the and leave out the fact to shows broadcast now historical Blackberry.

82 Children’s Media Yearbook 2015 Twitter has become such a sniffing them? Hilarious. And every implication surrounding massive part of everyday life the best? A turtle singing to the current technology we have for so many - from politicians Coldplay. Absolutely brilliant. access to this would require too to school children. It seems Every day members of the public many dissertations! However everyone has Twitter and it has are constantly able to break the in the main I feel if you are become the must-have media tool internet and make their mark: able to use the new media to stay informed with just about so step aside Kim K, we have a abilities we have wisely, anyone anything that’s going on. If you laughing goat on our hands here. can have an impact and this have not yet followed the crowd This new way of finding fame is what is fantastic about the and conformed to the Twitter and building careers has proved broad and holistic platform way of life you are merely successful to many yet also future generations will grow up limiting your own knowledge on caused problems for others; there surrounded by. It gives ordinary things happening both nationally is something rather unsettling people a voice, bringing power and internationally. I could bet about watching a video back to the citizens who not the hashtag ‘#MENINIST’ will published to provoke laughter so long ago may have felt a mean absolutely nothing to those at a stranger’s misfortune in little unheard. All you need to who don’t have Twitter. Whereas outfit choice or a slip up during a do is look at the online feed all my fellow tweeters were able drunken night out. during the recent build up to the to view millions of tweets made I have so far failed to discuss 2015 General Election and see by the thousands of unheard television and its importance in people’s passion light up online: men across the UK voicing their the contemporary media world; we may love our ‘thug life’ cats sarcastic, under-appreciated (and not because it’s become less and dancing sheep but they’re deeply concerning) worries such significant or because it doesn’t not the only things that get us as “Why are the fattest women have a vital role in society tweeting. the biggest feminists?” So if today, but because I think, as you haven’t got Twitter I would media has adapted, television advise you to straight away has managed to keep most of go and sign up and judge for its originality. Programmes yourself what the issues (and the broadcast to the nation have issues behind the issues) are. always held huge amounts As media has progressed, so of responsibility as they have have our humours and interests, constantly challenged people’s goodbye memes and hello vines. beliefs and brought to light We have formed a culture of issues others are facing across video nerds, all we want is to be the world. The new forms of humoured via moving images. media have only improved this A man dressing as a woman way of reaching out to people and pretending to be his own and draw public attention to girlfriend? Classic. A lone boy the massive problems faced by walking up to strangers and millions globally. To discuss

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Growing Up In A Digital World Flora Wilson Brown

In 2014, 94% of American teenagers aged thirteen to seventeen reported going online daily, and 34% said they were online “almost constantly”, according to Pew Research Centre. Most teenagers have one or more social networks and this kind of instant access to the lives of our nearest and dearest (as well as hundreds of acquaintances) must have an effect on how we interact with the world. One of the biggest problems out or arguing with your friend with growing up in a fully digital and being confronted with a world, as far as I can see, is that complete transcript the next every stupid, rash or hurtful morning. Now, every mistake decision you make is documented you make is up for discussion forever. Adults who got to grow by your entire social circle and up before the internet (and it makes it a lot harder to just especially before Facebook) let things go or fade into a rose- were far more free to make bad tinted memory, because you’re choices; of course there were faced with the stark evidence of consequences, but there was no reality on-screen. danger of a potential employer Ironically, in contrast to seeing a picture of a messy night my previous point, another big

84 Children’s Media Yearbook 2015 problem with digital media is the people in his generation that blacklivesmatter hashtag are ability to become anonymous, the rise of technology has killed excellent examples. Young one of the crowd, completely communication, but I really people are taking a platform absolved of responsibility for can’t understand that viewpoint. designed for communication your actions at the click of a Teenagers are constantly in and using it to its full potential, button. Mob mentality has communication: we talk all the and spreading ideas and raising moved off the streets and onto time to friends who live in the awareness of injustices that the internet; just two minutes same town; friends who moved often go unnoticed. Teenagers of scrolling on the comment away; and (most importantly, I don’t always trust the traditional section of any website is think) friends from right across media (newspapers, TV and enough to obliterate any faith the world. One of my best friends radio) to tell them the truth in the kindness of strangers. lives in Florida, we’ve never met so they have created new Women, especially women of face to face but I talk to them forms: tweeting information; colour, have to deal with huge every day on Facebook, instant taking pictures or videos; and amounts of online abuse ranging messenger and Skype. We share livestreaming events as they from explicit and often sexual all the same interests and know happen. They act as journalists threats to derogatory comments everything about each other’s on the scene but, instead of about their appearance. Even lives yet we’re told that we’re not taking hours or days to produce if misogyny is increasingly ‘real’ friends by people who are the information, it takes seconds, unacceptable in real life, it still in touch with their childhood minutes, before the whole world remains prevalent online, which pen pals, or have reconnected can see. The recent General leaves me wondering how these with them on Facebook (in a Election blew up my Facebook men interact with the women wonderfully ironic twist.) Of timeline as people shared articles, in their lives, whether they course, if we could see each other choice parts of the manifestos, would be happy to show their in real life, we’d jump at the opinions, and yes, photoshopped mothers these comments. It is chance, but the fact that we can’t, pictures of Ed Miliband. It’s less a little scary, knowing that any whilst annoying, doesn’t affect that today’s teenagers don’t care of my friends could be online, how we feel. about important issues and more in disguise, spewing hate. But Another complaint aimed that they engage with them in this isn’t just a fixture of the at social-media-savvy teens is different ways, often involving online age, more a symptom that we don’t care about real photoshop, capitals and a lot of of a long-standing issue in our issues. I can see where one swear words (the last two being society. Often, it seems, social might get this impression, as tried and tested teenage methods media doesn’t create problems scrolling through a constant of protest, of course). but unfortunately provides a stream of consciousness is not My final point is a more platform for ones already there. always the most politically personal peeve and possibly not However, I do consider thrilling or testing experience. a view you will have come across social media to do more good But social media is proving an on the subject, so bear with me. I for society than it does bad. I’m incredibly important platform: love selfies. I really do love them. very often told by my dad and the Ferguson protests and the I love it when my friends post

85 Child and Youth Perspectives and Research them, because it means they feel struggle to believe that teenagers so happy with their appearance posting pictures of themselves that they want to show everyone. is the worst thing we face as a I love seeing strangers’ selfies society. on Tumblr, because I get to see I spent a lot of time people I’d never see otherwise; considering whether growing up and I love taking my own, in a digital world has made my because it means I have a record generation markedly different of how I looked as a teenager to those raised before and and it makes me feel confident. I’m not sure I’ve come to any Naysayers have such a hatred firm conclusions. Of course, for selfies you’d be forgiven for I have nothing to compare thinking we were bringing about my experience with: I can’t the end of the world, instead remember a time without the of taking a couple of slightly internet. That said, I don’t think pretentious pictures. the internet has made us any But, in a culture where it is better or any worse as people: easy to make people feel bad I think we’re exactly the same about their appearance and to as humans have always been, encourage them to buy beauty but now our experiences are products (the recent ‘beach body’ amplified and performed on advertising campaign scandal a (potentially) massive public being a pertinent example), stage. Some people choose to taking a selfie can feel like a very use this platform positively, to small act of rebellion telling all make new connections or start those companies that you are movements for change. Others good enough and you are worth choose to use it negatively, to showing to the world, just as you post anonymous abuse. And I are. Whilst selfies may have been think it’s just that - a choice. popularised by social media, it’s Growing up in a digital world useless to pretend that the human comes with all the same choices race hasn’t always been in love as we’ve always had but now the with its aesthetic image; today’s whole world is watching us make selfie is yesterday’s expensive them. I can only hope we get it portrait and we have whole right. museums dedicated to those (not that I’m suggesting my selfie belongs alongside a Holbein.) And really, in amidst all of the hurt and terror in the world, I do

86 Children’s Media Yearbook 2015 How are today’s twenty-somethings engaging with digital media? Megan Nicholson

The older generation We begin our day by checking on demand, and have tomorrow often wonders why our smartphones, we end our day night’s little black dress ordered people of my age are by checking our smartphones, and easily delivered right to constantly on their mobile and we check our smartphones the front door (avoiding those phones. But whether it is throughout the day! And to the overheated shopping centres that watching a vlog on the dismay of many fifty-somethings, we used to love as teenagers). way to work, creating a we can easily pick up on one Simple. blog, or following their device from where we left off Digital media acts as a favourite celebs and on another which makes us a convenient social aid for our industry professionals technically savvy generation. age group. Allowing us to on Twitter, this is just the Almost all twenty-somethings comfortably watch TV from average day of a twenty- in the UK own a smartphone or anywhere (as long as we are something year old with table device, enabling us to surf connected), listen to the radio an interest in media the net all day long and avoid or podcasts as we jog to the convergence. the real world, watch television gym, and use something as small

87 Child and Youth Perspectives and Research and mobile as a smartphone, to available at the times when clips, the whatever-will-be-next become engrossed in the trends the programmes are originally platform. and goings on around the world. broadcast. This could be for I would argue that today’s Media platforms such as many reasons: work or study twenty-somethings are the Facebook, Twitter, Instagram, commitments, or, for some, even first born members of the and Tumblr are the majority of sleeping arrangements. People digital generation. We are this generation’s way of hearing of this age tend to structure of the age whereby we were about and sharing news. We are their routines around what suits young enough to adapt to the able to like, repost and share them. But, it can also be said, changing consumer trends that anything as trivial as how hungry that people of this age have very occurred as we grew up. The we are feeling, to how fantastic varied tastes. childhood cereal box treats of the last audition of Saturday Some like to be cultured tacky toys have now become night’s Britain’s Got Talent was. whilst enjoying documentaries, treats of gaming codes to add When we actually do watch or be educated and entertained to your online profile. And the linear TV, it mainly consists of by programmes like QI. change within digital media time filling. E4 programmes like In comparison, others like consumption is even more How I Met Your Mother, ITV’s mundane entertainment that apparent in our altered demands TOWIE, or unique Channel can be found within a stream of Walkmans to iPads for 5 documentaries such as the of daytime TV shows like Christmas; from Gameboys to recent Freaky Eaters, are usually Jeremy Kyle, Judge Rinder, or smartphones for birthdays. viewed whilst we slob out with Countdown. Alternatively, a vast Therefore, it is evident nothing else better to do, or they proportion of this age group, within our constantly tweeted, simply serve the purpose of being prefer to ‘get into’ a series on Instagrammed, and shared background noise. Netflix and ‘binge view’ rather world, that online we are But on the whole, people than waiting to watch episodes releasing more and more of this age consume television week by week, like the rest of information about ourselves. The in a way that suits them: at a the population. stream of our light afternoon time when they have time. iPads This age group is known snack photos, and the process of and apps such as BBC iPlayer, for having high tech skills in how easy it is to access, upload, Netflix, ITV Player, Amazon downloading films and series, as and share YouTube content Prime, and TVCatchup are all this is thought of as a free way to suggests that people of this age popularly used, enabling us as consume TV. Although the BBC are constantly conscious of the the audience to choose what is a public service broadcaster, digital media world around we want to watch, and more making its content free to view them. We feel the urge to keep importantly when we want to (but funded by the licence fee), the world up to date with each of watch it. people of this generation seem our daily activities through the It could be argued that to be less interested in the use of bizarre hashtags. twenty-somethings engage with mainstream and more interested #whateverwillbenext. television in this non-linear in the up and coming: the way as they are simply not YouTube vlogs, the short-form

88 Children’s Media Yearbook 2015 The Phenomenon of Celebrity Vloggers John Chisham

Vlogs, video blogging, what does it all mean? Your start wearing their shoes on their kids know. heads a large amount of parents Let’s go back in time! It’s Tyler Oakley, a mortal man would simultaneously ask the the 17th century. The Globe of just 26, has more people question “Why are you wearing Theatre is England’s highest following him than the entire your shoes on your head?” and form of entertainment, offering population of England and Wales chaos would ensue. joy to the five and a half million in the 17th century! Let’s put this It’s intriguing when you inhabitants of England and into perspective. If Tyler Oakley acknowledge how long digital Wales who might visit. Flash- and the entirety of his subscribers technologies have actually forward to the 21st century and were to travel back in time to been around for. We have the YouTube ‘vlogger’ Tyler 1066, they would outnumber barely scratched the surface of Oakley has over six million the assembled armies at the the potential of online media. subscribers. This essentially Battle of Hastings six hundred YouTube was created in 2005, makes him Shakespeare. to one. Seriously, if Tyler Oakley meaning it has only existed This is completely barmy! commanded all of his viewers to for ten years. Ten years! The

