Escolar Documentos
Profissional Documentos
Cultura Documentos
June 2003
WHAT CHILDREN WATCH
AN ANALYSIS OF CHILDREN’S PROGRAMMING PROVISION
BETWEEN 1997-2001, AND CHILDREN’S VIEWS
June 2003
Contents
Executive summary 1
Introduction 5
Section I:
1 Quantitative Analysis of Children’s Programming
Provision: 1996-2001 7
2 Changing Landscape 9
3 Time Measures 11
4 Daypart Analysis 15
5 Diversity in Programme Provision 23
6 Genre Analysis 25
7 Genre Analysis by Channel 35
8 Children’s Viewing Habits 55
9 New Media 63
10 Changes since the 1997 Study 65
Section II:
Background 69
11 The Role of Television 71
12 When, Where and How are Children Watching? 75
13 Children’s Understanding of Television 83
14 Terrestrial versus Multichannel 91
15 Conclusions 99
2. Children in multichannel homes watch significantly more television per day than their
terrestrial only counterparts (an average of 35 minutes more per day at 2 hours and
27 minutes). However, the amount of time they spend specifically viewing ‘children’s
programmes’ is comparable with those living in analogue terrestrial-only homes
[Source: BARB].
3. There has been a dramatic rise in the amount of children’s programming on analogue
terrestrial and other television services over the past five years.
4. The increase has come about principally from the launch of the new analogue terrestrial
service Five (formerly operating as Channel 5), as well as the introduction of dedicated
satellite and cable-delivered channels. (The detailed analyses do not include the free-to-
air dedicated children’s channels, CBBC and CBeebies, launched after the analysis period
in February 2002, increasing provision still further.)
5. Children are able now to tune in to children’s programmes on the dedicated channels at
any time of day. The replay channels which offer rolling schedules, available in
multichannel homes, mean that children in these homes need not worry about missing
their favourite programmes, as they will be repeated.
6. Despite this growth in provision, the range being offered to children, as a proportion of
the time devoted to children’s programming, is variable on different services. In this
context, analogue terrestrial channels offer the most diverse line-up with regard to the
balance of different types of programming e.g. factual, drama, light entertainment,
animation and pre-school, broadcast on a single channel.
7. This being said, the mainstay of the analogue terrestrial channels is animation, as it is
for the dedicated children’s channels. The analyses do not distinguish between types of
animation and, not surprisingly, this is the genre which most children are watching
within children’s programming. In multichannel homes, more than half the time spent
viewing children’s programmes is devoted to this genre.
9. The provision of drama on the analogue terrestrial channels is more stable than some of
the other genres, with little significant change across the period sampled. On the
dedicated channels, however, there was a steep decline in drama in 2001.
12. Pre-school programme provision was significant within the basket of dedicated
channels as they split to form new services, focused on particular age groups. Provision
of this genre had increased also on the analogue terrestrial channels.
13. Much of the increase in children’s programme provision on the analogue terrestrial
channels is centred on the breakfast slot, while after-school provision remains constant.
14. Children are spending significant amounts of their viewing time per day watching genres
other than those targeted at children. These other genres are not analysed in this report,
which concentrates on children’s programming provision.
15. Interviews with children underscore many of these findings. Television is of significant
importance in their lives. It is pervasive - most homes have more than one television set,
and many of the children interviewed have a set in their bedrooms.
16. With 59% penetration of multichannel television in homes with children, many of the
children in the sample who live in analogue terrestrial-only homes have been exposed to
the other channels and services as well and therefore have some knowledge of them.
17. Television is a prime source of entertainment, if not a preferred activity. The children
interviewed watch at all times; very often the television is on, even if not actively attended to.
18. Children under the age of eight are confused about what is a programme and what is
a channel, especially those in multichannel homes who are switching between so many
more channels and programmes.
19. Those in analogue terrestrial-only homes have more awareness of the times their
favourite programmes are on and what channel they are on, simply because they follow
a linear programme schedule and there is a limited choice of channels. Those with access
to the dedicated channels have many more channels to choose from. They tend to know
which channels their favourite programmes are on, but otherwise have less awareness of
which channel they are watching and flick around more often. They use the electronic
programme guide to navigate their way around and ‘create’ their own schedules.
21. The issue of programme origination was raised with children, but was not found to
be of significant interest, although many of the children spoke of their enjoyment of
programmes produced in the United States. (The quantitative, BARB-based analysis does
not distinguish country of origin.)
22. Parents, especially parents in analogue terrestrial-only homes, are particularly keen that
UK-originated programming should be available for their children to watch. They feel it
is more authentic and culturally relevant and some felt that it had more of an
educational value.
23. The level of parental knowledge about the material being watched is mixed. While
parents voice concerns, many admit that they police the viewing of their secondary
school-age children less than their younger children.
24. Parents expressed concern about certain aspects of taste and decency when talking about
children’s programming. When talking about programming in general, and not
programming targeted specifically at children, the use of swearing and offensive
language was particularly disliked.
25. Parents felt it was important to retain children’s programme provision on the analogue
terrestrial channels, despite the alternative sources available on cable and satellite
channels. They considered it essential that terrestrial broadcasters catered for the
child audience.
26. Analogue terrestrial parents, in particular, felt that the terrestrial channels offered a better
range of children’s genres which included quality British made programmes.
Additionally, parents who had not chosen to subscribe to satellite or cable channels said
they would resent being forced to pay for additional services in order for their children
to have something to watch.
