Perhaps no other media genre
1 is debated as keenly nor by so many varied and competing stakeholders as those designated âfor children.â Childrenâs film and childrenâs television are distinct from one another but share the following features and fortunes. Both
are defined by their audience demographic (youth, variously aged from birth to late teens)
are for youth and frequently about youth but are seldom produced and often not procured by youth
imagine, construct, and in some ways prescribe the normative youth audiences they presuppose and are thus vehicles for enculturation
enculturate childhood differently in different times and places
are constantly evolving in concert with changing technologies of production and spectatorship
typically aim to entertain their youth audiences
often (but not always) include an overt or implicit pedagogic aim
have been the focus of successive waves of moral panic, whose particulars vary
are accordingly often subject to more censorship and regulation than other media
are situated and studied in relation to a variety of overlapping fields, including childhood studies (in disciplines such as psychology, sociology, history, cultural studies, gender studies) and media and communication studies and approaches (film studies, television studies, literary studies; literacy studies, adaptation studies; new media studies; and reception, spectator, and fan studies)
frequently adopt certain themes, protagonists, styles, sub-genres, and treatments in greater concentrations and in greater degrees than media not specifically designated for a youth demographic
are nevertheless unlimited in themes, protagonists, styles, sub-genres, and treatments
are engaged in the same multimedia, cross-platform convergences as media âfor adultsâ
employ complex and sophisticated arrays of codes and conventions
frequently presuppose an equally complex and sophisticated array of hypermediated viewers and reception practices
may present âempoweringâ or âcontrollingâ content
variously presuppose active âusersâ or passive âconsumersâ
are increasingly made by fewer and fewer transnational, multimedia conglomerates
may be received critically by a media-literate youth demographic, viewing âagainst the grainâ
are increasingly accessed in the home, on mobile personal devices, for increasing numbers of hours, and on-demand
are experiencing increasing convergence in content creators, delivery providers and methods, means of access, and production standards.
Such lists could run much longer, but these points indicate some of the many overlapping and often contradictory contexts for childrenâs television and film. Only one thing is certain: childrenâs film and childrenâs television defy limited definition.
The task of developing a Handbook of Childrenâs Film and Television that speaks to these and numerous other variables and contradictions is daunting. But a good starting point would be the nearly unanimous response we heard from the authors contributing to this volume, which can be summarized as âthis is long overdue!â The fact that childrenâs genres must battle longer and harder for academic legitimacy and coverage is by now a truism. But just as childrenâs literature rose first to popular prominence, then met limited academic acceptance, and finally reached full academic legitimacy, so now childrenâs film, television, and new- and multimedia genres are engaged in a similar evolution. We are perhaps therefore overly pleased with ourselves to bring you this book because its very existence in the Palgrave Handbook seriesâas well as the recent Routledge International Handbook of Children, Adolescents and Media (2013) and the forthcoming Oxford Handbook of Childrenâs Film, both of which we share some contributors withâsignals the relatively new and novel status of academic mainstream for childrenâs film and television. Perhaps the battle for legitimacy of âjuvenileâ genres in general is drawing to a well-fought close? But it is not our intention to congratulate ourselves and our authors further here. Instead, this chapter outlines several key critical contexts for the ensuing chapters on childrenâs film and childrenâs television, and the new directions currently exhibited by these media in the twenty-first centuryâthe overall theme of this volume and what distinguishes it from the two volumes mentioned above.
Scope
Our guiding thematic focus is ânew directionsâ in childrenâs film and television. Many, but not all, of our examples hail from the present century, but our reach extends some decades into the twentieth century as well, since most ânew directionsâ in both media and its scholarship are clearly derived from previous trails. Despite the long global shadow cast by Hollywood, we have attempted to include a broad spectrum of film and television examples reflecting various national perspectives that are international in impact and relevance (Iranian, Chinese, Korean, Filipino, Israeli, Eastern European, French, and others), as well as new directions in âAngloâ childrenâs film and television from countries such as New Zealand, Australia, the USA, the UK, and Canada. Additionally, we have aimed to draw together in this volume a diversity of approaches, from scholars of pedagogy and teachers of youth to media and communication studies, adaptation studies, and English literature programs. Moreover, childrenâs media do not limit themselves to select topics. It will likely surprise no one familiar with childrenâs film or television that we have a chapter on, for instance, childrenâs films based on the experience of Korean âcomfort women,â often young girls, in fact, forced into sexual slavery by the Japanese military during World War II. Film and television employ a full range of genres (horror, comedy, drama, fantasy, science fiction, romance, Western, dystopia, mystery, and so on) and styles (live action, green- and blue-screened, animated, motion-captured, anime, rotoscoped, claymation, hand drawn or painted, and so on). It may be that childrenâs film and television include proportionally more animated works than film and television as a whole, just as it is probable that childrenâs film and television are more likely to feature anthropomorphic animals (often animated for obvious reasons), but animated works by no means dominate this collection. The presence or absence of traits that define childrenâs film and television (as against film and television for adults) is a question of degree rather than one of kind.2
That said, childrenâs film and television often feature various preoccupations in greater numbers or to a greater degree than media not oriented to a child audience. These may include, for example, a coming of age theme; a greater use of fantasy; the role reversal plot (Sinyard 1992, 21); the presence or use of fairy tales; and the presence or use of other intertexts from childrenâs literature and other childrenâs media. Ian Wojcik-Andrews adds the disruption-resolution pattern (7); journeys (9); moments of self-awareness or self-discovery that lead to moments of choice (9); the presence of an alternative world (10); a focus on the body, including body-switching (10); and metafilmicity (11). There are many more as well, as a study by Heasley and others (2018) on the themes of top-grossing childrenâs films (2005â2015) indicates. A number of preoccupations of childrenâs media are reflected in this volume and are likely not ânewâ in essence, even if the iterations are contemporary and novel.
In focusing on new directions in childrenâs film and television, the contributions in this volume overlap with the recent collection Childrenâs Film in the Digital Age: Essays on Audience, Adaptation and Consumer Culture (2015), edited by Karin and Stan Beeler. That collection, focused on childrenâs film and largely absent childrenâs television, includes both animated and live-action films, particularly those released after 2000 as DVD, Blu-ray, or digital copy. We see this volume, with its ânew directionsâ theme, as a continuation and expansion of their project: âto bring communities of scholars together to engage in the discussion of childrenâs film and their roles within the film and as viewers of film and as participants in transmedia cultureâ (2).
Problems of Definition
As has been noted, issues of definition present a paradox for the study of childrenâs film and television. How is it possible, except in the most technical sense, to group together films such as the animated childrenâs horror ParaNorman (2012), the blockbuster Percy Jackson & the Olympians series of film adaptations (2010â2013), and the indie film Moonrise Kingdom (2012) in the same catchall genre? Or Nickelodeonâs animated preschool and younger child television series Dora the Explorer (2000â2014), the tween Netflix adaptation series Lemony Snicketâs A Series of Unfortunate Events (2017â), and their even darker teen series Stranger Things (2016â), in the same category: âchildrenâs televisionâ? And American media influence on global media notwithstanding, what happens to definitions of childrenâs film and television when more inclusive and diverse lenses are used to view the increasingly internationalized world of childrenâs screen media? Any definition of childrenâs film based on American or British examples and scholarship is likely to be challenged by an encounter with Stanley ka Dabba , a childrenâs film from India, in which a child is bullied by his school teacher due to his caste status (see Devika Mehra, this volume). As Ian Wojcik-Andrews (2000) says, representatively: âDef...