89 Child and Youth Perspectives and Research younger generation can’t modern world, people can have into adolescence together. There’s imagine a time when videos of careers like this. something reassuringly humble celebrity vloggers and funny Similar to the likes of about that. cats dancing to ‘Gangnam style’ Spiderman, ‘with great power, We might also want to aren’t just a click away. The comes great responsibility’. Like consider Toby Turner aka growth and success of ‘celebrity Oakley, McDonnell is at the helm ‘Tobuscus’. He is described as vlogism’ certainly didn’t happen of a mighty mass of viewers. an ‘internet personality’ and overnight, but in all honesty, it Young viewers especially. has created an enterprise of didn’t take much longer than His actions and behaviour content across his three YouTube that. in his videos can influence channels: ‘Tobuscus’, ‘Toby Eight years ago, Charlie the actions and behaviour Turner’ and ‘Toby Games’. It’s McDonnell, an ordinary teenager of thousands if not millions fair to say that he may be a living in Bath, posted vlogs of his young, stereotypically workaholic. On his secondary on YouTube to an audience impressionable, viewership. channel ‘Toby Turner’, Turner of barely 100 people. Then, Luckily, McDonnell is a decent vlogs everyday, rambling about literally overnight, his comedic human being. McDonnell’s his exciting new projects; his video skit, ‘How to get featured charity collaborations with the participation in mundane on YouTube,’ featured on the likes of Cancer Research UK and activities; and any other thoughts YouTube homepage. In the space UNICEF are impressive given which pop into his head. Toby’s of mere hours, the subscriber his youth, and subsequently charisma and random humour count of his YouTube channel show the next generation his never fail to make me chuckle. ‘Charliesissocoollike’ was vitality to invest in helping Turner produces regular boosted from approximately 150 others. Surprisingly, McDonnell comedy sketches and animated to 4000. As the channel began achieved all of this without being parodies on his main channel. to mature, the subscriber count bitten by a radioactive spider, However, he keeps the attention only increased, becoming the first thus making Spiderman look like of his audience through daily UK YouTube channel to reach a an uncharitable fool. vlogs on ‘Toby Turner’ and million subscribers and building What I find intriguing is videos of him commentating to two million by May 2013. that Charlie McDonnell has no whilst playing video games on What’s that you say? obligation to keep his viewers ‘Toby Games’. Turner certainly “Charlie McDonnell is now a updated on his life. He could produces a quantity of content, fully grown man. He shouldn’t easily just quit YouTube and and in the world of celebrity be making silly YouTube vlogs work as a baker, or postman, vloggers, quality isn’t always anymore!” Well that would be a or whatever he may please. necessary. silly thing to say. Presumably as However, he continues to vlog. With a similar subscriber a result of a deal with YouTube The loyalty and trust that has count to Tyler Oakley, Turner is and then Google, McDonnell can been created within his fan able to sell merchandise of his earn revenue from making his base is astonishing. Most of his ‘Tobuscus’ brand to his fans, videos. This is now his job. He viewers are growing up alongside thus generating more revenue. is a YouTube vlogger. Yes, in the him, experiencing the transition There is another side to

90 Children’s Media Yearbook 2015 celebrity vlogism which is the a megaphone in the middle of the to vlog has provided creative casual vlogger. An example street - it’s just annoying. freedom. This allows artists to of one of these would be With the exception of create whatever content they ‘MorganPaigeLoves’. This chirpy, politically-minded vloggers want, publish it online, receive sarcastic vlogger has cultivated such as Russell Brand, the tone feedback and even generate a niche audience of just less of celebrity vlogs are usually an audience - all for free! The than 35,000. Being inspired by quite light-hearted. It feels as if phenomenal thing about celebrity McDonnell a few years ago, you are having a very one sided vloggers is that both creators Morgan was slightly late to conversation with an upbeat, and audiences are active, purely jump on the ‘hype’ of celebrity friendly acquaintance. producing and consuming vlogging when it first appeared. People can become utterly content that they want. Her vlogging is not a career, consumed by this. Celebrity Vlogging is new. It is so, in all probability, she likely vloggers: are they your friends? freedom. It brings people closer has a real job. This means she Watching their vlogs on your together. There may be a screen hardly qualifies to be a ‘celebrity’ tablets or phones in the comfort between one another, but that vlogger. However, I feel that of your own home can provide doesn’t make the relationship this vlogger has a healthier a close relationship between any less genuine. relationship with her audience. viewer and vlog-content provider. Her audience understand that There’s a personal intimacy to she’s a real person and not a the proceedings. You invite the character in a TV show or film. vlogger onto your screens, and Morgan is often open and honest in turn they invite you into their in her videos which usually lives. consist of humourous anecdotes Twitter has further narrowed of her daily life and experimental the gap between the viewers filmmaking. and their idols. In a sense, the There is no pressure to appeal internet both distances the to her subscribers or churn out audience and the creator, yet content like some sort of freaky brings them ever closer together. cyborg vlogging machine as per It’s not a big scary company the previous vloggers I have producing these videos: it’s mentioned. To me, her videos usually just one ‘real’ person. seem honest and truthful, thus As the actor Kevin Spacey so highlighting how each vlogger philosophically put it during his has a distinct personal style. speech at the 2013 Edinburgh Though some vloggers on Television Festival, “actor, writer, the internet actually have very producer, director, these kids on little that’s creative to say. They YouTube can be all these things”. are just ordinary people with an Spacey suggests that YouTube, audience, like a dog barking into the internet and the ability

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Making ‘I Am Leo’ – CBBC’s first film about a transgender child Cat Lewis

“We’re all humans, we all deserve to have acceptance once they’ve gone through in this world. I’m proud of me being trans. I’m proud of puberty, so I wanted to make a my gender and I want every other trans person to look programme illustrating this new, at themselves and say, ‘I’m proud of who I am. Yes alternative treatment pathway. I’ve had rubbish back in my life, but it’s made me the Transgender children are more person I am today.’ That’s how I feel.” likely to be bullied and also to These words never fail to move Lyndsay Rowan, who works self-harm or attempt suicide – me, even though I’ve heard them at Nine Lives as an Assistant all very important reasons to so many times. They’re delivered Producer, came up with the idea, make a film. Documentary is a from the heart by fourteen year having read Leo’s story in the great medium through which old Leo as part of the video newspapers. He is one of the we can educate people about diary he made for ‘I Am Leo’, first children in the UK to be medical breakthroughs and a documentary my company prescribed hormone blockers widen the circle of compassion. produced for CBBC’s My Life to prevent the advancement Also, children aren’t born with strand. Teenager Leo lives as of puberty in the gender he prejudice, so by helping them a boy, but was born in a girl’s doesn’t identify with. I’ve understand difference at an early body, and the film we made made other documentaries age, I genuinely believe we can with him is the first programme with adult transgender people, make the world a better place. commissioned by CBBC about a and I know how hard it is for When we first approached transgender child . them to reassign their gender CBBC commissioner Kez

92 Children’s Media Yearbook 2015 Margrie with the idea, she was understandably very wary. She very much wanted to commission a film about a transgender child for the My Life series but had to be sure that the child and their family were robust enough to cope with the long-term impact of the film. Television programmes are now immortal thanks to the internet, so it’s more important than ever to ensure no damage can be caused to vulnerable contributors as a consequence of appearing in them. However, despite Leo’s youth and our duty of care to him, we knew he was just as passionate as we were about telling his story. Even more importantly, we knew his mum Hayley was very supportive and firmly believed her son should make a documentary with us. We talked to Kez about our confidence in Leo and his family. We also arranged for him, his mother and his sister to talk to a child psychotherapist about every aspect of making the film for CBBC, which included her finding out if they were likely to cope with being targeted by already in the public domain. secret. Kez decided to seriously online ‘trolls’. The fact that The channel wouldn’t be the consider the idea and we made Leo had already told his story first to reveal Leo was born a a taster to show just how strong in national newspapers and girl and, because he’d already a communicator Leo is. We all on ITV’s This Morning made gone public, CBBC felt confident felt the universal theme for the it easier for CBBC to seriously that he and his family were documentary should be the need consider commissioning the film, strong enough to cope with the we all have to find our identity because the main facts were consequences of sharing his and be accepted for who we are.

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Once ‘I Am Leo’ was the issues. at the heart of a documentary, commissioned, we We wanted to work closely and Lyndsay is excellent at this. thought through the with the Tavistock & Portman As an Executive Producer, I natural boundaries that Clinic during the making of deliberately hold back, because come as a result of the documentary, to ensure we the immediate members of the making a documentary could film Leo being treated production team need to be the on this subject for and capture on camera detailed ones forging and maintaining children. I see such answers to our questions these relationships during the editorial boundaries as about giving children hormone production. I always meet the positive, because they blockers. We also wanted the contributors towards the end force you to think more clinic’s staff to act as consultants because I usually help record creatively. I always employ for our documentary, to the commentary, and then as a filmmakers who are full ensure it was totally accurate company, we maintain constant of good ideas about at each stage. However, the touch with all the contributors how to make the best Tavistock has refused virtually we’ve made films with. possible programme but every request to film for the Our commissioner Kez more importantly, I need last twenty years, due to the Margrie is herself a BAFTA- to know they will always sensitive nature of their work winning filmmaker, which is one put the long-term welfare and because, understandably, reason she’s great to work with. of our contributors first their staff were determined to put She’s very creative, and always at each stage of the patient welfare first. It took real suggests good ideas that improve production and beyond. persistence over many months films. With this documentary, I chose shooter/producer/director for AP Lyndsay Rowan to win Kez came up with the final title Phil Niland to make ‘I Am Leo’ their trust and cooperation. We ‘I Am Leo’ and she pushed us to because he is a very sensitive and were all so pleased Lyndsay find a strong narrative arc. It’s experienced filmmaker. Also, as a achieved this, because it gives our always incredibly important for gay man, Phil can relate to Leo’s documentary real credibility. The a documentary to have a forward desire to clearly communicate his Tavistock is thrilled with the final driving narrative, to ensure it identity to the world; he knows programme, which they describe has a beginning, middle and end. what it’s like to grow up in a as “ground-breaking”, and their Without this, however strong minority and he also had to deal staff now show the documentary the contributors and the subject with bullies in his youth. to other children and parents matter, there’s no compelling We ensured we included in considering hormone-blocking reason to stay watching. The our documentary the important treatment, as do other gender typical narrative arcs used in fact that, at his primary school, identity clinics. documentaries about transgender Leo had felt bullied and Trust built on positive, honest adults are to follow them misunderstood not just by pupils, and constant communication through surgery or through their but also by staff. His family had is the key to maintaining gender transition. This wouldn’t contacted a charity called Press close relationships with all have been appropriate for us For Change who helped resolve contributors, particularly those given our audience, but even if it

94 Children’s Media Yearbook 2015 had, Leo had already been taking of adding an umbrella to the ‘Me, My Dad & His Kidney’, hormone blockers for six months animation. As a team leader, it’s our main contributor, Raphael, when we started filming and he really important to create an was just 9 years old and I had had lived as a boy for years, so environment in which everyone to bribe him with toy soldiers there wasn’t a natural narrative is inspired to contribute at each to get him to finish recording arc for us to follow there. After stage of the filmmaking process, his commentary! It was worth talking at length with Leo and because the more engaged the it, because the documentary his mum, Lyndsay found out he team is, the better the final film! immediately felt like a film by had defaced his current passport Phil also came up with the bright a child for other children, and because it labelled him a girl and idea of ‘pausing’ the actuality of it won a BAFTA. We’ve always that he hadn’t yet applied for a chat we’d filmed between Leo asked the contributors in our a passport as a boy. We all felt and the head of the Tavistock CBBC documentaries to voice the following Leo’s journey to get a Clinic, to reveal how hormone commentary since and it works, new passport as a male would blockers stop working as soon as as it does in ‘I Am Leo’. give us a strong narrative arc that someone comes off them. As Leo was older, we also was a very a relevant way into My company Nine Lives was left him a video camera during his story for children. The only first noticed in 2009 when we the whole production period obstacle we faced is that it took made a one-off documentary and it was AP Lyndsay’s job the family a very long time to for BBC Three called ‘Small to regularly nag him to record find his existing passport, so we Teen Big World’. It was a film his video diary. We ensured he could show on camera how he’d about 15 year old Jazz Burkitt reflected on camera after each defaced it! who has a form of dwarfism; filming day, but we also asked We wanted to be accurate, it attracted very high ratings him to use it when he just felt he clear and sensitive about how we as well as critical acclaim. The had something to say. He knew explained to viewers why some producer/director Kerry Brierley Lyndsay and Phil were going people are born transgender made the ground-breaking to go through his video diary, and how hormone blockers creative decision to ask young and kept telling them his entries work. Phil Niland came up Jazz to record the commentary. weren’t worth watching. Thank with the main animation idea This immediately made the goodness they didn’t listen of a production line in a factory documentary, about a young and instead carefully looked dropping male and female brains disabled woman, empowering, at everything, because that’s into stick people. We could then sincere and intimate. We went how we captured his wonderful explain visually how sometimes on to make another five films statement quoted at the start. male brains are dropped into with Jazz for BBC Three using female bodies and female brains the same technique and when we end up in male bodies. We started making documentaries also wanted to visualise how for CBBC in 2012, it was natural hormone blockers work and for us to want to use the same our editor Brendan McCarthy technique. It was undoubtedly came up with the clever idea harder, because when we made