27. However, there was an acceptance that multichannel television opportunities were part
of the television environment and that it was incumbent on broadcasters to continue to
create programming that captured the attention and fed the demands of the child
audience.
Programming for children on television continues to increase. This report updates the survey
last undertaken five years ago, which covered the period from 1992-1996.1 This study,
which considers the five years since then, from 1997-2001, shows that the amount of
children’s programming available (as defined by the industry measurement system, BARB)
has tripled. Some of this has come about because of the launch - during that period - of an
analogue, free to air, terrestrial television channel (Five) and some of the change has been
due to the introduction of new satellite or cable delivered channels. In 2002, two further
dedicated channels were introduced, CBBC and CBeebies, available as free-to-air digital
services. The detailed quantitative analysis only presents limited data on these channels,
however, as they were launched after the sample period.
Within the five years under consideration (to 2001), the television landscape has also
changed. Digital services, satellite, cable and terrestrial, have been introduced and DVDs are
taking the pre-recorded content market by storm. As has been found over many years, it is
within homes with children that the newest forms of in-home entertainment are most
quickly adopted.
The sheer volume of targeted children’s programming available means that there is a wide
range of programme types available. However, the data also show, as did the report which
ran from 1992-1996, that the proportions of diverse content are restricted. While a
significant proportion of the material is animation-based, the terrestrial analogue television
channels still provide a more diverse programme line-up, with regard to the balance of
programme types, than the dedicated services available to multichannel homes. This, in
turn, affects the type of material children in multichannel homes are watching in
comparison with children in analogue terrestrial-only homes. The data also show that
children in multichannel homes watch approximately 35 more minutes of television per day
than those in homes without access to additional broadcast channels.
The previous report, by Professor Messenger Davies, had included a series of interviews
with professionals and those interested in children’s programming provision. At that time,
the research had shown the genre to be under pressure, especially as channels competed for
audiences in what were often seen to be lucrative (within commercial television channels)
time slots. Certain programme categories were felt to be at risk and there was general
pessimism, especially among the traditional broadcasting community, about the
continuation of children’s programming. Those interviewed who came from the emerging
satellite and cable industries were far less pessimistic. This study will examine, through the
analysis of programme provision, whether the pessimism or optimism was justified.
However, it also takes on board one of Professor Messenger Davies’s key calls, which was
for children’s opinions to be heard. The study included interviews and discussions with
children aged 6 to 12, asking them about their viewing habits and the importance of
children’s programming in their lives, while also seeking parents’ views about children’s
programme provision.
1 Messenger Davies, M, and Corbett, B., The Provision of Children’s Television in Britain: 1992-1996; Broadcasting Standards
Commission, 1997.
The quantitative component of this research is based on statistics from the BARB industry
panel. The analysis builds on the findings of the 1997 report The Provision of Children’s
Television in Britain: 1992-1996 published by the Broadcasting Standards Commission and
is split into four elements:
■ The breakdown of provision by programme genre - this section looks at the total time,
in hours, devoted to each genre by channel, investigating any changes in total provision
as well as the role of each of the channels in providing relevant programming.
Methodological issues
The objective of this study is to highlight the current trends and the changes seen in the provision
of children’s television in the five years from, and including, 1996 (the period of time since the
previous report) to 2001. The analysis is based on genre classifications defined by BARB for
children’s programmes. The advantage of using universally recognised industry data such as
BARB is that it facilitates any future comparisons of trends. The genre categories used are:
■ children’s drama
■ children’s factual
■ children’s animation
■ children’s light entertainment
■ children’s pre-school
There are some drawbacks, however, to using the BARB genre classifications for children’s
programming. For example, some shows targeted at young viewers, either within dedicated
slots or on children’s cable and satellite channels, are not classified as such. For example, the
US-originated comedy show Boy Meets World has been classified as ‘light entertainment -
sitcom US’ rather than ‘children’s light entertainment’. By including ‘light entertainment -
sitcom US’ in the analysis, the figures would be distorted by the inclusion of those
programmes within the genre which are not specifically targeted at children. This means
that a number of programmes targeted at and of appeal to younger viewers may be
excluded from this study.
As the data for the current study are driven entirely by the BARB analyses, data showing
origination of programming are not available. In the 1997 study, as only a sample of
programmes was taken for each year, each programme was analysed individually for
country of origin.
The similarities and differences between the two studies have been summarised below:
Period of analysis 4 sample weeks (first week of Whole year data 1996-2001
February, May, August and
November) for each year between
1992-1996
Channel coverage ■ BBC1, BBC2, ITV1 (including ■ BBC1, BBC2, GMTV, ITV1,
TVAM/GMTV),Channel 4 Channel 4, Five
■ The Cartoon Network ■ Boomerang
■ The Disney Channel ■ The Cartoon Network
■ Nickelodeon ■ The Disney Channel, Playhouse
■ Sky One Disney, Toon Disney
■ The Children’s Channel ■ Fox Kids
■ Nickelodeon, Nick Jr
■ The Children’s Channel
■ Trouble
8 What Children Watch
2 Changing landscape
Video recorder 92 85
Teletext 88 81
Multichannel 59 46
NICAM stereo television 49 44
Video games 54 20
Personal computer 54 42
Video camera 35 20
Computer with internet 49 39
Widescreen television 31 24
Computer with television/video 16 10
Those homes with children tend to have a wider range of new technologies in the home.
