By Máire Messenger Davies
Drawing at the diversified perspectives of over 1,300 teenagers within the united kingdom among the a while of 6-12, "Dear BBC" discusses key controversies within the public sphere approximately kid's courting with the media, in particular tv drama. M?ire Messenger Davies attracts on fabric amassed from an viewers examine undertaking commissioned by way of the BBC, in line with surveys, based discussions with little ones and interviews with application makers and coverage makers.
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Additional resources for 'Dear BBC': Children, Television Storytelling and the Public Sphere
The ¯uctuating shares of the child audience between BBC, ITV and Satellite/Cable over the ®ve years prior to the study can be seen in Table 1. The share of the child audience going to satellite/cable channels, with children's schedules based almost entirely on animation and imports, more than doubled in the time period up to our study, and it was mostly at the expense of the BBC, rather than ITV. However, children do not only watch satellite/cable for the purpose of watching cartoons; boys between 10 and 15, in particular, are more likely to sample adult programmes such as sport (source: Children's Satellite Viewing: Quarter 2, 1995, BBC Broadcasting Research Services).
And unfortunately we are having to become a lot more commercially edged. Channel 3 [the main independent commercial channel in the UK] was almost totally funded by money from ITV [Independent Television] stations, we didn't have to look to other countries for income to make programmes, so we could actually make those programmes for children in the UK. It's changing in the fact that we can't make programmes solely for the British market. The broadcasting model in the UK, as outlined by Marsden, has been seen internationally as a model children's service (Palmer, 1988).
Concerns among media scholars about a lack of recognition of children's needs and tastes, have converged with concerns in sociological childhood studies about the constructed nature of childhood itself, and the importance of recognising cultural diversity in children's experiences, including the fact that, for many children, childhood (in the sense of being a protected space) ends early. Such arguments can lead to a view that there may be no need for regulation protecting child television audiences, or for any kinds of special programming provision for children at all.