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Fear and Laughing Angela Salt I llustration by Stuart Harrison

“Laughter is the shortest distinctive it whoops through hearted, optimistic and naturally distance between two the decades and I can hear it comic. people.” Victor Borge, still... She was funny and sing- Why do I want to write comedian, pianist. song and good at telling stories. comedy for children? Because A funny thing happened to me I spent a lot of time round at I think growing up with a in early childhood. My mother, her house with a giggle of bad- good sense of humour is vital, suffering from postpartum haired children pretending to be and funny feels like sunshine. psychosis, pushed my pram in The Bay City Rollers on a band THE best sound in the world front of a double-decker bus. break, watching Basil Brush. is children laughing. Better A Tupperware Lady saved my When my little sister spent even than a theatre packed life. Susan, a perma-permed months in a gloomy, Victorian with commissioners laughing, seventies heroine rescued me hospital ‘Auntie’ Susan helped I believe, or else viral YouTube and afterwards gave me a look after me and was cheerfully videos of Heads of Acquisitions plastic giraffe. ‘Party Susan’ I reassuring, assuaging my ‘ROFLing’ would be ‘a thing’. think of her, aptly named after fears with her funnies. Susan’s As a writer I regard myself as her Tupperware 12” divided Tupperware plastic beakers were fortunate in being able to draw snack tray. She had a laugh so always half full. She was warm- upon my utterly dysfunctional

96 Children’s Media Yearbook 2015 childhood. “I can smile about Double Deckers! (everybody this pet-licking issue – not even it now but at the time it was of a certain age in the kids’ ‘animal lover’, Ricky Gervais. terrible” as Morrissey sang industry seems obsessed by that Our three children, Marlin with The Smiths fifteen years show, even those for whom (16), Mathilda (13) and Austin later, crashing the charts with double-decker buses hold no (8) have no pets, sadly, after I their own double-decker bus especial meaning). I don’t hold refused to get them a phoenix story. I’ll spare you the worst the Beeb accountable for my on fire safety grounds. They of it but on the brighter side post-traumatic flashbacks: I’m are however growing up in there were power cuts; I was the only adult I know who still a household with access to terrified of dogs; my two budgies waits for the green man. Every. twelve screens and we all know died in a brutal cage fight; I Single. Time. Unfortunately I was the internet was invented for broke my arm pretending to sent sprawling by a cab carrying LOLcats so they can have those be The Bionic Woman, Jaime Paul Daniels and his lovely wife, instead and be grateful for fewer Sommers, jumping off a swing Debbie McGee in Soho a few asthma attacks. I’m thankful in slowmo; and I had the ‘ugly’ years ago re-carving those mental that there’s a world wide web Sindy nobody wanted with the scars. I didn’t bother suing, I and multiple channels of funny short, Brillo pad hair and a could imagine their defence content available for my kids to chewed foot. Creepy prints hung lawyer going, “So, what first enjoy and that commissioners on the walls of my home: the attracted you to step into the seem to have an insatiable allegedly cursed ’Crying Boy’ path of millionaire Paul Daniel’s appetite for comedy – Hurrah! in my bedroom and two infants oncoming taxi?” We can EAT, children! (NB perilously close to an unguarded, While I’m here (nervously comma there.) I try hard to open fire in the living room. I watching oncoming traffic) I’m amuse them myself but the was basted with oil to burn in really perturbed by kids on two teenagers give me that the 1976 sun. The lurid clowns phones on kerbs these days... head-tilted, slack-jawed, dead- on my bedroom wallpaper came Thank heavens there are cartoon eyed look like condescending, alive at night and choked up videos like “Dumb Ways To freshly-caught cod when I try to sausage strings – wait, I might Die” that they can watch on joke, especially in front of their have imagined that one... their phones on kerbs now. We friends. They don’t tell anyone But to take my young mind need more of this sort of thing: what I do for a ‘living’. Last off all that there were The terrifying warnings wrapped week I even overheard my young Clangers, Crystal Tipps and up in an earworm. I LOVE son explaining to his friend, “My Alistair, and Crackerjack! I was writing earworms. I wrote a mum stays at home all day but GLUED to the telly as a child whole bunch called, “Don’t Lick she rarely cleans. She’s on her and I stuck the (oh so carefully Your Pets” for a YouTube Series computer a lot, on Facebook I unpeeled) yellow cellophane which sadly never got to air. The think.” Marlin, the eldest, is in wrapper off a Lucozade bottle current pet population stands at the eye of the GCSE storm right over ours to make it ‘colour’. 65 million in the UK including now and is way more stressed BBC One aired a great new fish. Well, fish don’t stand but I than I was sitting ‘O’ Levels. My sitcom for kids, Here Come the don’t see anyone else addressing own friends are reporting their

97 Child and Youth Perspectives and Research teens especially are increasingly use Instagram privately - but blithely oblivious or dismissive strung out too and it’s a widely she wasn’t fully aware of the of the obvious extreme peril. My held belief that social media’s implications. Luckily I was on sensitive boy, Austin, now aged cranking up the pressure on it fast and closed her account eight, was really concerned by them and adding a multitude of down as a consequence. We had something he saw in a cartoon complications we didn’t have to to go over why it’s so crucial two years ago: deal with growing up. On the to be careful online. It’s harder “You know mum, I don’t one hand it’s positive that they’re these days for children to escape think young children should able to share their thoughts exposure to real world horror watch Looney Tunes because and concerns so readily and and atrocities and as a parent they show walking in the sky immediately, but if that just leads that worries me. As a content and that could encourage them to unresolved co-ruminating it creator it makes me even more to walk in the sky and fall down can make a difficult situation determined to give children and actually die. Tell the people worse. Of course kids need plenty of positive, life-affirming you know who make cartoons sensible, responsible support FUN content. that.” and guidance through their I try to write from a child’s It made me laugh but he was problems but sometimes it’s good perspective and from the heart being dead serious and I assured to try and persuade them to see even if that means recollecting him that I’d pass his grave the funny side too. How many my own childhood fears which concerns on, so CONSIDER of us have distracted a grazed are imprinted in full sensory YOURSELVES TELT, you child with a giggle? It works detail. I don’t see that as a ‘people who make cartoons’. with emotional hurt too, in my negative: on the contrary I think I’m serious about making personal experience. it helps me to be empathetic as children laugh because it’s very Children are now living it’s like a shortcut straight back important work. According to and developing dual identities: to the experience of being small. latest figures from the Office one in the physical world and I think having been an anxious of National Statistics, 10% of an alternate digital reality; child makes for very vivid, children in Great Britain aged and there are increased peer enhanced recollection as I was between five and sixteen have pressures and dark online hyper-aware of so many details a mental health problem, with places only clicks away. I was in my physical world and also I 4% of children suffering from horrified recently to discover had an overactive imagination! an emotional disorder such as that Tilly was being ‘followed’ It’s common for children to anxiety or depression. I know by individuals promoting pro- have everyday anxieties and first-hand that laughter is a great self-harming and pro-suicide phobias: to have nightmares and and reliable tool for dealing websites on Instagram after she be afraid of what lurks under with adversity in life. There are altered the privacy settings (that the bed, in the wardrobe, in physiological and psychological I’d set for her) from private to the wallpaper, in that dubious benefits to laughing. Laughter public so she could accumulate pasta sauce masquerading as diminishes fear. more followers. It was naughty ordinary, plain ‘red’ flavour... I’m currently developing and - I’d only agreed to let her It’s even scarier when adults are writing Bear, Bud & Boo - a

98 Children’s Media Yearbook 2015 brand new, adorable animated PEACOCKS!” by a wider audience, because comedy for Technicolour, aimed This was news to me. they give her something to at children aged four to seven Peacocks hadn’t featured in his discuss with her much younger - in which one of the main first four years as far as I was brother apart from, “Why do characters is nervous and beset aware... I won’t allow their flies eat poo?” with anxieties. Through this feathers in the house. They’re It’s great when, as a family, character I intend to shine a light very bad luck! we can find something which on common childhood fears – of What I do allow in the house makes us all laugh together the dark, separation, loud noises is copious cartoon watching. I which is age appropriate from and so on - but hopefully help believe I am doing the very best eight to forty-six. Comedy which to dispel them because in the for my children letting them connects us as a family is a joy context of the character they’re spend uplifting hours watching to find. And it’s increasingly very funny. When children can Cartoon Network. This is important for us to carry on laugh at what scares them the completely scientific: laughing bonding when generally our fear loses its potency. I watched feeds brain development by family media consumption habits my trypanophobic (needle- increasing blood flow to the have become more fragmented. phobic) thirteen year old have a brain. My kids don’t play the We subscribe to Sky and Netflix canula inserted on laughing gas flugelhorn or mudbath ballsports and we have a Nintendo Wii, last year so I know that for a at some ungodly hour on a Smart TV and fifteen social fact. It was totally hilarious for Saturday morning, but I will media accounts between us. her, albeit bizarre for me! insist they get up to watch I want the children’s media When I’m writing a comic cartoons with me at least for community to keep coming up character (any character for that an hour or so, no matter how with ace content to make my matter) I always imagine their much they protest they have kids swarm on the sofa together fears in great detail because they homework to do. It’s what with me and their dad (even spur that character to behave in a Saturday mornings are made though trying to squeeze five certain way, they’re a key (albeit for in my opinion. The eldest onto a three-seater is guaranteed often hidden) catalyst for action. is in MENSA so it obviously to cause a temporary kick-off!). Fears fascinate me because hasn’t been too detrimental. It’s just jolly nice being in close they’re so often surprising, Marlin made an interesting proximity even if the kids are idiosyncratic and funny. Prior point, actually, while we were all all second-screening and I’m to Austin’s first school trip enjoying The Amazing World Of covertly Facebooking on my to a safari park when he was Gumball, which was that, “it’s iPhone under a cushion... Of four he brought home a letter so cool to have something we course these days, whoever’s which asked parents to note any can all watch together, something sitting the shortest distance from anxieties their child might have: that’s genuinely funny, not adult the router has the last laugh! “Do you have any fears I or sweary or rude.” Approaching should tell your teachers about?” seventeen she still likes animated “Yes. Tell Mrs Tickle I have shows which are ostensibly for two fears. Lions ... and ... um... children but can be appreciated

99 Farewell

farewell

100 Children’s Media Yearbook 2015 Katy Jones 1963–2015 Barney Harwood

So, it’s around three years I also knew that the constant ago: a Sunday morning twitching in my left eye wasn’t around 8am. going to look too good in the I had been travelling through close-ups! the night on my return journey I met Katy at the front door from another Blue Peter of the location “Good morning, challenge and had managed Barney! I hear you’ve had a long about three hours sleep in the car journey?” she said with that park at Keele Services. lovely ‘mum smile’ thing she did, I knew I had a full day of then she reached to the table filming to look forward to; I behind and passed me a coffee knew it was for BBC Learning “You’ll be needing this then?” and I knew I was meeting this And that was it! lady, called Katy. I knew we were going to get

101 Farewell on famously! Not just because Much bigger than the caffeine inspire them to be creative, as Katy knew I liked it milky, but injection she gave me that day, a direct result of the emotion, because I came to know that her of course, was Katy’s ambition excitement and wonder of ten attention to detail and warm, for the Ten Pieces Project: an very famous pieces of music. compassionate personality was amazing concept with a clear The reaction we have had unstoppable when it had a focus! goal - to introduce children to from thousands of school And it always had focus: Katy the world of classical music in children all over the UK has been knew exactly how to get results. a way never done before - to absolutely overwhelming and they have taken their creativity to a whole new level we never Katy Jones imagined. Katy Jones was born and grew up in Dulwich, South It has been an absolute London. After attending Brasenose College Oxford, pleasure to be a part of Katy’s Katy joined Granada Television in 1987, where she dream and as we continue to worked on 25 World in Action programmes. Katy present the concerts up and was an active supporter of the Children’s Media down the country, although Foundation, especially in the early days of Save Kids’ hard and with a heavy heart, I TV Campaign. She was a firm believer in the benefits remember the ‘early days’ with of good media and the arts for children and young fondness and I know Katy would people and her imagination, tenacity and work ethic were an inspiration. be bursting with pride as the In 1994 Katy married Mike Spencer, then Head of orchestra explodes into action Granada Television’s regional programmes, and they and the children’s faces light up went on to have two children, Huw and Sarah. at every venue. Whilst at Granada Television, Katy was This is only the beginning appointed Factual Producer, researching Jimmy of a journey, a journey that was McGovern’s Hillsborough (1996). Katy’s credits are championed by an incredible extensive, from Jimmy McGovern’s Sunday (2002), woman. Her drive, ambition and Yasmin (2004) written by Simon Beaufoy, and Tony indomitable spirit will live on. Marchant’s Mark of Cain (2007). In 2011, whilst Not just through the project and serving on the Hillsborough Independent Panel, those who knew her personally, Katy was appointed BBC Learning Zone’s Executive but through the children’s lives Producer, commissioning over 130 educational and memories, who felt that dramas, documentaries and animations during the ‘spark’ for the first time and who following four years. Katy went onto devise the BBC’s ambitious Ten Pieces project, introducing have been inspired. schoolchildren across the UK to classical music. BBC Katy may not be here Director General, Tony Hall, considered it “the biggest anymore but her dreams and commitment the BBC has ever made to music energy couldn’t be stronger. education in our country.” And yes, I’m currently sitting in Keele Services.