Two-thirds (59%) of people with children have access to multichannel television, while only
46% without children have it. Similarly, 49% of households with children have Internet
access in the home, compared with 39% of those without children. The presence of such a
wide range of home entertainment equipment in the home is undoubtedly changing the way
in which young viewers spend their leisure-time and, therefore, the ways in which they
watch television.
Age of Children
Total 0-3 4-9 10 -15
% % % %
Television 57 33 58 79
Radio 48 21 49 69
Games console 28 16 27 42
Video cassette recorder 32 18 31 46
Computer 12 2 12 19
Satellite/cable 6 1 4 11
Computer with internet 3 2 4 5
Source: The Public’s View 2002. Base: All respondents with children
2 Television: The Public’s View 2002; Independent Television Commission and Broadcasting Standards Commission, 2003.
Terrestrial television
Hours
5,000
4,500
4,000
3,500
3,000
2,500
2,000
1,500
1,000
500
0
1996 1997 1998 1999 2000 2001
Hours 3,494 3,986 4,566 4,449 4,524 4,657
■ The overall provision of children’s television across the terrestrial networks has
changed significantly between 1996-2001, with total output increasing by 33% from
3,494 hours to 4,657 hours as a result of the launch of Channel 5 (now Five) and an
increase in time devoted to children on BBC2.
■ Between 1996-1999, skewed by its provision of dedicated schools programming
in the early morning (included, in this analysis, within the children’s factual genre),
Channel 4 was the main provider of children’s programmes.
■ Over this time, BBC2’s role became increasingly significant, overtaking Channel 4
in 2000.
■ BBC1 has steadily increased the number of hours devoted to children since 1997,
making it the second largest supplier of children’s programming, while ITV1’s provision
has fluctuated over the years between a low of 386 hours in 1998 and a high of 448
in 2000.
■ As a result of growing output during breakfast time, GMTV has been facing
increasing competition over the years.
Hours
35,000
30,000
25,000
20,000
15,000
10,000
5000
0
1996 1997 1998 1999 2000 2001
Hours 10,236 17,093 15,833 16,334 25,985 32,531
■ Boomerang ■ TCC ■ Playhouse Disney ■ Toon Disney ■ Fox Kids ■ Disney Channel ■ Cartoon Network
■ Nick Jr ■ Nickelodeon ■ Trouble
■ Overall provision has tripled from 10,236 hours in 1996 to 32,531 hours in 2001.
■ Between 1996 and 1997, following the launch of The Cartoon Network, output
increased by 67% to 17,093 hours.
■ With the closure of TCC in 1998 and the launch of Trouble a few months later, total
hours of children’s programming remained fairly constant between 1997-1999.
■ 2000 saw the launch of a number of new channels including Boomerang and the Disney
spin-off channels, Toon Disney and Playhouse Disney, resulting in a 59% rise in
dedicated children’s entertainment. This trend followed through to 2001, the first full
year of transmission for many of the new channels.
■ Since then, two further dedicated channels have been launched as free to air services,
CBBC and CBeebies. These became operational in 2002, after the sample period and so
only limited analyses of their performance are included here.
Tracking the amount of time dedicated to children’s programming across the five main
networks provides an overview of the changes that have occurred between 1996-2001. In
order to understand these trends in more detail data have been split into the following time
slots:
■ Breakfast (0600-0929)
■ Morning (0930-1159)
■ Early afternoon (1200-1529)
■ After-school (1530-1729)
Although some children’s programming is scheduled after 1730, in line with the 1997 study
this time slot has been excluded, although the ‘total’ figure includes all programming
throughout the day.
Terrestrial television
Hours of children’s programming by daypart: total terrestrial
Hours
5,000
4,500
4,000
3,500
3,000
2,500
2,000
1,500
1,000
500
0
1996 1997 1998 1999 2000 2001
Hours 3,494 3,986 4,566 4,449 4,524 4,657
BBC1
Hours
1,400
1,200
1,000
800
600
400
200
0
1996 1997 1998 1999 2000 2001
Hours 832 767 795 858 870 889
BBC2
Hours of children’s programming by daypart: BBC2
Hours
1,400
1,200
1,000
800
600
400
200
0
1996 1997 1998 1999 2000 2001
Hours 923 930 1,042 1,059 1,183 1,292
■ BBC2’s provision of children’s programming has increased steadily each year from
923 hours in 1996 to 1,292 hours in 2001, and it is now the largest single provider of
children’s programming amongst the terrestrial channels.
■ Similar to trends observed on BBC1, there has been significant growth in time
devoted to children during the breakfast slot, with the extension of the weekday slot
from 0730-0830 to 0700-0900 in 1999.
■ Overall, between 1996-2001, children’s programming provision during the
0600-1159 slot has risen from 727 hours to 1,156 hours, an increase of 59%.
Hours
700
600
500
400
300
200
100
0
1996 1997 1998 1999 2000 2001
Hours 460 409 386 406 448 430
■ There was a high of 460 hours of children’s programming on ITV1 in 1996, which
declined marginally to 430 hours in 2001.
■ Provision during the morning slot (0930-1159) more than halved from 105 hours in
1996 to 42 hours in 2001. Over the same period, output during the early afternoon slot
(1200-1529) increased as the start of the after-school slot moved from 1530 to
1525 in 1999 and then 1520 in 2000, allowing for more programming targeted at
the very young.
