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dc.contributor.author Laura Merris en_US
dc.date.accessioned 2008-11-13T09:35:56Z
dc.date.available 2008-11-13T09:35:56Z
dc.date.issued 2002 en_US
dc.identifier 0-8264-5944-7 en_US
dc.identifier.citation Griffiths , L M 2002 , ' Pink Worlds and Blue Worlds: A Portrait of Intimate Polarity ' . in Small Screens: television for children . Octopus Publishing Group , pp. 159-184 . en_US
dc.identifier.other PURE: 84738 en_US
dc.identifier.other dspace: 2160/1101 en_US
dc.identifier.uri http://hdl.handle.net/2160/1101
dc.description.abstract In the UK, concern over the 'dumbing down' of children's programmes has met with defensive responses from television producers. In the US, after much lobbying, legislation designed to ensure compulsory inclusion of 'educational' progammes for children in the television schedules has been introduced. Such debates are a response to broader changes, both in broadcasting and in conceptions of childhood. The move towards a multi-channel, commercially-led global media system has led, far from the expectations of critics, to more provision of children's programming. Meanwhile views of what is appropriate for the audience have shifted as the boundaries between childhood and adulthood are increasingly blurred. This book provides a comprehensive account of the main areas of children's television by means of a series of case studies of programmes produced in Britain and the US. en_US
dc.format.extent 26 en_US
dc.publisher Octopus Publishing Group en_US
dc.relation.ispartof Small Screens: television for children en_US
dc.title Pink Worlds and Blue Worlds: A Portrait of Intimate Polarity en_US
dc.contributor.pbl Department of Theatre, Film & Television Studies en_US
dc.contributor.pbl Film and Television Research en_US


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