標(biāo)題: Titlebook: Creating Preschool Television; A Story of Commerce, Jeanette Steemers Book 2010 Palgrave Macmillan, a division of Macmillan Publishers Limi [打印本頁] 作者: 威風(fēng) 時間: 2025-3-21 17:34
書目名稱Creating Preschool Television影響因子(影響力)
作者: 地牢 時間: 2025-3-21 22:36 作者: 我沒有強迫 時間: 2025-3-22 04:03
ivals such as Blues Clues and Teletubbies . This book examines the industry interests behind preschool television, and how commercial, creative and curricular priorities shape and inform what is produced.978-0-230-27460-0作者: Congeal 時間: 2025-3-22 07:07 作者: 披肩 時間: 2025-3-22 11:28 作者: phytochemicals 時間: 2025-3-22 16:56
Giuseppe De Giacomo,Fabio Patriziduction community. Alongside long-running series such as ., more recent arrivals such as . and . have become enduring favourites with children and their parents. The international presence of these series alone underlines the phenomenal changes experienced by preschool television in recent years wit作者: phytochemicals 時間: 2025-3-22 20:59
Hong Fu,Xiaoming Wang,Yingshu Liion of adult ‘interests or fantasies or desires’ and their construction of childhood rather than a reflection of what children want (1995a: 47). This is apparent in the history of children’s television, where programming is nearly always incontrovertibly linked to the cultural and institutional cont作者: FICE 時間: 2025-3-23 00:27
Small Specifications for Tree Update,7a). Like all children’s programming, there is a new audience every 2 years as the old one grows up and moves on. Where many preschool series differ, however, is in their longer shelf life with some animation and costumed character shows exhibiting a timeless ‘classic’ quality, which means that they作者: Mets552 時間: 2025-3-23 04:33 作者: strain 時間: 2025-3-23 06:44 作者: mitten 時間: 2025-3-23 13:34 作者: 消散 時間: 2025-3-23 16:57 作者: chemoprevention 時間: 2025-3-23 21:08 作者: 乏味 時間: 2025-3-24 00:05
Nicolas Hoffmann,Birgit Hofmannmuch broadcasters and producers emphasise the creative integrity, educational value and age-appropriateness of their preschool offerings, there are always suspicions among parents and cultural critics (see Engelhardt, 1986; Kline, 1993; Linn, 2004; Schor, 2004) that these shows are little more than 作者: 極端的正確性 時間: 2025-3-24 03:20
Deepmala Sehgal,Soom Nath Rainameworks with profound and far-reaching effect. This is evident in the different historical development of children’s television in the United States and Britain where commercial and public service priorities respectively have defined the different nature and scope of children’s output. In this chapt作者: 機制 時間: 2025-3-24 07:37
Deepmala Sehgal,Soom Nath Rainad market preschool content make about young audiences and the broader marketplace. However, beyond the focus on production practices and changes in institutional and economic circumstances, there are particular qualities and motivations underpinning preschool production, which allow an appreciation 作者: Acquired 時間: 2025-3-24 13:12
Gestaltung peripherer Vereinbarungen,erlocking creative, business and regulatory interests which inform its development. This has been achieved through a ‘middle ground’ (Cottle, 2003a: 4–5) analysis, focused on organisational structures and professional practices, allowing an exploration of the relationships and dynamics that exist wi作者: TEM 時間: 2025-3-24 15:03
Book 2010Small children are regularly captivated by programmes made especially for them – ranging from classics like Sesame Street to more recent arrivals such as Blues Clues and Teletubbies . This book examines the industry interests behind preschool television, and how commercial, creative and curricular priorities shape and inform what is produced.作者: Mawkish 時間: 2025-3-24 22:24 作者: diathermy 時間: 2025-3-25 00:36
Palgrave Macmillan, a division of Macmillan Publishers Limited 2010作者: 門窗的側(cè)柱 時間: 2025-3-25 07:00
http://image.papertrans.cn/c/image/239400.jpg作者: CAMP 時間: 2025-3-25 10:47
ivals such as Blues Clues and Teletubbies . This book examines the industry interests behind preschool television, and how commercial, creative and curricular priorities shape and inform what is produced.978-0-230-27460-0作者: Trochlea 時間: 2025-3-25 12:02
Understanding Preschool Television as a Production Ecology,duction community. Alongside long-running series such as ., more recent arrivals such as . and . have become enduring favourites with children and their parents. The international presence of these series alone underlines the phenomenal changes experienced by preschool television in recent years wit作者: 杠桿支點 時間: 2025-3-25 16:26
Safe at Home: The Origins of Preschool Television as a Public Service Project,ion of adult ‘interests or fantasies or desires’ and their construction of childhood rather than a reflection of what children want (1995a: 47). This is apparent in the history of children’s television, where programming is nearly always incontrovertibly linked to the cultural and institutional cont作者: 我正派 時間: 2025-3-25 21:27 作者: aplomb 時間: 2025-3-26 00:30 作者: Charlatan 時間: 2025-3-26 07:25
Players in Rights Management and Production,They also highlighted the significant position of horizontally and vertically integrated US transnational corporations, Disney and Viacom (Nickelodeon), who since the 1990s have become active across all parts of the preschool television value chain (production, broadcast, distribution), both domesti作者: carotenoids 時間: 2025-3-26 12:27