Hours
700
600
500
400
300
200
100
0
1996 1997 1998 1999 2000 2001
Hours 280 320 352 348 386 366
■ 0600-0929
Source: BARB, Monday-Sunday
■ As with BBC1 and BBC2, children’s programming during the GMTV slot at breakfast
time increased by 38% from 280 hours in 1996 to 386 hours in 2000, although the rise
has been less dramatic than that seen on the BBC channel and has now fallen back
slightly to 366 hours in 2001.
3 GMTV was not considered separately from ITV11 in the 1997 study.
Hours
1,400
1,200
1,000
800
600
400
200
0
1996 1997 1998 1999 2000 2001
Hours 1,000 1,008 1,141 1,066 956 835
■ With the disappearance of programming in the afternoon, the total amount of time
devoted to children on Channel 4 has declined from a peak of 1,141 hours in 1998 to
835 hours in 2001.
■ Back in 1996, the 0930-1159 slot was the predominant daypart for children’s
programmes on Channel 4, providing a long list of factual programming as part of the
schools programme output (4 Learning). However, since 1997 and the increase in time
dedicated to children’s programming between 0600 and 0929 which is associated with
the scheduling of programmes such as Sesame Street, this daypart has become the
mainstay of children’s entertainment on Channel 4.
Hours
1,400
1,200
1,000
800
600
400
200
0
1996 1997 1998 1999 2000 2001
Hours 552 850 712 682 845
■ Since its first full year of transmission, Five’s provision of children’s programming has
declined from a high of 850 hours in 1998 to 682 hours in 2000, picking up again in
2001 (845 hours).
■ Much of the fall between 1998-2000 was as a result of a decline in dedicated children’s
programming from 0930-1529, whereas provision during breakfast time has been on
an upward trend, peaking at 728 hours in 2001.
■ Accounting for a small proportion of total hours, programming during the 1530-1729
slot amounted to 29 hours in 1999, rising to 37 hours in 2001, as a result of the
introduction of children’s programming on weekend afternoons.
9 1 76 7 6
Hours
40,000
35,000
30,000
25,000
20,000
15,000
10,000
5,000
0
1996 1997 1998 1999 2000 2001
Hours 13,729 21,059 20,350 20,751 30,502 37,183
■ Closer analysis of the range of children’s programming available on the main networks
and the dedicated channels in 2001 as a proportion of total time devoted to this
audience, further illustrates the difference in choice made available to those in terrestrial
households and those in multichannel homes.
Terrestrial networks
Dedicated channels
0 10 20 30 40 50 60 70 80 90 100%
1996 356
1997 457
1998 420
1999 419
2000 399
2001 565
Source: ITC
4 The analysis is not able to distinguish within genres by looking at, for example, types of animation.
Analysis of the breakdown of provision by genre provides insight into the diversity of
children’s programming. This section looks at the total time, in hours, devoted to each genre
by channel, illustrating whether there have been significant changes in total provision, as
well as the role of each of the channels in providing relevant programming.
Terrestrial television
Children’s drama
Hours devoted to children’s drama on terrestrial channels
Hours
1,400
1,200
1,000
800
600
400
200
■ Total drama provision across the main networks peaked at 620 hours in 1999, falling
to 586 hours in 2001. Since its launch, Five has played a key role in providing this type
of programming and, along with BBC1, contributed significantly to this peak. BBC2 has
also increased output, whereas ITV1’s provision has remained consistent at an average
of 109 hours per year.
Hours
1,400
1,200
1,000
800
600
400
200
5 Since 2002, the ITC has agreed annual minimum requirements with ITV1 for originated material, including children’s factual (52
hours per annum).
Hours
1,400
1,200
1,000
800
600
400
200
■ Back in 1996, the provision of animation was more equally distributed between the
channels than any other genre, but since then there have been significant changes in
supply. Following sharp falls in output from BBC1 and Channel 4, the total number of
hours of animation fell from 1,252 (1996) to 985 hours in 1997.
■ Between 1997-2000, BBC1’s animation output continued to decline from 251 to 210
hours, picking up again in 2001 to 252 hours.
■ Over the same period, ITV1’s supply has remained fairly consistent. As BBC2 has
strengthened its position as the key terrestrial provider of children’s television, so has its
role as the supplier of animation expanded, with output increasing from 253 hours in
1997 to 437 hours in 2001.
■ Although it was the move away from animation on BBC1 that led to the fall in
provision across the terrestrial networks in 1997, the total hours devoted to this genre
on BBC channels (1 and 2) increased marginally from 682 hours in 1996 to 689 hours
in 2001.
■ Animated output on GMTV increased from 91 hours in 1997 to a high of 170 in
2000 - a rise of 87%, falling back in 2001 to 127 hours (a decrease of 25%).
Hours
1,400
1,200
1,000
800
600
400
200
0
1996 1997 1998 1999 2000 2001
Hours 460 733 748 599 644 678
Hours
1,400
1,200
1,000
800
600
400
200
■ As a result of increased supply from BBC2, Channel 4 and Five, the total hours of pre-
school programming on terrestrial channels more than doubled from 535 hours in 1996
to 1,253 hours in 1998. This peak was followed by a dip between 1999-2000, and
increased supply on BBC2 and Five again led to a rise in pre-school programming
in 2001.
