Children’s and youth media was on the top of the agenda when more than 50 film and media scholars from all around the world convened at the University of Copenhagen 9-10 November for the conference ‘Reaching Young Audiences: Investigating media content for children and young people in a multi-platform era’. The conference marked the culmination […]
The research project ‘Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences’ (RYA) seeks to provide detailed knowledge about the production and reception of film, TV and online fiction for children, tweens and teens through in-depth analysis of the current strategies for creating engaging fiction for young audiences and extensive qualitative case studies of their media use.
Next week The Children’s Media Conference gathers people working with developing, producing and distributing content to children for a three-day programme in Sheffield. The conference is in its 20th edition in 2023, and the varied programme illustrates how all platforms are now in play when thinking about children’s media.
Working with TikTok daily as part of my PhD project – and being a heavy user myself – I am very aware of the constant changes happening on the app with new trends and memes appearing every week.
As has been noted by several scholars in recent years, retaining and attracting audiences – especially young audiences – has become of particular importance to public service broadcasters (PSB) around the world due to challenges presented by the current age of abundance marked by fierce competition, convergence culture and digitalization (e.g. Lowe &
Much of the fictional television content targeting children and young audiences is currently made specifically for them, targeting their particular interests and intended to be watched on their private screens or together with friends rather than in the company of parents or other adults.
Children’s content is often linked to ideas of certain learning outcomes. This is obvious in much factional content for children marked by ‘edutainment’ agendas, but also in the realm of fiction, particularly fiction targeting the youngest viewers.
As argued by Anna Potter and Jeanette Steemers in the new Routledge Companion to Media Industries, children are an often overlooked, but very special television audience (2021), both when it comes to thinking of children in relation to traditional and online television viewing.
In children’s television the saying goes that animated content can be exported to other countries and languages, as character voices can be re-recorded to fit various audiences. However, in order to secure access to all markets, this may also lead to certain conventions during production in terms of subject matter, archetypes and political correctness.
By Eva Novrup Redvall As analyzed in the recent research project “What Makes Danish TV Drama Series Travel?” certain kinds of television fiction from small nations cross borders more easily than others.
