Seeing Themselves: Cultural Identity and New Zealand Produced Children's Television

<p>The New Zealand television environment is a complex one, and its ability to instil a sense of 'cultural identity' for New Zealand viewers has been regularly debated. Local children's programming is an area that can sometimes be overlooked in these important discussions. Children's programming in New Zealand is almost entirely publicly funded and is therefore legislatively tied to 'reflecting' cultural identity for a New Zealand child audience. This raises questions about how cultural identity is defined and understood within this industry, especially considering the inherent differences between a child audience and adult programme makers. These questions are engaged with through an examination of how cultural identity is discussed by funders, producers and audiences of four locally produced television brands: What Now?, Sticky TV, Studio 2 and Pukana. This thesis considers cultural identity to be a social construction that is both fluid and, in a New Zealand context, tied to certain expectations of 'New Zealandness'. This fluidity is examined through a discourse analysis of how funders, producers and audiences talk about each programme as well as cultural identity, in order to examine similarities and differences in how each group conceptualises this important funding concept. The argument is formed that cultural identity is understood in different terms: for children cultural identity is foremost about belonging to and 'seeing themselves' in a larger community of New Zealand children, while programme makers are concerned with the problematic notion of 'reflecting' "kids' worlds".</p>

Seeing Themselves: Cultural Identity and New Zealand Produced Children's Television

<p>The New Zealand television environment is a complex one, and its ability to instil a sense of 'cultural identity' for New Zealand viewers has been regularly debated. Local children's programming is an area that can sometimes be overlooked in these important discussions. Children's programming in New Zealand is almost entirely publicly funded and is therefore legislatively tied to 'reflecting' cultural identity for a New Zealand child audience. This raises questions about how cultural identity is defined and understood within this industry, especially considering the inherent differences between a child audience and adult programme makers. These questions are engaged with through an examination of how cultural identity is discussed by funders, producers and audiences of four locally produced television brands: What Now?, Sticky TV, Studio 2 and Pukana. This thesis considers cultural identity to be a social construction that is both fluid and, in a New Zealand context, tied to certain expectations of 'New Zealandness'. This fluidity is examined through a discourse analysis of how funders, producers and audiences talk about each programme as well as cultural identity, in order to examine similarities and differences in how each group conceptualises this important funding concept. The argument is formed that cultural identity is understood in different terms: for children cultural identity is foremost about belonging to and 'seeing themselves' in a larger community of New Zealand children, while programme makers are concerned with the problematic notion of 'reflecting' "kids' worlds".</p>

Animal Representation on UK Children’s Television

It is widely accepted that television is a powerful medium and that its influence, particularly on children and young people, can be profound (see for example Canadian Paediatric Society 2003; Strasburger 2004; Matyjas 2015). The representation and categorisation of non-humans in such content may therefore influence a culture’s attitudes towards those species and, by extension, its children’s views. This article investigates animal characters on three hundred and fourteen children’s TV shows across five days of ‘free’ to view UK programming during summer 2020, and is the first study in over twenty-five years (since Elizabeth Paul’s in 1996) to focus specifically on mainstream children’s TV, and the only one to have sole regard for pre- and early primary-age UK viewers. With research clear that the media is so influential, recognising the role of such culture transmission is vital to ‘undo’ unhelpful assumptions about animals that result in their exploitation, and change future norms (Joy 2009). Television media either ignores or misrepresents the subjective reality of many (particularly food) species, but with children preferring anthropomorphised animals to most others (Geerdts, Van de Walle and LoBue 2016), this carries implications in terms of responsibility for our ideas and subsequent treatment of those non-humans in everyday life.

Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day

This article presents a case study of the Australian children’s television programme, First Day (ABC Australia 2020–present), which depicts a young transgender girl’s experiences beginning high school. The article explores the screenwriting process involved in creating inclusive and diverse children’s television, drawing on an original interview with Julie Kalceff, the show’s screenwriter and director. Kalceff discusses her screenwriting process writing for and about children who occupy liminal and marginal spaces and the research, writing and consultation processes undertaken to create her pioneering work with trans characters as lead protagonists. The resulting series explores the universal experience of starting the high school journey, while allowing for a normalizing of gender diversity on-screen – hopefully the first of many of its type in the future. By foregrounding historically marginalized characters, screenwriters can explore universal social, psychological and physical trials, and in the process, break down stigmas surrounding LGBTQ people.