Children’s Drama
Hours
4,500
4,000
3,500
3,000
2,500
2,000
1,500
1,000
500
0
1996 1997 1998 1999 2000 2001
Hours 2,133 1,928 2,872 3,911 4,329 3,061
■ Boomerang ■ TCC ■ Playhouse Disney ■ Toon Disney ■ Fox Kids ■ Disney Channel ■ Cartoon Network
■ Nick Jr ■ Nickelodeon ■ Trouble
Source: BARB, Monday-Sunday
Hours
450
400
350
300
250
200
150
100
50
0
1996 1997 1998 1999 2000 2001
Hours 106 283 109 265 339 398
■ Boomerang ■ TCC ■ Playhouse Disney ■ Toon Disney ■ Fox Kids ■ Disney Channel ■ Cartoon Network
■ Nick Jr ■ Nickelodeon ■ Trouble
Source: BARB, Monday-Sunday
■ The Children’s Channel played a major role in the provision of factual programming on
non-terrestrial channels, broadcasting 273 hours in 1997 - however, the majority of this
was accounted for by only one programme, Art Attack.
■ Although there has been an upward trend in the time devoted to factual programming,
total output across the children’s channels in 2001 amounted to 398 hours. The Disney
Channel is now the most significant, supplying three-quarters of the output.
Hours
30,000
25,000
20,000
15,000
10,000
5,000
0
1996 1997 1998 1999 2000 2001
Hours 6,339 13,013 11,324 10,326 18,258 24,679
■ Boomerang ■ TCC ■ Playhouse Disney ■ Toon Disney ■ Fox Kids ■ Disney Channel ■ Cartoon Network
■ Nick Jr ■ Nickelodeon ■ Trouble
Source: BARB, Monday-Sunday
■ Over the past six years, the amount of animation shown across the dedicated channels has
quadrupled from 6,339 hours to 24,679 hours, with all channels except Trouble
screening these programmes. The first significant jump in the provision of animation
was seen in 1997 in this analysis and was associated with the launch of Cartoon
Network (supplying 4,508 hours of animation in 1997) and Fox Kids.
■ Between 1997-1999, time devoted to animation declined steadily from 13,013 hours
to 10,326 hours as a result of the closure of TCC and a marginal decline in supply
on Nickelodeon.
■ In 2000-2001, the next notable leap in hours of animation on the dedicated channels
was associated with increased supply from the Cartoon Network and the launch of
Boomerang, Nick Jr, Toon Disney and Playhouse Disney, channels targeted specifically at
the very young.
Hours
2,500
2,000
1,500
1,000
500
0
1996 1997 1998 1999 2000 2001
Hours 1,101 1,316 845 1,246 1,810 2,307
■ Boomerang ■ TCC ■ Playhouse Disney ■ Toon Disney ■ Fox Kids ■ Disney Channel ■ Cartoon Network
■ Nick Jr ■ Nickelodeon ■ Trouble
Source: BARB, Monday-Sunday
■ There has been a strong upward trend in light entertainment programming across
non-terrestrial channels, with output growing almost three-fold from 845 hours (1998)
to 2,307 hours in 2001. With only a handful of channels supplying this type of
programming, growth has predominantly been as a result of increased emphasis on
Trouble and Nickelodeon, as well as the launch of Toon Disney.
Hours
2,500
2,000
1,500
1,000
500
0
1996 1997 1998 1999 2000 2001
556 550 682 585 1,250 2,086
■ Boomerang ■ TCC ■ Playhouse Disney ■ Toon Disney ■ Fox Kids ■ Disney Channel ■ Cartoon Network
■ Nick Jr ■ Nickelodeon ■ Trouble
Source: BARB, Monday-Sunday
■ Between 1997 and 1999, there were only two key channels, Nickelodeon and the Disney
Channel, catering for the needs of very young viewers. However, the launch of channels
devoted specifically to these viewers resulted in total output increasing from 585 hours
in 1999 to 2,086 hours in 2001. Nickelodeon’s pre-school programming was transferred
to Nick Jr, now the most significant channel across this genre, and the Disney Channel
also reduced its provision when Playhouse Disney was launched in 2000.
This section investigates the range of programming supplied by each channel. The total
time dedicated to children has been divided into the five genre classifications as defined
by BARB (children’s drama, factual, animation, light entertainment and pre-school) to
illustrate the mix of programming across each of the terrestrial channels and a range of
non-terrestrial channels. The figures in the following charts are based on the proportion of
the total children’s broadcasting hours dedicated to each genre across each channel between
1996-2001.
Terrestrial television
1996 3,494
1997 3,986
1998 4,517
1999 4,417
2000 4,517
2001 4,652
0 10 20 30 40 50 60 70 80 90 100%
■ Although BBC1 dedicated a greater proportion of its schedule to drama, overall drama
provision has remained fairly static at around 14% of the schedule. Factual
programming fell from 23% in 1996 to 18% in 2001 - much of which was driven by
the decline on BBC2, although it continues to be the main provider of such
programming along with Channel 4 (schools programming).
■ As a result of BBC1 and Channel 4’s move away from animation, the overall proportion
of children’s programming represented by this genre fell from 36% in 1996 to 25% in
1997, but picked up slightly as a result of Five’s launch in 1997. In 2001, BBC1
provided marginally less than the average with 28% of its schedule made up of
cartoons, whereas BBC2 (34%), GMTV (35%), ITV1 (49%) and Five (32%) all devoted
more than a third of total children’s time to the genre.
■ BBC1 and GMTV are the key terrestrial channels providing children’s light
entertainment. The proportion of children’s programmes on the main networks
represented by game shows, comedy shows etc fluctuated between 13%-18%.