102 Children’s Media Yearbook 2015 Terry Pratchett 1948-2015 Ann Giles (‘Bookwitch’)

“I’m going to need to not be allowed to read any book Her, and Neil Gaiman who interview him.” That even vaguely considered as adult? threw down a gauntlet I couldn’t was the thought going Now that I think of it, I don’t ignore, when he stated Terry was through my head that suppose she was using reverse unlikely to be signing any more day shortly after Terry psychology on me, the mother books. Pratchett received his of an eleven year old boy? I was Ten years on, and I celebrated knighthood. It had quite determined enough – and my son’s 21st birthday by dawned on me that so was he - that he would read: interviewing Terry - without he was high up on my so no ban on Pratchett was going the birthday boy - before interview wish list. Very to come between my child and Terry’s platform appearance at high up. A witch can but some of the most wonderful the National Theatre to talk ask, so that’s what I did books you could hope to find. about their dramatisation of his and Terry’s publisher And perhaps there would children’s book Nation. Random House didn’t have been no meetings with While Clare from Random actually laugh at me. Or Terry, or any buying of Mars House fumed over a late running not so I noticed. bars for him, or trips on interview with the BBC, I set my Many good stories begin with steamboats on the Thames in stuff up in the small rehearsal a librarian, and this one is no his company, had it not been for room and waited for Terry. Clare different, although the librarian a librarian who was more into brought a jug of water, looked was. Where would we have been banning than recommending. If round, and then beat the cushion without this stern gatekeeper that is the case, then I thank her in the chair I was intending for who felt that children should from the bottom of my heart. Terry. I heard his laugh outside

103 Farewell

in the corridor, and then it was across this? Have you been really would!” Terry displayed time. “Terry, here is Ann.” banned anywhere?” excitement at the prospect. “I “The Bookwitch?” “Oh heavens, please, tell know the books have their heart “That’s right.” me I have!” His voice rose and in the right place. And I know “Are you a witch in fact?” he sounded childishly happy. that the books themselves are “Sort of. Yes. And you’re “Actually, the Carnegie medal is, generally venerated. One critic more used to witches than the erm, voted for by librarians.” said that ‘at the heart of every average author, I believe.” “Yes.” Terry Pratchett book you’ll find “I have visited concentric “I think you must have a book’… So Agatha Christie circles in my time.” got...” would be OK?” “And she has a broomstick.” “... a really bad one?” “Well no, barely.” Clare left to loiter outside and “Yes. A really bad ‘may- “Barely OK.” keep track of time. there-be-a-circle-of-hell-for-such- “That’s why I asked what “Oh, she’s gone (he people’ librarian. Did you ask would be even worse, and that pronounced it ‘gorne’), I hope her why?” was you.” she’s going to come back. “I didn’t. I was stunned. “Well, Agatha Christie: Something like a Mars bar would I’d recently looked round a you have to get her out of your actually pick me up at this time... secondary school library which system sooner or later. Same Right, let’s go! We’ve got up until had a whole shelf of Discworld with James Bond. And then someone comes and gets me. I books.” you realise that not all murders don’t think it’s that bad. I think “I get a lot of letters like happen in one house containing we’ve clawed some time back.” ‘Dear Sir, We thought our son seven people.” “When my son was eleven was dyslexic and he wouldn’t “In the library.” I used to borrow ‘adult’ read anything at all, and then we Terry laughed. “We looked audiobooks for his bedtime gave him Terry Pratchett and he at a house twenty years ago, in listening - Agatha Christie, read all the way through Terry the West Country. We thought of and that sort of thing - from Pratchett and now he is professor buying an old rectory, which we the library, when one day the of comparative philology at the called the Cluedo house, because librarian said I couldn’t. Despite University of Oxbridge’. And I’m it was laid out like that, and it me pointing out I was his mother, not kidding, because I’ve been had a secret passage diagonally I was told it wasn’t right, and around for long enough now across. We thought, ‘wouldn’t it feeling puzzled I asked for an that the boys have grown up and be nice if we got sculptures made example of something really have got kids and in some cases of all the [murder weapons], like unsuitable for under-sixteens, grandchildren.” the lead piping, and put it in each and she said ‘Terry Pratchett.’” “So you’re keen on room?’” He laughed merrily. “What? A librarian actually promoting reading?” I asked Terry if he has any would... You say unsuitable?” “I would really like to meet child fans, describing an event Terry was flabbergasted. a librarian who didn’t like my for a children’s book I went to, “Yes, have you ever come style, and debate with them. I with only adults.

104 Children’s Media Yearbook 2015 “Was it for a children’s you get a smaller advance for a some things that are very, very book?” children’s book, irrespective of scary, in the sense of monsters, “Yes, it was Wintersmith, and the size of the book, than for an and... Have you met Philippa there were about four hundred adult’s, so if money was the issue Dickinson?” adults and half a child. I find that you probably...” “Yes I have.” your children’s books feel more “Then you wouldn’t.” “Well Philippa knows her profound than the adult books.” “You wouldn’t, I think... stuff, and likewise Anne Hoppe “Yes, I think that tends to There appears to be no shortage in the States. I occasionally check be the case. You can actually of fans. I would say that fantasy the boundaries, to be on the safe address issues that you probably is uni-age, because at one end side. But generally speaking, wouldn’t attempt to address in of the scale it’s got fairy tales, no matter how fearsome the adult books. There appears to which sometimes are woven into monster is, the important thing be a kind of freedom, which is my books. Enough people of all is the fact that that the monster fine, but at the same time there ages are reading enough of my gets defeated.” are certain shackles. Erm, when books for me to feel very happy. “That’s right.” you say ‘do children read your I never started reading until I “The betrayal is if the monster books?’” was about nine or ten, when wins. Because Tiffany has had “They obviously do. I think I discovered the library, and a relationship, which is clearly it was more whether they come wanted to read every damned over, and she thinks kind of to events, or whether your thing. I went not knowing they bitchy thoughts. She realises children’s books are really books were sexy novels, but read sexy she’s doing it, but there are little for adults?” novels and Tove Jansson and Just things... Part of the beginning is “Let’s address that one, then. William. I read anything that I set on the Discworld version of Nation won the Printz Award in saw, and I think, among children the Cerne Abbas giant, and there the States last year, which is the that read, differentiation between is a bit where you’re reading her highest Young Adult [YA] book ‘adult’s’ and ‘children’s’ gets thoughts. Describing the giant, award that you can get if you’re really quite blurred. Certainly just saying he had no trousers, not an American. Generally with Discworld, because it looks is simply just not sufficient to speaking the librarians that vote jolly. And with any luck there’s a describe his lack of anything... for this are a tough lot, and the librarian that will tell you it’s not and I thought ‘the kids will know same goes for both my editors, suitable for them,” he giggled. exactly what we’re talking about.’ and indeed librarians here.” “Can I just say something I watched my daughter grow Terry was speaking slowly, in passing on that? I’m just up and she was a great kind of clearly thinking how to put on the way to finishing I Shall marker for me. You know, how it, “they don’t want to see an Wear Midnight, which is the she got on with her friends and adult book go on the market as last Tiffany Aching, and that what they did when they were a children’s book. But there’s is more adult than YA because around the place. It seems to me an interesting, more practical she grows up. And so there are children are getting older.” point about that: the gap has matters of death. Not matters of At this point Terry was narrowed, but traditionally sex. And I wondered; there were interrupted by the theatre’s

105 Farewell publicist, saying we had five minutes left. “Have we really got five minutes? What I mean is, I don’t know how much time there is until I’m now on.” “Forty minutes.” “On the other hand, I’ve got to have something to eat...” “Yes.” “So, any more questions you want to ask?” I mentioned a friend of mine who wrote Terry a fan letter over twenty years ago, asking if he was going to bring Granny Weatherwax back, and in his reply Terry had said no. “She wants to know what made you change your mind.” “That would have been after Equal Rites.” “I think so, yes.” “Because when I decided to

write Wyrd Sisters, I thought, Chris Riddell by I llustration well, Granny Weatherwax is out This is going to be the last who read read anything, and there, and so, why not? What Tiffany and it’s probably true the kids that don’t: it’s amazing happens now is quite interesting, to say there is not a massive how many you can persuade. with characters that are small difference between my children’s Or appear to be persuaded by in one book, and later on they books and my adult books. I Discworld.” turn up and we see them in mean there is no explicit sex. The door opened again and the street or they become the Never been any good at that sort our time was up, so I quickly main character. In fact what of thing, you know,” Terry said whipped out my son’s copy of is ‘quite profound’ in I Shall with an embarrassed laugh. “‘It’s Good Omens, asking Terry if Wear Midnight, Tiffany goes to his poor wife that I feel sorry he would sign it, “because Neil Ankh-Morpork and there are for,’” he muttered under his Gaiman said that there was a a number of people we already breath. space reserved for you.” know whom she meets. It doesn’t “The books go out there “Oh, jolly good. Have you matter as far as the kids are and I’ve always been aware that got a pen there?” concerned, but it feels quite nice. fantasy is uni-age and the kids “Ah, you remember what

106 Children’s Media Yearbook 2015 you’re supposed to write do simply had to write, no matter something to say. you?” what it said on the contract for his Eight months on and Terry “More or less. My next book. “This one wrote itself hadn’t forgotten that our handwriting is now so bad. and dragged me after.” He felt the discussion was cut short, so he There may be a squiggle there adaptation for the stage was fairly asked to see me again. Note: that looks like a signature, let good. “You can’t have everything Terry Pratchett asked to see me! me just double-check.” I handed but that is nobody’s fault. The Obviously, I had to let him, and the book back again. “There we heart and the soul of the book this time I bundled up not only are, that fat thing at the bottom survived.” In some respects the missing Mars bar, but my which looks like someone’s... “ Terry thought the theatre version previously sidelined son (to take “Thank you.” might have been better, since the photos, and to serve coffee and “Thank you very much. I’m National had their “props and Discworld quotes as and when sorry we haven’t got longer.” tricks” to hand, while all Terry they were needed). “It’s been really good meeting had was “one lousy alphabet”. “You disconcerted me last you. Thank you for taking the And one thing you can’t have in a time by asking ‘do children read time.” book is a Greek chorus. your books?’” “Thank you for caring about The reason Terry set Nation in “Yes, I know.” children’s books. You do don’t a parallel world, albeit one similar “Would you like to expand?” you?” to our own, was that it was his “I reread it and realised “I do, but then you write ‘get out of jail free’ card; he could it didn’t come across terribly them so well.” write whatever he liked without clearly. It was more ‘do you see “I think that our job is to someone pointing out that he got them at events?’ Last night I saw turn children into adults, not it wrong. He knew exactly what one boy the right size. When encourage children to remain Mau’s island was like, having seen we went to your talk about children.” it in Australia and even made a Wintersmith it was just adults, “A bit like Mau [central model of it in plasticine. Terry and I thought ‘it’s a children’s character in Nation]?’ said he quite liked islands named book: where are the children?’ Terry was halfway out the after the calendar, with a special Or is it only adults who read the door, but stopped and considered fondness for the Mothering books and who come to events?” this; “well, Mau is turned into an Sunday Islands. “There were lots of kids adult by force of circumstances. While on the subject of at the convention, because But we’re getting into a subject dramatisations, Terry reckoned Discworld cons are very children which is not fashionable to talk Wintersmith would “make a friendly.” about.” He laughed as he was damned good play too.” Asked “But are they there because led off to face the audience in the if there might be more books they are children of fans?” Olivier, and possibly some food about Johnny [Johnny and the “Ah well, that might be the first. Dead; Johnny and the Bomb] the case. But the point I was going Terry continued on the reply was “it depends”. Terry to make is they are like Midwich topic of Nation and Mau in his likened it to a Quaker meeting: Cuckoos, because they’ve been platform talk. It was the story he you sit in silence until you’ve got brought up in a house where

