Re Responding to changes in child au audien iences es for screen een conten ent t in in Europe Naomi Sakr Communication and Media Research Institute University of Westminster, UK
www.euroarabchildrensmedia.org Twitter: @EuroArabCM #EuroArabChildrensMedia
Why Arab-European dialogue in particular? q Earlier research into screen media for Arabic-speaking children q Break with one-way traffic in ‘knowledge transfer’ q Sparse European knowledge about Arab everyday life q Need for newly-arrived children to feel a sense of belonging q Opportunities for European producers
Project ct partners
Sa Sampl mple o of P Product duction C n Compa mpani nies COUNTRY PRODUCTION COMPANY Belgium ScheMa Producties Canada Big Bad Boo Studios Denmark Dansk Tegnefilm; DR Ultra; Loke Film; Pedersen and Co; Plus Pictures Germany Sad Origami; Scopas Medien AG; Tellux Films; ZDF/Kika; WDR Malaysia/Yemen Yemeni Identity Organisation Cinekid & Stichting De Vrolijkheid; Een van de Jongens; Hollanse Helden; IKON; NPO; Tangerine Tree Netherlands Serbia RTS (Radio Televizija Srbije) Slovenia RTV Slovenija Switzerland Essence Films, SRF BBC/CBBC/Cbeebies; CTVC; Drummer TV; Evans Woolfe; Kindle Entertainment; UK Lizardfish; Three Stones Media; Twofour Group US Cookie Jar Group, PBS
Ma Manchester, Cop Copenhagen, Mu Munich
Funding Scripting The best Casting bits…. Distribution Looking ahead
A participatory approach
A A webisode format, e.g. DR R Ultra
Th The potential of drama: e.g . . Dsch cherme rmeni (2 (2017-, , ZDF/Te Tellux Fi Films, S , Sad O Origami)
Presch chool infotainment: e.g. Wh Where in the Wor orld (2 (2017, CBeeb eebies ies/Evan ans Wo Woolfe)
Thank y Thank you
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