BBC1
Children’s programming by genre: BBC1 Hours
1996 832
1997 767
1998 795
1999 858
2000 870
2001 889
0 10 20 30 40 50 60 70 80 90 100%
1996 923
1997 930
1998 1,041
1999 1,057
2000 1,176
2001 1,288
0 10 20 30 40 50 60 70 80 90 100%
■ Drama programmes represented 15% of BBC2’s schedule in 1996. This share fell to a
low of 7% in 1999, picking up again in 2001-2002 with the launch of programmes such
as Maid Marion and Her Merry Men as well as re-runs of Byker Grove on Sunday
mornings.
■ With programmes such as Record Breakers, The Really Wild Show and Take Two,
factual was the dominant genre in 1996, but has since been in decline, representing a
quarter of the 2001 schedule, despite the fact that schools programming forms part of
the total output.
■ Over this period, animation replaced factual as the dominant feature of BBC2’s
children’s line-up, accounting for a third of total provision.
■ Pre-school programming increased from 14% in 1996 to 20% in 1997 when the
Teletubbies phenomenon began, and since then, has varied between 20%-23% of the
total children’s broadcasting hours on BBC2.
1996 280
1997 320
1998 352
1999 348
2000 386
2001 366
0 10 20 30 40 50 60 70 80 90 100%
1996 460
1997 409
1998 386
1999 406
2000 448
2001 430
0 10 20 30 40 50 60 70 80 90 100%
■ The overall picture on ITV1 has changed little over the past six years. Animation continues
to be by far the most prevalent genre of programming, representing half of the schedule
in 2001. As a result of the increase in animated programming, pre-school material has
been in decline since 1998. The proportion of ITV1’s schedule dedicated to drama has
fluctuated between 20%-26%.
■ In comparison with the BBC channels, factual programming continues to play a
relatively small role, with only 7% of the schedule devoted to a handful of programmes
such as Art Attack, How II and Brilliant Creatures in 2001.
■ The share of total time devoted to children’s light entertainment has varied
between 10-13%.
1996 1,000
1997 989
1998 1,109
1999 1,041
2000 956
2001 835
0 10 20 30 40 50 60 70 80 90 100%
■ Programming within the factual genre, much of which is accounted for by schools
programming, and the pre-school genre such as Sesame Street and The Hoobs dominate
Channel 4’s schedule for children.
■ In 1996, animation accounted for 27% of the total schedule. Over the years, however, as
emphasis has moved towards early morning pre-school programming, this genre has
been in decline, representing only 9% of provision in 2001.
■ It is important to note here that some of Channel 4’s most popular shows targeted at
young viewers during dedicated slots such as T4 are not classified as children’s shows.
Examples of this include:
1996
1997 552
1998 834
1999 710
2000 682
2001 845
0 10 20 30 40 50 60 70 80 90 100%
■ Five’s mix of children’s programming has varied significantly since its launch in 1997.
■ Light entertainment has been on the decline since 1997, accounting for only 11% of total
time in 2002, compared with a third of the schedule in its launch year. Figures suggest this
genre has been cannibalised by animation as the proportion of the schedule dedicated to
such programming has moved steadily upwards from 10% to 32% in 2001.
■ Pre-school programming has consistently represented a large proportion of Five’s
children’s provision, ranging from 30% in 2000 to a high of 44% in 1998.
Nick Jr
CBeebies
Playhouse Disney
Boomerang
Cartoon Network
Fox Kids
CBBC
Toon Disney
Disney Channel
Nickelodeon
Trouble
0 10 20 30 40 50 60 70 80 90 100%
1996 10,236
1997 17,093
1998 15,833
1999 16,334
2000 25,985
2001 32,531
0 10 20 30 40 50 60 70 80 90 100%
■ The chart above represents the split by genre of the combined provision across the
dedicated children’s channels. It highlights once again the overwhelming dominance of
animation, which represents 76% of total time in 2001, compared with 30% on
terrestrial channels.
■ Although the proportion of time devoted to drama peaked at a high of 24% in 1999,
driven in the main by Nickelodeon, the Disney Channel and Fox Kids, this genre
represented only 9% of the line-up in 2001 (versus 13% on terrestrial channels).
■ As a proportion of children’s programming available, factual programming is virtually
non-existent. In comparison, this genre represents 18% of programming across the
terrestrial networks, albeit they are transmitting for a shorter period of time.
1996 2,775
1997 2,621
1998 658
1999
2000
2001
0 10 20 30 40 50 60 70 80 90 100%
■ In 1996, more than a third of the TCC schedule was represented by animation (38%),
with a similar proportion of the time devoted to drama programming (36%). However
from 1997, until the close of the channel in April 1998, emphasis shifted to cartoons,
accounting for more than three-quarters of the channel’s output. Factual programming
increased as a proportion of the schedule from 3% in 1996 to 10% in 1997 but,
as with light entertainment and pre-school material, the supply of this genre
diminished in 1998.
1996
1997
1998 636
1999 1,721
2000 1,922
2001 1,276
0 10 20 30 40 50 60 70 80 90 100%
■ Trouble was launched in 1998, and viewing data are available on the BARB panel from
September 1998. Targeted at the teenage market, data illustrates the channel’s reliance
on drama and light entertainment programming. In its first full year of transmission,
63% of the schedule was represented by drama programmes such as USA High, Sweet
Valley High and California Dreams. Over the years there has been a downward trend in
provision of these programmes, substituted by light entertainment programmes including
Saved by the Bell and Planet Pop.