107 Farewell parents read and venerate books, the horrible dark wood to get Dodger, which in turn will give and they might actually not read to the sunlight at the other side, today’s children a worthwhile Discworld at this point, but they and that’s why you can pull a kid reading experience. I know it did are reading something.” through the dark wood, provided my former eleven year old boy. “Yes.” you pull them right out of it. You He might have started with The “And when that happens you leave them in the dark wood, the Bromeliad, but that librarian realise you’ve scored one for our whole book has been wasted.” notwithstanding he went on side. Later this year I’m going to For I Shall Wear Midnight, to read every single new Terry a school where the headmaster Terry worried about the contents Pratchett novel, as well as most has presented every kid with for young readers. Both his of the older ones, and in a busy a copy of Nation. The whole editors told him that a kid who’s adult world with little time for school has been reading it. I shall old enough to read that book reading, there has always been also be doing a telephone thing in will know enough to understand time for Terry’s books. the States. There they care about what’s happening on the news. And now there is only going teaching about reading rather “I had a Mum who talked to be one more new book: Terry’s more than we do. Teachers and to me when I was a kid, and last gift to us, The Shepherd’s librarians seem to have a higher told me the stories that her Irish Crown; his (second) ‘last novel’ status. I don’t think enough grandma had told her. On the featuring his favourite character, British people care enough about walks to school she told me about Tiffany Aching. Terry himself what their children read.” things. Sometimes she got them has gone to join another of his “That might be true. If the wrong, because of what she could characters, and I won’t be alone Americans are different, then I’m remember about the Greek myths. in hoping Death is as friendly as glad.” Talking to kids is important and he seemed. “Well, the Americans who we don’t do it enough any more. Terry Pratchett made reading are different, are very different. Mostly because the parents don’t fun for millions, and he definitely That doesn’t mean there aren’t know how to do it. added a lot of pleasure to this as many uncaring parents but I think I’ve told you before, witch’s life during the five the Americans who care, they when I was around twelve and ‘interview and book launch’ try hard. I think I told you about thirteen I read every bound copy years. the mother who was reading of the magazine Punch. I didn’t “So where do you come from?” The Amazing Maurice [and his only look at the humour and “Sweden.” Educated Rodents] to her little the cartoons, I read the other “Sweden?” girl and there was a fraught bit stuff, which had the additional “Yes.” and she was very upset about it. advantage of me picking up a lot “Hahaha...” And the daughter wasn’t. She of Victorian vocabulary.” “It’s not that funny.” patted her mother and said ‘don’t This might be a fairly “Yes, hee hee, it is, it is. worry Mum, it will get better unlikely thing to happen today. Let me tell you a story, to get by the end.’ Because she had a Will it deprive future readers? ourselves warmed up.” child’s belief in narrativium. That Maybe. Terry’s Punch past will Thank you, Terry. It was fun. of course you have to go through have helped him when writing

108 Children’s Media Yearbook 2015 Terry Sue-Patt 1964-2015 Phil Redmond

When someone younger casting and shooting style, the and its pioneering Children’s than you dies there is quest for reality that I had set out Department. always that moment of in the scripts. We both wanted, No one arrives in any considered mortality. The as far as was possible, kids who position without interacting with realisation that death could instinctively do real things, others, and if I wrote Benny, can come at any time. rather than be trained to do them and Colin Cant cast Terry, then Or, as George Harrison as actors. credit must also go to Anna wrote, ‘All Things Must From the outset, Benny Green Home, Chair of CMF, but then Pass’. But when someone had to look like a footballer. Executive Producer of Drama passes who had become, Terry was. He had to look like and later Head of BBC Children’s whether they realised it or he knew what life was about. Programmes, for commissioning not, whether they wanted Terry did. And he had to have the programme. Then defending it it, or liked it or not, a resilience, yet vulnerability to through all the controversies and symbol of changing times, him, to become Tucker Jenkins’s antics of Tucker and Benny et al. the moment is even more sidekick. That too was Terry. Everyone’s life has meaning, poignant. Benny became something just as the time for farewell I didn’t know Terry beyond else. Something more. The comes to us all. Too often it is the occasional meetings on the opening face of the programme. difficult to immediately define set of Grange Hill but, as the Someone had to have that role a life, or point to a moment obituaries encapsulated, I did and it was fitting that it was that changed things for others. know what a symbol Benny Terry. And, in 1978, it was Those closer to Terry, beyond Green - the character Terry not just any face, but a non- the sorrow and sadness, can, portrayed - later became. An white face. From that first kick hopefully, take some comfort in image of a changing Britain. of the ball on screen, he was the fact that in using the football The casting credit belongs to destined to become a symbol skills that caught Colin Cant’s Colin Cant, Grange Hill’s first of Grange Hill, its role in a eyes he became the first face seen Director, who set the style of the changing Britain as well as the on Grange Hill and, because of programme by reflecting, in both ever-evolving nature of the BBC that, a symbol of change.

109 Farewell

REMEMBERING Rentaghost Jeremy Swan

An old boom operator Christopher Biggins hystericked, “Do you mind if I make a few came up to me at some “I can’t believe we’re getting changes?” I asked Monica Sims. do, “Ah, Rentaghost!” he paid for this!” Mind you, Julius “Not at all” - she was the said, “We used to love Caesar, rehearsing in the room most genial of bosses – then a working on that. All those below, weren’t best pleased with little stab: “We won’t be running OTT actors standing in a the thunderous thumps on their it for much longer so make what straight line, bawling their ceiling. changes you like.” lines out front!” In his autobiography, Just I did. I’d have preferred a more Biggins, Christopher writes, The genius behind cutting-edge comment on my “Rentaghost wasn’t just camp. It Rentaghost was Bob Block. A directorial skills - but at least he was way beyond camp.” writer responsible for Life with did say, “We all loved working I was handed the series by the Lyons, Pardon my Genie, on that.” Monica Sims, Head of Children’s Robert’s Robots, Galloping Everyone did. It was the Programmes, in 1977. Paul Galaxies! starring Kenneth greatest gas. Ciani, the original producer, Williams, and Grandad starring In North Acton Rehearsal was taking up a position in Clive Dunn. Rooms, rehearsing twelve adults Singapore. I had directed Bob was a dear, bespectacled jumping in the air pinching one episode of Rentaghost in man and totally above suspicion their noses (so they could Paul’s stead the day he had his for the madness, mischief and disappear in a jump cut) needed successful Singaporean interview, mayhem that emerged from his a LOT of jumping to achieve so I was a convenient choice to pencil. He hand-wrote the scripts synchronisation. A weeping take over the series. and his wife, Madeleine, typed

110 Children’s Media Yearbook 2015 them in camera script format Nanny ghost (Lynda Marchal). for the convenience of my loyal Lynda was a very talented PAs – Susie Needle, Mary Baxter, actress and the audience liked Cassie Brabon, Joan Marine and her character – so I wasn’t Jillie Sutton. David Crichton overjoyed when she said she directed the film inserts and ran wanted to leave after one series. the studio floor. Susie Needle put “Leave?! To do what?” “Write.” my credit up as Producer: “You Lynda Marchal, the very talented can’t do that,” I squawked, “I’m actress, left to become Lynda La not a producer!” “Well, you are Plante, the super-talented writer. now!” she said. So I became the The Nanny character was Rentaghost ran Producer, and the Director, of magnificently recast with Sue from 1976 to 1984. Rentaghost. Nicholls as Nadia Popov. She It became a cult TV Michael Staniforth played had a ‘little bit’ in Coronation show. There’s a big Mr Claypole, the jester ghost. Street so we had to work around Google source and During the series he became a that. The ‘little bit’ in Corrie is I’ve heard that Ben West End star of A Chorus Line, still going strong after nearly 40 Stiller is to make a Starlight Express and Sweeney years: Sue plays Audrey Roberts. Hollywood movie Todd. Heavies from Cameron Kenneth Connor joined of it, produced by McIntosh’s would turn up in as a forgetful ghost, Mr a Patrick Pidgeon. the studio to whip him away at Whatshisname Smith and Aimi To the hundreds six o’clock for the Drury Lane MacDonald was Susie Starlight, that worked on it in curtain up, so all his scenes had the ghost of a pantomime fairy. the good old BBC to be shot in time. Bob introduced Mr Claypole’s Television Centre Edward Brayshaw played Mr medieval boss – the dreaded days, it’s still an Meaker, the ghosts’ manager. Queen Matilda, tyrant of the enduring happy Michael Darbyshire was Mr XII century - played by Paddie memory and I was Davenport, a Victorian ghost O’Neil. She had her entrance privileged to be its and Tony Jackson played Fred in a psychiatrist’s office which producer 1977 to Mumford, a modern ghost. was being visited by the ghosts’ 1984. Betty Alberge and John Dawson permanently stressed neighbour, played his perplexed living Mr Perkins. Whilst prone on parents. The cast regulars swelled the couch, the psychiatrist was with the arrival of the ghosts’ sounding him out with his beleaguered neighbours, Mr and stethoscope. So only Mr Perkins Mrs Perkins (Jeffrey Segal and heard the ghostly fanfare. Hal Dyer); Hazel the McWitch Through the wall, behind the (Molly Weir); Adam Painting, a shrink, Queen Matilda processed local store owner (Christopher with her courtiers and out Biggins) and Tamara Novak, a through the opposite wall. Mr

111 Farewell

Perkins sat up, gibbering. Weir, as Hazel the Mcwitch, Weir had tears cascading down “What’s the matter?” asked wore full witch’s garb, including her golden painted face. Sue the psychiatrist a lethal pointed hat which had Nicholls, fully aware of a retake, He replied: “I’ve just seen an the wherewithal to stab out mimed to her off-camera dresser old queen walking through the anyone’s eye if they got too near, to get her a cup of tea. Michael wall!” so there were never obscured Staniforth guffawed all through close-ups of Miss Weir! his lines. The scene ended. I One series coincided Ann Emery (Mrs Meaker jumped up from my director’s with the release of the movie – Ethel) has just completed ten chair, yelling, “I’m going down The Exorcist, which scared the years as Billy Elliot’s grandma in to the floor to murder them!” As pants off cinemagoers in the the Victoria Palace. I stormed through the adjacent 1970s. Extremists approached We rehearsed the shows room of lighting and rack the BBC saying that Rentaghost Monday to Thursday in North operatives, the PA told the Floor had the potential to make the Acton Rehearsal Rooms. On Manager via the production nation’s kids achieve 360 degree Friday evening we recorded the mic that, “He’s on his way head swivelling; emit guttural episode in the Television Centre down to murder them.” But the obscenities; and master projectile studio, after camera rehearsal lighting and the rack ops were all vomiting. This, of course, had to all day. On Saturday I edited laughing. be avoided at all costs. Judicious and delivered a VHS copy to “What’s so funny?” I asked. changes of the signature tune Jonathan Cohen, the composer, The Lighting Director were made, omitting words to write the incidental music answered, “That was. We don’t like ‘ectoplasm’ and changing in a week. He would give me a know what they were laughing at Mr Claypole’s character from a music tape of the previous week’s but, whatever it was, it made us ‘poltergeist’ to a ‘mischievous episode and on Sunday we all laugh too.” sprite’. dubbed all day with a nightmare I went back to my chair. If it system called S.Y.P.H.E.R. ‘Tired’ made that lot laugh, the audience In a Christmas special, wasn’t in the vocabulary! would as well. Mr Claypole magicked the The evening recording was “Next scene!” I announced Pantomime Horse alive. Dobbin planned to go without a hitch. into the microphone. became a regular cast member, All horrors had been ironed out Howls of protest from the gamely played by Bill Perrie in in the camera rehearsal. The cast: the front and John Asquith in the first scene had to include the “We were corpsing!” back, both trained dancers. In opening titles and the signature “I couldn’t say my lines!” one episode, Dobbin, in full tutu, tune; this was preceded by a “I wet my knickers!” danced the Grand Pas de Deux countdown on the VTR clock. “It’s all Biggins’ fault!” of Chopin’s Les Sylphides with a Christopher Biggins farted during I switched on the tannoy mic: garden gnome in a moonlit idyll. one countdown and this reduced “Let the audience and your There was nothing sacred in him and the cue-awaiting cast agents see what amateurs you Rentaghost! to naughty hysterical laughter. are!!” The four foot high Molly They could hardly speak! Molly