,Production Preliminaries — Development and Research,king beyond the institutional and economic facets of the production environment, this chapter considers those specific features of the development process that determine the nature of television for young children. According to Wartella (1994: 39), writing about US children’s television generally, p作者: Harrowing 時間: 2025-3-26 13:57
Production Checklists, Rules and Assumptions,part of that audience any more, but producers do need to get ‘down into the child’s world’. As we learnt in Chapter 6, in the United States this anomaly is tackled by marketing and developmental research. In Britain research has traditionally been less formal and more ad hoc, but the importance of t作者: Generalize 時間: 2025-3-26 19:16
In Production, programme-makers’ conceptions of the audience, derived from a combination of professional experience, institutional practices and research which may focus variously on what children like and want or on what is believed to be developmentally or educationally appropriate. This chapter moves on from t作者: conference 時間: 2025-3-26 21:41
Spinning off Profits: Ancillary Exploitation and the Power of Retail,much broadcasters and producers emphasise the creative integrity, educational value and age-appropriateness of their preschool offerings, there are always suspicions among parents and cultural critics (see Engelhardt, 1986; Kline, 1993; Linn, 2004; Schor, 2004) that these shows are little more than 作者: Rotator-Cuff 時間: 2025-3-27 02:50 作者: allergy 時間: 2025-3-27 06:13 作者: 拒絕 時間: 2025-3-27 12:41 作者: Narrative 時間: 2025-3-27 15:32
Small Specifications for Tree Update, be more easily and cheaply dubbed than live action. These factors contribute to the global success of . preschool series, an aspect reinforced by technological advances, which allow content to be globally distributed.作者: 許可 時間: 2025-3-27 20:50
Wei Li,Yong Cui,Shengling Wang,Xiuzhen Chenghoots, Nick Jr., Playhouse Disney and Cartoonito (part of Cartoon Network). Focusing initially on the market, output, scheduling and expenditure, the chapter then examines the commissioning process and production from a broadcaster’s perspective, using interviews to establish the extent of their inv作者: ROOF 時間: 2025-3-27 23:26
Nicolas Hoffmann,Birgit Hofmannibuted to $37.8bn in revenues in 2008 (Disney, 2008: 28). Similarly . and . are important contributors to Viacom’s $1.67bn in ancillary revenues, part of $14.6bn in revenues generated in 2008 (Viacom, 2008). The approach by the US conglomerates is exemplified by Disney’s integrated production and di作者: 無孔 時間: 2025-3-28 03:54
Nicolas Hoffmann,Birgit Hofmannst on how ideas for preschool television are conceived and developed. Drawing on interviews and observations, primarily with British producers, it pinpoints how audience-centred, creative and commercial considerations take priority depending on different production circumstances. It then considers d作者: isotope 時間: 2025-3-28 07:42 作者: 駕駛 時間: 2025-3-28 12:21 作者: 健談 時間: 2025-3-28 18:27
Nicolas Hoffmann,Birgit Hofmanns to produce television have diminished in a fragmenting market of multiple broadcast platforms, revenues from merchandise licensing have become a vital component of programme funding, paying for current productions and sustaining future output, reinforcing the ‘commodity flow’ of brand images both 作者: 空氣傳播 時間: 2025-3-28 20:47 作者: CHAR 時間: 2025-3-29 01:53
Deepmala Sehgal,Soom Nath Raina In an effort to correct this perceived omission, Wilson proceeded to screen an assortment of preschool programming from the past 30 years, prompting favourable nods and sighs of recogni-tion. This would turn out to be the only showing of television content that day. It may well be the case that Wil作者: tolerance 時間: 2025-3-29 07:03
Gestaltung peripherer Vereinbarungen,, but also how it is funded and distributed across different platforms, territories and product categories. It is these complex relationships between broadcasters, producers, distributors, rights-owners, financiers, regulators, advocacy groups and licensed merchandise interests that make up the prod作者: 飛鏢 時間: 2025-3-29 09:23
Growing Up: The Rise of the Global Market in Preschool Programming, be more easily and cheaply dubbed than live action. These factors contribute to the global success of . preschool series, an aspect reinforced by technological advances, which allow content to be globally distributed.作者: Precursor 時間: 2025-3-29 15:13
Broadcaster Perspectives on Preschool Production,hoots, Nick Jr., Playhouse Disney and Cartoonito (part of Cartoon Network). Focusing initially on the market, output, scheduling and expenditure, the chapter then examines the commissioning process and production from a broadcaster’s perspective, using interviews to establish the extent of their inv作者: 萬神殿 時間: 2025-3-29 17:02
Players in Rights Management and Production,ibuted to $37.8bn in revenues in 2008 (Disney, 2008: 28). Similarly . and . are important contributors to Viacom’s $1.67bn in ancillary revenues, part of $14.6bn in revenues generated in 2008 (Viacom, 2008). The approach by the US conglomerates is exemplified by Disney’s integrated production and di作者: 事物的方面 時間: 2025-3-29 21:18 作者: 顛簸下上 時間: 2025-3-30 01:07 作者: 破譯密碼 時間: 2025-3-30 07:51
In Production,y — . serves to open up important aspects of contemporary preschool production for further analysis. In particular it reveals how small producers make use of technology to innovate in cost-efficient and creative ways. Of course creative and technological innovation is not exclusive to preschool tele