1996 3,312
1997 3,728
1998 3,726
1999 3,728
2000 3,950
2001 4,116
0 10 20 30 40 50 60 70 80 90 100%
■ Nickelodeon continues to depend heavily on animation, which represents more than half
of its total output. The share of its schedule devoted to cartoons declined from 67% in
1996 to 50% in 2000, picking up again in 2001 (58%). During this downward trend
between 1997-2000, animation was substituted by drama programmes such as Two of a
Kind, Animorphs and Driven Crazy, which increased as a proportion of the schedule
from 17% to 37%. However, in 2001, the increase in animation combined with the
growth in children’s light entertainment led to a fall in drama provision. Factual
programming fails to represent a significant amount of the channel’s output, with the
provision in pre-school programming also disappearing over the years.
1996
1997
1998
1999 400
2000 3,392
2001 3,712
0 10 20 30 40 50 60 70 80 90 100%
1996 759
1997 4,600
1998 4,673
1999 4,781
2000 6,403
2001 5,408
0 10 20 30 40 50 60 70 80 90 100%
■ Predictably, there is little variation in the programming on the Cartoon Network, with
the schedule consisting almost entirely of animation. However, once again, the
drawbacks to the use of BARB data are highlighted with many of the animation
programmes classified as ‘light entertainment-animation cartoons’ including Dino and
Cavemouse, Flintstones and Ed, Edd and Eddy. This results in some of the programmes
shown on the channel being excluded from the analysis.
1996 2,603
1997 2,428
1998 3,046
1999 2,888
2000 2,725
2001 2,610
0 10 20 30 40 50 60 70 80 90 100%
1996
1997
1998
1999
2000 958
2001 4,770
0 10 20 30 40 50 60 70 80 90 100%
1996
1997
1998
1999
2000 660
2001 2,625
0 10 20 30 40 50 60 70 80 90 100%
■ The steady decline away from animation and pre-school on the Disney Channel may be
associated with the launch of Toon Disney and Playhouse Disney in 2000. Although
animation programmes represent the majority of the schedule on both channels, 15% of
the output on Toon Disney is light entertainment, and a quarter of the total transmission
time on Playhouse Disney is dedicated to pre-school. This may help to explain the
difference in the age profile of the two spin-off channels.
1996 787
1997 3,716
1998 3,094
1999 2,816
2000 3,203
2001 3,557
0 10 20 30 40 50 60 70 80 90 100%
■ Fox Kids was launched in 1996 - data for the channel are available from October of
that year. Its bias towards a relatively young audience (aged four to nine years) may be
explained by the fact that more than 80% of its programming provision in 2001
consisted of cartoons. Between 1997-1999, there was a steady move away from animation
in favour of children’s drama (representing 37% of the schedule in 1999), including
Fantastic Four and Grimm’s Fairy Tales, but since then emphasis has once again returned to
animated programming. There is little provision of factual, light entertainment or pre-school
programming.
51
What Children Watch
Boomerang
1996
1997
1998
1999
2000 2,773
2001 4,458
0 10 20 30 40 50 60 70 80 90 100%
■ Viewing figures for Boomerang are available from May 2000. The range in
programming on this channel is similar to that seen on the Cartoon Network. In 2001,
cartoons represented 99% of the schedule - the remaining 1% was accounted for by
some light entertainment programming.
CBeebies 3,344
CBBC 2,609
0 10 20 30 40 50 60 70 80 90 100%
■ Although the report does not look in detail at programming provision in 2002, the
impact CBBC and CBeebies have made since launch (page 60, Audience Share by
Channel) suggests some reference needs to be made to the range of programming
provided by the two new BBC channels.
■ The chart above looks at the proportion of children’s programming output dedicated
to each genre on the two channels based on 11 months of data since launch in February
2002.
■ As the profile of the two channels suggests (page 42) target audiences are notably
different. With pre-school programming representing more than 50% of its output,
CBeebies caters for younger children - 90% of its audience is aged between four and
nine years. Cartoons account for 15% of the schedule, and both drama and light
entertainment programming represent 10% of output.
■ In comparison, CBBC targets a wider range of viewers and this is reflected in the range
of programming provided. Although the channel does not offer any pre-school
programming (supplied in the main by CBeebies), 37% of its output in 2002 was
represented by factual programming, including Newsround and Xchange during the
morning segment. Animation (27% of output) and drama (13%) provision is
concentrated during the afternoon slot.
Non-terrestrial channels account for over a third of children’s viewing, compared with only
22% of viewing by the average individual. Both ITV1 and BBC1 combined represent 41%
of viewing, compared with 50% of viewing by individuals. BBC2, as the most dominant
provider of children’s material across the five main networks, maintains its audience share
among viewers aged 4-15 years (11%). The popularity of BBC2 is further demonstrated in
terrestrial homes where the channel makes up 16% of viewing by individuals and 22% of
children’s viewing. More significantly, over half of all viewing by children in multichannel
homes is of channels other than the main networks, compared with 42% of viewing by
individuals in these homes. BBC2’s share falls to 6% in multichannel homes, as children turn
to the niche children’s channels. ITV1 and BBC1 account for 32% of children’s viewing.
Within multichannel homes, viewing by children of the main networks has decreased by
20% from an average of 1 hour 25 minutes/day in 1997 to 1 hour 8 minutes/day in 2002.