112 Children’s Media Yearbook 2015 113 Afterword Joe Godwin

My first day back to work just stayed: Going Live, Live and have shrunk and new entrants after Christmas this year Kicking, Blue Peter, Children’s have changed the funding and was the first day since Presentation, Nickelodeon, production models forever. June 1989 that I hadn’t back to the BBC as Head of The other thing that hasn’t been heading off to do Entertainment, and finally, changed - perhaps surprisingly something to do with Director in 2009, just before given all that has - is the standing children’s media. This we headed up to Salford. (I’ve of the UK children’s production January, after five years as missed a few forgettable titles out and broadcasting industry in the Director of BBC Children’s of this summary.) eyes of the world. Wherever I’ve and 26 years in the genre, Throughout those 26 years, been in the world talking about I’d leapt into a new world, from trainee AP to Director children’s content, the respect for running the BBC Academy of Children’s, so many things UK producers and the BBC has and BBC Birmingham. have changed (including the risk not diminished. This is a precious It’s been both odd to not assessments for filming involving asset I truly hope can continue. be part of the world of car crashes!): there’s the number And I hope to continue my children’s, and also it’s of TV channels; the inexorable connection with UK children’s been challenging, learning rise of on-demand and YouTube; content - as Director of the BBC a whole new set of stuff, and the huge move away from Academy - helping the BBC and people and priorities. It’s studio production skills to the industry keep ahead of the given the lie to the phrase self-shot location filming. But game on skills and finding the ‘a change is as good as as much or more remains the new, diverse talent we need. a rest’! same: the special community And also - as Director of BBC That first day in 1989 was on of children’s media which Birmingham - thinking how Record Breakers - coincidentally organisations like the Children’s children’s genre might play a working under producer Media Foundation and the role in a new Midlands creative Greg Childs, now a leading Children’s Media Conference industries story. light of The Children’s Media embody; and the determination As many of you know, I’ve Foundation. I think we were of everyone in this genre to always enjoyed having the last filming some ‘experts’ trying produce the highest quality word. And this may be my last to roll cars over on purpose: content that focuses on the most last word on the subject of the apparently there was a world discerning audience. And all wonderful world of children’s record to be beaten. And then I whilst budgets and schedules media.

114 Children’s Media Yearbook 2015 In the Blue Peter garden with former Heads of BBC Children's (from left to right): Nigel Pickard, Lorraine Heggessey, Edward Barnes, Anna Home, Joe Godwin, Dorothy Prior, Richard Deverell, Roy Thompson

115 Contributors

116 Children’s Media Yearbook 2015 Lady Rabia Abdul‑Hakim Foundation (CNCF) Silver Star. King of Dreams, as well as the Rabia Abdul-Hakim, A profound speaker, she has series Teenage Mutant Ninja affectionately known as spoken for TEDx and was also Turtles; Captain Star; Budgie ‘Lady Rabia’, is one the commissioned by the Cayman the Little Helicopter; The Mad Cayman Islands’ most inspiring, government to creatively address Cow; and many other specials personalities: an author, issues like food security and and series. His most recent illustrator, speaker, performance gender equality. special was The Great Fall and poet, master storyteller, Now living in Stratford- he is currently developing new playwright, and entrepreneur and upon-Avon, her company, TV series as well as mobile real-life heroine. ContessaBlack Entertainment, game apps. He is a member of She has been a lifelong develops multicultural children’s Animation Ireland, BAFTA and ambassador for the Cayman media. She is a Patron of the the European Film Academy. Islands across various fields CMF and a member of the including sports, media, arts Society for Storytelling and the Ken Anderson and culture and gender equality. Saudi-British Society. Ken is the CEO of Edinburgh A corporate diplomat with based Red Kite group of over a decade of international Michael Algar companies, of which Red Kite experience in entrepreneurial and Michael Algar has worked for Animations, the company consulting roles, she has worked fifty years in the film industry. he founded, is a part. Other for high profile clients and After years of producing TV businesses include Red Kite organisations in the private and commercials and sponsored Distribution and the ‘light- public sectors in the Middle East documentaries, he was bulb’-to-screen animation and in the Cayman Islands. appointed first Chief Executive services of Red Kite Studios. In 2011, she became a living of the Irish Film Board in 1982. Red Kite continually invests luminary for single-handedly In that capacity, he supervised in an extensive development bringing her six children from the financing of selected feature slate and is actively looking the Kingdom of Jordan. Eight and documentary films by Irish for new business opportunities months later she launched the filmmakers. Also, he represented within the children’s media Cayman Islands’ first culturally- Ireland on committees in the industries. Shows currently in inspired children’s media European Union and the Council pre-production include Bradley property, Kaa Kaa & Tokyo. of Europe concerning the and Bee, with more on the way. The sole hand-drawn development and improvement Other credits include: 64 Zoo cartoonist from the Caymans, of film industries in Europe. Lane; Dennis and Gnasher; Ask the Founding Patron of the BIG Since 1989, he has Lara; Wendy; Pablo the Little Draw KY Family Arts Festival specialised in producing Red Fox; The Imp; The Secret and the host of numerous art and animation both for cinema and World of Benjamin Bear; cultural workshops, Lady Rabia television. Credits include the Bionicle; Wilf the Witch’s Dog. was recognized in 2014 with feature, Christmas Carol, and Key areas: Business and Creative the highest award for creativity: series, The Storykeepers. He also Development, International co- the Cayman National Cultural produced the feature Joseph, production & finance.

117 Lady Rabia Abdul‑Hakim Michael Algar Ken Anderson

Daniel Bays Kerrie-Ann Bernard Greg Childs

John Chisham Natalie Coulter Sophie Edwards

118 Children’s Media Yearbook 2015 Website: www.redkite-animation.com in communications studies at Media Foundation. Greg is a Facebook www.facebook.com/ York University, Canada. Her Fellow of the RSA and a BAFTA RedKiteAnimation primary area of interest has been member. LinkedIn: www.linkedin.com/ Canadian broadcast policy and company/red-kite-animation children’s programming. She has John Chisham Twitter: @redkiteanimatn presented papers at conferences My name is John Chisham. I Daniel Bays at York University and at the am a living/ functioning teenage Passionate about creating Canadian Communication schoolboy from Cambridge, who outstanding content on all Association at Brock University. enjoys writing and is in a band. platforms, Daniel Bays created Working with Professor Natalie I have written numerous plays, and produced the multi- Coulter, Kerrie-Ann is currently songs and stories; particular platform, physically interactive, completing a thesis paper favourites include my farcical international hit preschool focusing on the unique use of comedy ‘The Widows Club’, my animated series, Tree Fu Tom interstitial content by Kids’ CBC Shakespeare parody ‘Forbantzio’, (for CBeebies and Fremantle to broadcast distinctly Canadian my physical theatre piece ‘Chefs Media). content to a children’s audience. on the Titanic’ and material for Daniel started his career in my indie rock band ‘Kermode creative development - creating Greg Childs Sprit’. I am currently studying shows, brands and formats Greg was a director, producer Drama, Media Studies and for BBC Science and Factual and executive producer of English Literature at A Levels. Entertainment - and worked children’s programmes at the I’ve also been in a Branston up through the ranks of TV BBC, where he also created the Pickle advert, which is always production to produce and direct first BBC children’s websites an excellent icebreaker. I like documentaries before moving and developed and launched the spending time with my family in to BBC Children’s to develop children’s channels CBBC and - mum, dad and two younger and produce big new ideas, CBeebies and their interactive sisters - as well as my friends. interactive digital experiences services. From 2004, Greg Also, as you’d expect from your and brands (live-action and advised many companies on everyday friendly neighbourhood animation) for all platforms in their cross-media strategies. teenager I enjoy watching TV both CBBC and CBeebies. He also worked on the launch and sleeping. Following college, Currently Daniel is of Teachers TV and the CITV I shall be studying drama at developing new shows and channel, and spent three years university, as well as washing digital experiences for CBeebies as a consultant to Al Jazeera my own clothes,which genuinely that will hopefully become Children’s. Greg is currently scares me. After university I plan the next big cross-platform Head of Studies (Interactive to pursue a career in the creative properties. and Transmedia) at the German industries as a writer and/or actor. Akademie Für Kindermedien; Kerrie-Ann Bernard Editorial Director of the Natalie Coulter Kerrie-Ann is currently Children’s Media Conference; Natalie Coulter is currently completing an honours degree and Director of the Children’s an Assistant Professor at York

119 Jenny Ehren Ann Giles Joe Godwin

Stuart Harrison Barney Harwood Beth Hewitt

Jon Howard Josie Kelly Sachiko Kodaira

120 Children’s Media Yearbook 2015 University in the department of work covers all aspects of invites the great and the famous Communication Studies. Her children’s lives, and across from the children’s book world research interests are in girls’ the age range from preschool to contribute. studies, critical advertising to college and university. She After a degree in English and studies and the media of focuses on qualitative research Swedish from the University of children and young people. Her techniques for the most part, Gothenburg, Ann married her book Tweening the Girl: The consulting primarily with husband (quite a coincidence) Crystallization of the Tween children but also with the and moved to the UK where Market has been published by adults involved in their lives, she did very little until her two Peter Lang’s Mediated Youth such as parents, teachers and children arrived and forced some series. She has published other youth professionals. Her activity from her, as well as in the Canadian Journal of key areas of interest are media re‑introducing children’s books Communication, Jeunesse and use and behaviour; education into her life for the third time. Popular Communication. She is and careers; and social issues The children grew, and so a founding member of ARCYP concerning and relating to young did her preoccupation with (Association for Research on people. books, until 2007 when she the Cultures of Young People). She is also closely involved sprung into complete Bookwitch She presently has two research in the regular programme mode and finally had a genuine projects underway, one of the of published research at reason for bothering authors history of children’s cultural CHILDWISE. She is lead and asking for free books. Her industries in Canada; and researcher for the annual heroes are surprisingly willing another on the embodied tween: Preschool Report which to be interviewed and to do living girlhood in global and establishes key behaviour things for her. digital spaces. patterns among preschool Bookwitching is a full time children, and she contributes to hobby that brings in no money. Sophie Edwards the annual CHILDWISE Monitor Quite the reverse, mostly. Some Sophie Edwards lives in Report which tracks children’s adult crime has found its way Manchester, she is a year nine media use and purchasing into this children’s books area, student and is about to begin her behaviour. and Ann has a special interest GCSEs. She enjoys art, sports, Jenny has two young in fiction and non-fiction in and plays netball for her school children, one at nursery and relation to autism. There is also team. She hopes to pursue a one at primary school. She is a CultureWitch for films, television career in the arts. Outside of member of the Market Research and anything else vaguely school she enjoys meeting up Society and the Association of cultured, and occasionally the with friends, baking and going to Qualitative Researchers. Swedish Bookwitch sticks her the cinema. head above the parapet when she Ann Giles has something to say. Jenny Ehren Ann Giles is senior writer at Do contact Ann (via the Jenny Ehren has been a children’s Bookwitch. In fact she is the only Bookwitch site) if you are able researcher for ten years. Her one there, apart from when she to introduce her to J K Rowling,

