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

健谈

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

空气传播

CHAR

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

tolerance

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

飞镖

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.

Precursor

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

万神殿

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

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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