Titlebook: Creating Preschool Television; A Story of Commerce, Jeanette Steemers Book 2010 Palgrave Macmillan, a division of Macmillan Publishers Limi

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乏味

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

极端的正确性

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

机制

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

Acquired

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

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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.

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Palgrave Macmillan, a division of Macmillan Publishers Limited 2010