121 Cat Lewis Russell Miller Megan Nicholson

Simon Parsons Alison Preston Phil Redmond

Chris Riddell Andy Robertson Angela Salt

122 Children’s Media Yearbook 2015 but please don’t send any more Production and VP Interactive Barney Harwood Harry Potter clones. Director. Joe returned to Barney has always been a keen https://bookwitch.wordpress.com the BBC in 2005 as Head of entertainer and made his first Children’s Entertainment, and television appearance at just Joe Godwin in 2008 became Head of News, two years old when he was Joe is Director of the BBC Factual & Entertainment. interviewed by a local TV Academy, the UK media Joe is a member of the station. His first love is music; sector’s biggest skills trainer. Advisory Panel on Children’s he has been playing the piano He is also head of centre for Viewing of the British Board and guitar since the age of six, so BBC Birmingham. As Director of Film Classification. naturally decided to pursue this of the BBC Academy, Joe is as a career as soon as he could. responsible for putting training Stuart Harrison When he was seventeen years and development at the heart Stuart Harrison is an award- old, he sent a tape to Take That of the BBC. As Director of BBC winning character designer and manager Nigel Martin Smith, Birmingham, he’s responsible cartoon illustrator with over who spotted potential in Barney for pan-Birmingham BBC twenty years of experience and signed him up for his latest initiatives, developing external across children’s media and the project as part of a boy band partnerships, and the overall communication design industries. called Goal who then went on leadership of the Birmingham He established Fun Crew in 2006 to appear on television shows sites. Previously, Joe was Director with his wife, writer Angela Salt. such as Children’s Ward and then of BBC Children’s, responsible Together they create original a tour of the UK as part of the for all of the BBC’s services for and marketable properties Mizz Road show of ‘98. children on CBBC and CBeebies. and children’s content with an Barney turned his hand After reading History emphasis on animated comedy, to acting, filming extra work at Manchester University, strong storytelling and great for Hollyoaks, Brookside, Joe joined the BBC in 1986, characters! Coronation Street and Cold working at BBC Southampton Fun Crew are currently Feet which eventually led to him in regional news. In 1989 developing Bear, Bud & Boo, an landing a role alongside Frank he joined the Children’s adorable animated comedy with Skinner in the sitcom Heavy Programmes department as global partners, Technicolor, for Reavie. Barney then went on a trainee, and worked as an children aged 4–7. to present a digital TV show assistant producer, studio Stuart and Angela have known as Whereits.at, which director and producer on shows three children aged sixteen, was broadcast live from the such as Blue Peter, Going Live thirteen and eight. Stuart has Trocadero centre in London’s and Record Breakers. From a bigger toy collection (vintage West End, it was here where 1997 to 2000 he was Editor TOMY robots, urban vinyl and he developed his skills in live of Children’s Presentation. In Star Wars) than all three put television presenting. 2000 he moved to Nickelodeon together... In 2001 BBC Bosses asked UK, holding a number of posts him to join the team at CBBC, including Head of Original where he has been entertaining

123 Peter Saunders Jeanette Steemers Jeremy Swan

Alice Webb Agnieszka Weglinska Helen Wheatley

Lynn Whitaker Flora Wilson Brown Ruth Zanker

124 Children’s Media Yearbook 2015 the nation’s children ever since. Attenborough with whom he Image Festival in collaboration Over his thirteen years at the filmed the children’s series of with Cornerhouse (now HOME). BBC, Barney has become a Inside Life. Beth sits on the Royal Television popular face: initially through Barney joined the BBC’s Society (North West) Committee his work on the flagship Sunday flagship children’s show Blue panel, producing and supporting morning show Smile alongside Peter in January 2010 and is still events. his friend, Nev the bear. Barney proud to be sailing on board Beth moved to University was awarded a BAFTA for best what he says is “the best boat in of Salford in 2008 as Senior TV presenter after spending kids telly”. Lecturer in Media Practice, six years there. He also won where she led the MA Best Script and Best One Off Beth Hewitt Documentary programme and Film at the Kidscreen awards in Salford International Media went on to write the MA Media New York for the Newsround Festival Director Beth Hewitt is Production: Children’s Television Special – Gone. More recently, also Director of Conversion for Production programme, which he presented another special on the School of Arts and Media, she currently leads. Alcohol which was also awarded and Programme Leader in MA @bethhewitt1 a BAFTA. Children’s Digital Media, at the BestFest13 - Instagram Many children recognise University of Salford. Barney from Bear Behaving Beth’s love of the media Jon Howard Badly where he stars alongside industry began with two weeks Jon is an Executive Product Nev the Bear and Mr Angry work experience at Cosgrove Manager for BBC Digital, Pants, here Barney established Hall Productions. After three working closely with BBC himself as a natural comedy years at University of Warwick, Children’s and youth brands to actor in a lead role for the BBC. she got her first job in the deliver interactive experiences. Barney also wrote the theme tune industry at Granada ITV where This role entails developing and music for the show. she went onto research, direct and delivering audience focused As well as a string of and produce arts programmes products that deliver strategic successful shows such as Crush; and factual documentaries. She value to the BBC. The process Totally Doctor Who; Sorcerer’s went onto produce and direct for involves working alongside Apprentice; Smokehouse; BBC Factual Entertainment. Interactive/TV producers, User Barney’s Barrier Reef; Barney’s Beth then moved to the Experience experts, the BBC Latin America; Natural Born National Media Museum as Research and Development Hunters; Silent School; Smile; producer within the Learning department and many of the Basil & Barney’s Swap Shop; Department, followed by two world’s best digital agencies. Bear Behaving Badly; and years at Urbis in Manchester, Jon had a lead role in the the extremely popular Prank creating projects and bringing massively successful CBeebies Patrol (which he also wrote media industry practitioners and ‘Playtime’ app and over the years music for), Barney presented young people together. Whilst has designed, developed and the BBC Proms at the Royal at Urbis, she also became co- lead on hugely successful games Albert Hall alongside Sir David director of Exposures Moving for major UK and international

125 kid’s brands - including Doctor Kodaira has been conducting ‘Children’s Television: Trends Who; Scooby Doo; Tree Fu various kinds of studies around the World’ (2005); and Tom; Rastamouse; Shaun the regarding children and media ‘Where does educational TV go?’ Sheep; Charlie & Lola; Dick & and the educational use of (2005). Dom; Horrible Histories; Escape media at the NHK Broadcasting from Scorpion Island; and many Culture Research Institute. Cat Lewis more. She studies both the Japanese Cat is a BAFTA and Royal Jon takes a keen interest situation and international Television Society award- in creativity, innovation, and trends. She also served as an winning Executive Producer, technology advancements: he is educational affairs commentator who runs her own Manchester a creative coder, a prolific game- on NHK Radio and TV 2000– based independent, Nine Lives maker, a speaker at international 2009. In 2006, she served as Media, employing between 20 conferences and an enthusiastic a Jury member for the JAPAN and 40 programme makers at mathematician/statistician - PRIZE, which is an international any one time. The company with a great passion for BBC contest for educational media makes documentaries, children’s Children’s, digital media and started in 1965 by NHK. programmes, current affairs, interactive experiences. She is a member of the Japan factual formats and drama Association for Educational documentaries for BBC One, Josie Kelly Media Study [Vice President, Channel 4, Channel 5, BBC I am an eighteen year old A level 2009-2015], the Japan Society Three, CBBC, C&I Network and student who has a life plan but for Studies in Journalism and TLC (The Learning Channel in no idea how to get there. I have a Mass Communication [Board USA). passion for left wing politics and member, 1997-2001] and the Nine Lives recently created more or less anything else that Japan Society for Educational one of the highest rating new you can paint a protest poster Technology. She has taught factual series on any channel. for. I love cats and have a pure on a part time basis at Sophia BBC One’s Pound Shop Wars hatred for writing essays and University (Tokyo), Osaka attracted a consolidated audience anything with six or more legs. University, The Open University of 7 million and has won critical I love debating and arguing and of Japan, and more. acclaim. always seem to come across the Her recent publications Nine Lives made the first ever most obnoxious and arrogant available in English via her programme about a transgender people who need to be told website include ‘Trends in World child to be commissioned by they are wrong. I’m also very Educational Media: Based on CBBC – ‘I Am Leo’ – and the sarcastic. Entries to the JAPAN PRIZE BAFTA winning film ‘Me, My since 2000’ (2011); ‘Advancing Dad & His Kidney’ as well as Sachiko Kodaira Digitalization in Japanese ‘The Burns Club’, ‘One Way Since joining NHK (Japan Classrooms and the Future of Ticket’ and is in production with Broadcasting Corporation), Media Use in Education: From ‘Walking with Elephants’ for My Japan’s only public broadcaster, the 2010 NHK School Broadcast Life. in 1977, Sachiko Imaizumi Utilization Survey’ (2011); The company is a regular

126 Children’s Media Yearbook 2015 supplier to BBC Current all over the globe to any digital herself and her peers to develop Affairs and one of just three device. (Learn more at www. this year (in skills such as UK independent production planetwonderreel.pw.) scriptwriting; casting; camera companies with an output deal A writer and filmmaker, work; production management; for Channel 4’s Dispatches. Miller has reported for The directing; and editing), she Cat has been on TV’s trade New York Times, Los Angeles would like to explore more of association PACT’s national Times, Rolling Stone, GQ, Life the independent side to television Council for four years and is and New York Public Radio; production in the big city. its former Vice Chair. She is he’s written documentary films Megan is a keen researcher: also Chair of PACT’s Nations for Turner Network Television, she has worked with young & Regions Committee. Nine the American Film Institute, and children and studied media Lives is the Manchester partner the Juilliard School of Music. audiences and theories since A member of the Creative He has taught on the politics Level. She also has a very varied Industries Foundation; Cat is and ethics of communications taste in music, film, and TV, and the founder and chair of the (Hunter and Baruch Colleges, loves extreme sports, and being North’s Indie Club; is Vice City University of New York), in the outdoors. Her passion for Chair of Creative Skillset’s TV child development (Queens children’s storytelling began as Panel; is on the North’s Creative College, CUNY), and journalism a youngster and has stayed with Skillset Panel and is on the RTS for children (Radcliffe College, her throughout her career. Committee in the North West. Harvard University). Trained as Megan has been involved in a developmental psychologist, the running of local children’s Russell Miller Miller also conducts research on book festivals, she has partaken Over the course of more than the psychometrics of cognition in 4Talent Days, volunteered at three decades, Russell Miller at the Graduate Center, City the UK’s largest Documentary has created electronic, print, live University of New York. Film Festival, Sheffield Doc and transmedia properties for Fest, as well as being a regular clients from Sesame Workshop, Megan Nicholson volunteer for the Children’s Disney and PBS stations, to the Megan Nicholson is nearing Media Conference. Metropolitan Opera. He was the end of her Master’s degree the first - and only - director of in Children’s Television Simon Parsons education at Noggin and The Production at the University Simon is an Amnesty N, Nickelodeon’s educational of Salford. Upon graduating, International award-winning channels for preschoolers she wants to take on the role filmmaker with 29 years of and young adolescents. of a junior researcher within broadcast experience and the He’s now CEO/Founder of an independent production former head of BBC Children’s WONDERREEL©: the first company, based in London. in Scotland. It was in 1997 that online video/social platform She says that, although he began making programmes designed especially for 6-11 The University of Salford’s for the children’s audience. He year olds, streaming quality building at MediaCityUK, has quickly rose through the ranks children’s entertainment from been the best environment for to become executive producer

127 of Live and Kicking and the since 2005 in the areas of take-up Phil has devoted almost all Saturday Show broadcast live and use of different media, with a of his time to public service for three hours every Saturday particular focus on internet habits including taking the high on BBC One. In 2005 he joined and attitudes. profile public role of Deputy the network board of BBC She joined Ofcom in 2003, Chair and Creative Director of Children’s and became head of and previously worked as a Liverpool’s year as European children’s production for the research consultant in digital Capital of Culture 2008, which BBC in Scotland. While he was in media policy and independent many have said would not charge, the department produced TV production business models. have had such a positive effect a fifth of the BBC’s network She has a doctorate from the on Liverpool’s renaissance children’s television programmes University of Stirling which without his involvement. Phil and won three BAFTAs. examined the development of the has also chaired the Merseyside Alongside departmental UK’s TV news industry, and has Entrepreneurship Commission success Simon had a personal carried out a number of multi- and the Knowsley Youth triumph winning an Amnesty country analyses of TV news Commission. International Media Award coverage of conflicts. As well as continuing local as producer of a documentary charity work across Merseyside about asylum seeker children, Phil Redmond and Cheshire, Phil is Chair of: called the Glasgow Girls. As Phil Redmond was awarded National Museums Liverpool; well as producing Teacup Travels his CBE in 2003 for ‘Services The Institute of Cultural he is now writing fiction for to Drama’, as a consequence Capital, a joint initiative 8-12 year olds and a nonfiction of his innovatory television between Liverpool John Moores book about modern childhood career at Mersey Television that University and the University of titled Remember the Kindness of included Grange Hill, Brookside Liverpool; Liverpool’s Mayoral Strangers. and Hollyoaks. Many went on Commission on Creativity; from Mersey Television to forge and The Independent Advisory Alison Preston distinguished careers in their Panel to the UK City of Culture Alison Preston is head of media own right. programme that awarded the literacy research at Ofcom, Alongside this career, Phil, title to Derry-Londonderry in the independent regulator and together with his wife Alexis, 2013 and Hull for 2017. competition authority for the UK also supports many charitable communications industries. and public sector causes Chris Riddell She leads Ofcom’s media becoming major benefactors Chris Riddell studied at the literacy research, which provide a across Merseyside, including Epsom School of Art and wealth of data on the media habits Liverpool John Moores Design and was a student of and opinions of children aged University, National Museums Raymond Briggs at Brighton 5–15 and their parents, and adults Liverpool and Alder Hey Polytechnic. As well as working aged 16+, interviewing over 6,000 Hospital. as a political cartoonist for The people annually. Its Media use Since he and Alexis sold Economist, The Independent and attitudes reports show trends Mersey Television in 2005, and The Observer, Chris has

