Colin Shaw
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198159377
- eISBN:
- 9780191673603
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159377.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
Children watch three distinct kinds of television programmes, even though the words ‘Children's Television’ may be used interchangeably to describe programmes made in order to instruct children, ...
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Children watch three distinct kinds of television programmes, even though the words ‘Children's Television’ may be used interchangeably to describe programmes made in order to instruct children, following in a formal and systematic way a particular pattern of study, as well as programmes made to entertain children outside school, though often having characteristics of an educative or informative kind. The categories are educational programmes, children's programmes, with a description of the very much larger third category, adult programmes, the programmes primarily intended for adults, but watched for much of the time in great numbers by children of all age-ranges. More information about forthcoming programmes is now available to American audiences following the introduction of a rating system for programmes containing sexual, violent, or indecent material. Under the Telecommunications Act 1996, the Federal Communications Commission was given the right to establish such a system, but its exercise of the right was deferred for twelve months.Less
Children watch three distinct kinds of television programmes, even though the words ‘Children's Television’ may be used interchangeably to describe programmes made in order to instruct children, following in a formal and systematic way a particular pattern of study, as well as programmes made to entertain children outside school, though often having characteristics of an educative or informative kind. The categories are educational programmes, children's programmes, with a description of the very much larger third category, adult programmes, the programmes primarily intended for adults, but watched for much of the time in great numbers by children of all age-ranges. More information about forthcoming programmes is now available to American audiences following the introduction of a rating system for programmes containing sexual, violent, or indecent material. Under the Telecommunications Act 1996, the Federal Communications Commission was given the right to establish such a system, but its exercise of the right was deferred for twelve months.
Fiona Hobden and Amanda Wrigley (eds)
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781474412599
- eISBN:
- 9781474449526
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474412599.001.0001
- Subject:
- Film, Television and Radio, Television
Ancient Greece has inspired television producers and captivated viewing audiences in the United Kingdom for over half a century. By examining how and why political, social and cultural narratives of ...
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Ancient Greece has inspired television producers and captivated viewing audiences in the United Kingdom for over half a century. By examining how and why political, social and cultural narratives of Greece have been constructed through television’s distinctive audiovisual languages, and also in relation to its influential sister-medium radio, this volume explores the nature and function of these public engagements with the written and material remains of the Hellenic past. Through ten case studies drawn from feature programmes, educational broadcasts, children’s animations, theatre play productions, dramatic fiction and documentaries broadcast across the decades, this collection offers wide-ranging insights into the significance of ancient Greece on British television.Less
Ancient Greece has inspired television producers and captivated viewing audiences in the United Kingdom for over half a century. By examining how and why political, social and cultural narratives of Greece have been constructed through television’s distinctive audiovisual languages, and also in relation to its influential sister-medium radio, this volume explores the nature and function of these public engagements with the written and material remains of the Hellenic past. Through ten case studies drawn from feature programmes, educational broadcasts, children’s animations, theatre play productions, dramatic fiction and documentaries broadcast across the decades, this collection offers wide-ranging insights into the significance of ancient Greece on British television.
Carole Hart
- Published in print:
- 2012
- Published Online:
- July 2014
- ISBN:
- 9780807837238
- eISBN:
- 9781469601427
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807837559_rotskoff.7
- Subject:
- History, Cultural History
This chapter presents a tale of magical connections and sublime collaborations. It is a story about the creation of Free to Be … You and Me, but it begins with a short prelude about Sesame Street. ...
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This chapter presents a tale of magical connections and sublime collaborations. It is a story about the creation of Free to Be … You and Me, but it begins with a short prelude about Sesame Street. The author and her husband, Bruce Hart, had just received their first Emmy Award for their work together as writers on Sesame Street. They joined the project with the Children's Television Workshop before the show even had a name. Once it did, Bruce sat down with composer Joe Raposo in a small room with a grand piano, where they wrote Sesame Street's title song. That experience and the recognition they received from it brought Marlo Thomas to the author, through their agent at the William Morris Agency, Scott Shukat.Less
This chapter presents a tale of magical connections and sublime collaborations. It is a story about the creation of Free to Be … You and Me, but it begins with a short prelude about Sesame Street. The author and her husband, Bruce Hart, had just received their first Emmy Award for their work together as writers on Sesame Street. They joined the project with the Children's Television Workshop before the show even had a name. Once it did, Bruce sat down with composer Joe Raposo in a small room with a grand piano, where they wrote Sesame Street's title song. That experience and the recognition they received from it brought Marlo Thomas to the author, through their agent at the William Morris Agency, Scott Shukat.