128 Children’s Media Yearbook 2015 created an extraordinary range works in Brighton. He has just starting Fun Crew she worked as of books which have won many been appointed as the new a successful editorial illustrator illustration awards including Waterstones Children’s Laureate and educator tutoring in the UNESCO Prize and the for 2015-2017. illustration, ideas generation Greenaway Medal (twice). These and development, and art include the highly-acclaimed Andy Robertson direction for advertising and Ottoline titles and the 2013 Andy Robertson has three communication media design Costa Children’s Book Award- children aged seven, ten and at Kingston, Manchester winning Goth Girl and the twelve. He is a freelance Metropolitan and Salford Ghost of a Mouse. Chris has journalist specialising in family Universities and The School also achieved international technology. He writes for Of Communication Arts in success through his best-selling national newspapers and appears London. She draws on her visual collaboration with Paul Stewart on broadcast TV as a family arts background when creating (The Edge Chronicles) and gaming expert and runs the new ideas for children adding through his illustrated works YouTube channel ‘Family Gamer great characters, imaginative for other high-profile figures TV’. storytelling and fun ideas! As a including Neil Gaiman and the Drawing on a theological writer she’s worked in comics, comedian Russell Brand. training, his perspective of games publishing and comedy. She’s As an artist and illustrator as potentially meaningful and the author of three books for in command of a variety of culturally significant experiences Scholastic. forms and genres, ranging led to a TEDx talk; a video-game Fun Crew are currently from political satire to picture led service in Exeter Cathedral; developing an adorable animated books, graphic novels to and exhibiting games at schools comedy, Bear, Bud & Boo, crossover fantasy, Chris and arts festivals. with Technicolor, which Angela Riddell demonstrates a broad originally created and is currently understanding of visual Angela Salt writing. communication for all ages. Angela Salt is a writer, creative He has also been celebrated producer and co-owner of Fun Peter Saunders for his inclusion of themes of Crew, an independent children’s Peter Saunders studied ‘otherness’ and of tolerance content creation studio she animation before developing to a young audience without founded with her husband, his puppet making skills on ever becoming didactic or Stuart Harrison, in 2006. They Jim Henson’s feature film pedantic. Coupled with his have three children aged sixteen, The Dark Crystal in the early classical drawing ability, Riddell thirteen and eight and live by the 1980s. He later learned to adapt has earned the respect and seaside in Southport. and miniaturise animatronic adoration of diverse audiences Angela is a keen advocate of mechanisms, which enabled him across several generations. the CMC and UK@Kidscreen to create highly sophisticated He is currently occupying the and encourages other small, stop-motion puppets at Cosgrove post of the Booktrust Writer independent creative companies Hall Productions. He was joined in Residence. He lives and to join the industry. Prior to at the studio by Ian Mackinnon

129 and together they pioneered new The Turtle Fund, helping to and the children’s media industry. techniques in the art of puppet protect loggerhead turtles in the Her work has been funded by the making on productions such as Mediterranean. British Academy, the Leverhulme BAFTA-winner The Reluctant Peter has two grown-up Trust and the AHRC. She is Dragon and Emmy Award- children and his interests include currently working on a three winner The Fool of the World. history, reading, sailing and year AHRC funded project on At the start of the 1990s, tinkering about on a vintage ‘Orientations in the Development Peter and Ian left Cosgrove WW2 Willys Jeep. of Pan-Arab Television for Hall and set up their business Children’ with Professor Naomi partnership. Over the last Jeanette Steemers Sakr. twenty years, Mackinnon Professor Jeanette Steemers & Saunders have received is Co-Director of the Jeremy Swan commercial and critical acclaim Communications and Media Jeremy Swan started his career for their contributions to an Research Institute (CAMRI) at in the Dublin Gate Theatre as a impressive number of feature the University of Westminster. A child actor, playing the page in films, shorts films, TV series graduate in German and Russian a European tour of Shaw’s Saint and specials. They have at the University of Bath, she Joan. He subsequently worked worked on many children’s TV completed her PhD in 1990, on as a designer, then moved onto shows including Wind In the public service broadcasting in Ardmore Studios in Co. Wicklow Willows; Postman Pat; Bob the West Germany. After working for where he watched movie magic Builder; Pingu; Strange Hill research company, CIT Research, as the fifth assistant director on High; Rastamouse; Raa Raa and international television The Spy Who Came in From the Noisy Lion; and the new distributor HIT Entertainment, the Cold. He joined RTE when Clangers, and created the puppet she rejoined academia in 1993. it started in 1960, and in 1966 characters for Wes Anderson’s Her book publications include went to work for Granada armed Fantastic Mr Fox, Tim Burton’s Changing Channels: The with a recipe for paella and a Mars Attacks!, Corpse Bride Prospects for Television in a Spanish dictionary: leaving-Ireland and Frankenweenie. In 2013, Digital World (1998); Selling presents from his granny. He went the company launched a new Television: British Television in from floor managing Coronation digital animation venture – the Global Marketplace (2004); Street to the BBC where he Mackinnon & Saunders Digital European Television Industries became a producer in Children’s Studios – which produced Wanda (2005 together with P. Iosifides Programmes. After a time as a & the Alien, a kids’ series for and M. Wheeler); Creating director on Jackanory, he inherited Channel 5/Nickelodeon. Preschool Television (Palgrave); a programme called Rentaghost, In 1989, Peter took a year- The Media and the State (in press written by Bob Block, giving long break to sail from England with T. Flew and P. Iosifidis); Jeremy, a troop of mad actors, to the Red Sea and back with and European Media in Crisis and – luckily - the audience, a his wife Ellen. On their return (in press with J. Trappel and B. terrific time! Bob then put his to the UK, Peter and Ellen Thomass). She has published pen to a series for Clive Dunn as founded and ran a charity called widely on UK television exports Grandad. And that packed even

130 Children’s Media Yearbook 2015 more hilarity into everyone’s lives. part of BBC Children’s and looks Journalism and Communication, Jeremy went from the BBC to TVS forward to continuing its unique The Faculty of Social Science to direct Fraggle Rock for the Jim purpose and pioneering tradition. and Journalism at the University Henson Organisation, and, on She wants BBC Children’s to of Lower Silesia in Wroclaw - returning to the BBC, Anna Home, be a driving force in helping to Poland. Agnieszka’s research Head of Children’s Programmes, shape the rapidly-evolving digital concentrates on public sent him to Melbourne to work on world today’s kids are growing service media, new media and Round the Twist for the Australian up in, so that they can learn, transformation of media systems Children’s Foundation. Sooty thrive, have fun and realise their in Europe. She has written invited him to direct him, Sweep full potential. Her three kids many articles on policy and and Soo for ITV. He current works are pretty thrilled too (but for social issues affecting public as a painter (pictures, not walls) slightly different reasons). service media. Her most recent and as a playwright, based in Alice took up this role in books (as editor) are Internet London. March 2015, after spending television and the borderlines six years as Chief Operating of post-television media (2013), Alice Webb Officer (COO) for BBC North Social transformation in Poland Alice Webb is the Director and BBC England. One of her – European context – modernity, of BBC Children’s, the proudest achievements to date media and material culture world’s leading public service is orchestrating the move of (2015). She is a member of broadcaster for children and BBC departments including The Polish Communication home of the UK’s two most Sport, Children’s, 5 live and Association. Agnieszka is a popular networks for kids - Learning to Salford. Since this trainer in the field of children’s CBeebies and CBBC. relocation, programme-makers media content at The University BBC Children’s is the in BBC North have helped of the Third Age. biggest investor in British- deliver a fully Digital Olympics made content and serves its and Commonwealth Games, Helen Wheatley audience with connected, award-wining programmes Helen Wheatley is Associate multi-platform experiences including Last Tango in Halifax Professor in Film and Television based in the form of shows, and Happy Valley, and number Studies at the University of games and apps based on their one apps including CBeebies Warwick. She is a member of the favourite characters and brands. ‘Playtime’ and ‘Storytime’. Department of Film and Television These include the BAFTA- Alice is a Trustee of the Studies and the Centre for winning Katie Morag; The Greater Manchester Art Centre Television History, Heritage and Dumping Ground; Justin’s (Home) and is a member of the Memory Studies. She has research House; Wolfblood; Blue Peter; Greater Manchester Business interests in various aspects of Newsround; Mr Bloom’s Leadership Council. British television history, and has Nursery; The Furchester published work on popular genres Hotel; Horrible Histories; and Agnieszka Weglinska in television drama in the UK, US, many, many more. Agnieszka Weglinska is a senior including the monograph Gothic Alice is hugely proud to be lecturer in the Department of Television (2006). She has ongoing

131 interests in issues of television keen swimmer – she recently Ruth Zanker history and historiography, the completed a 5k - and enjoys I am part of the research team at topic of her edited collection Re- ballroom and Latin dancing. the New Zealand Broadcasting viewing Television History: She lives in Glasgow with her School in Christchurch New Critical Issues in Television husband and teenage son as Zealand. My research relates to Historiography (IB Tauris, 2007). well as a cat and a (surprisingly the New Zealand media ecology Her next book is Spectacular fast) tortoise. She won the CMC and how it relates to the global Television: Exploring Televisual dance-off in 2014! context. I have a particular Pleasure (IB Tauris, 2016). She interest in children’s media rights is also developing a research Flora Wilson Brown and the way current provision project with her colleague Dr. I’m Flora, I’m eighteen and improves or impedes access for Rachel Moseley on the history I’m currently studying for my them to local media diversity and of children’s television culture in final A Level exams in History, media production opportunities. Britain which is the subject of a English Literature and Theatre I was founding chair of The large-scale touring exhibition, Studies at Hills Road Sixth Form Children’s Television Foundation ‘The Story of Children’s Television College. Since joining Hills I’ve which successfully fought for from 1946 to Today’ on which been increasingly involved in national public funding for they have collaborated with the Drama department there: children’s content under the colleagues at the Herbert Art acting and assistant directing Broadcasting Act of 1989. This Gallery and Museum, Coventry. in staff productions and even dedicated fund is disbursed to having two of my own plays free to air broadcasters, after Lynn Whitaker performed (Capital R, focusing a competitive proposal round, Lynn is a lecturer in cultural on the prison system and how by New Zealand On Air. I am policy and cultural industries at we treat criminals as a society, currently a trustee on the New the Centre for Cultural Policy and Bea and April, following a Zealand Children’s Screen Trust Research, University of Glasgow, journey of friendship). I’ve also (kidsonscreen.co.nz) which is and her research straddles all been lucky enough to take part in working with New Zealand On aspects of media production some Young Writers’ workshops Air to scope a digital strategy from policy through to audience. with Menagerie Theatre and for children’s delivery. This Her PhD was a production hope to pursue playwriting after will be finalized in 2016. In study of BBC Scotland children’s leaving Hills. That said, I have 2014, I was a judge for the department and she is Editor of really enjoyed writing a reflective Prix Jeunesse awards. In 2006 I the Children’s Media Yearbook. piece for this yearbook, on the created Mediascape, designed to Lynn’s current research is into internet and its peculiar effects share information, research and children’s in-app purchasing, and on my generation in particular: opinion between diverse media she is interested in developing something I’m fascinated by stakeholders in New Zealand. further knowledge exchange and am now considering mining The website was archived in with creative industries. She in my future writing, having 2011, not because of lack of is a Fellow of the RSA and a been given this opportunity to users, but due to earthquakes trustee of the VLV. Lynn is a consider it in detail. and lack of funding.

132 Children’s Media Yearbook 2015