Viewing by this audience of children’s programmes on the terrestrial channels has decreased
by a greater amount: from 12 minutes per day in 1997 to 8 minutes in 2002 - a fall of 33%.
All individuals
All children
Terrestrial individuals
Terrestrial children
Multichannel individuals
Multichannel children
0 10 20 30 40 50 60 70 80 90 100%
30
All children
Terrestrial children
25 Multichannel children
20
Average TVR
15
10
0
0600 - 0615
0645 - 0700
0730 - 0745
0815 - 0830
0900 - 0915
0945 - 1000
1030 - 1045
1115 - 1130
1200 - 1215
1245 - 1300
1330 - 1345
1415 - 1430
1500 - 1515
1545 - 1600
1630 - 1645
1715 - 1730
1800 - 1815
1845 - 1900
1930 - 1945
2015 - 2030
2100 - 2115
2145 - 2200
2230 - 2245
2315 - 2330
Quarter hour
Source: BARB, Monday-Sunday (2002)
The graph above illustrates children’s viewing patterns throughout the day. The first peak of
the day occurs during the breakfast time slot and peters out after 0900. The second peak
starts at 1530 as audiences return home from school, representing the start of the evening’s
viewing which reaches a pinnacle between 1945-2000 when 26% of children are watching
(2.4 million children). Children are watching, in significant numbers, programmes that fall
outside the children’s programming genre. After this time, there is a steady decline in
audiences although even after the Watershed a significant proportion of this group continues
to watch television. The data suggest 18.79% of all children are watching between 2100-
2230, rising to 19.5% of those in multichannel homes. Viewing during this segment is also
higher among older children with 23.8% of 10-15 years old watching compared with
13.5% of four to nine year olds.
Terrestrial children
Multichannel children
0 10 20 30 40 50 60 70 80 90 100%
Total 30 29
Drama 3.6 1.6
Factual 5.2 1.6
Animation 11.9 15.6
Light entertainment 5.0 3.0
Pre-school 3.8 4.6
Miscellaneous 0.7 2.4
The above graph and table illustrate the differences (by proportion of viewing time and in
terms of actual minutes per day, respectively) in the viewing of children’s programmes
between children in terrestrial households and those in multichannel homes. The graph
shows how viewing in 2002 was split across the children’s genres. In multichannel homes,
we look at total viewing of Nickelodeon, Fox Kids, Cartoon Network and the Disney
Channel, taking into account viewing of the replay channels.
Although children in multichannel homes have a wide range of children’s channels available,
the amount of time spent watching programmes classified within the children’s genres stands
at around 30 minutes per day - similar to the amount spent by children in terrestrial homes.
Boomerang
Cartoon Network
CBBC
CBeebies
Disney Channel
Toon Disney
Playhouse Disney
Fox Kids
Nick Jr
Nickelodeon
Nickelodeon Total
Trouble
0 1 2 3 4 5 6 7%
80
BBC1
BBC2
70 ITV1
C4
Five
Other
60
50
Share, %
40
30
20
10
0
0600 - 0615
0645 - 0700
0730 - 0745
0815 - 0830
0900 - 0915
0945 - 1000
1030 - 1045
1115 - 1130
1200 - 1215
1245 - 1300
1330 - 1345
1415 - 1430
1500 - 1515
1545 - 1600
1630 - 1645
1715 - 1730
1800 - 1815
1845 - 1900
1930 - 1945
2015 - 2030
2100 - 2115
2145 - 2200
2230 - 2245
2315 - 2330
2400 - 2415
Channel performance throughout the day highlights some interesting trends in the viewing
habits of multichannel children. Viewing of non-terrestrial channels is highest during the
daytime segment between 0930-1530, when viewing of terrestrial channels is at its lowest.
In the early morning (0600-0930) the terrestrial channels, in particular BBC2, perform
relatively well, although it is clear that, as viewing of the non-terrestrial channels increases,
these channels lose audiences. The fall in viewing of non-terrestrial channels and the
increase in viewing of BBC1 and ITV1 between 1530-1730 demonstrates the continuing
importance of the main networks in multichannel homes - this is also illustrated by the list
of top-rating children’s programmes in these homes. Viewing of non-terrestrial channels dips
during the evening as viewing of BBC1 and ITV1 increases, although audiences switch back
to these channels after 2030.
All children
Newsround Factual BBC1 10.9 1,007
Smart on the road Factual BBC1 10.7 989
All About Me Light Entertainment BBC1 10.6 976
Christmas at Club Blue Peter Light Entertainment BBC1 10.4 958
CBBC at the Fame Academy Light Entertainment BBC1 10.3 949
Blue Peter Factual BBC1 9.9 915
Grange Hill Drama BBC1 9.7 894
Film: Snow White Animation CH4 9.7 893
Viva S Club Drama BBC1 9.6 885
Mona the Vampire Animation BBC1 9.4 865
Multichannel children
All About Me Light Entertainment BBC1 7.8 446
Newsround Factual BBC1 6.7 385
Bob the Builder Animation BBC1 6.2 355
Stig of the Dump Drama BBC1 6.1 352
Fingertips Factual ITV1 6.1 349
Smart on the Road Factual BBC1 6.1 348
Blue Peter Factual BBC1 6.0 346
The Ghost Hunter Drama BBC1 6.0 343
The Cramp Twins Animation BBC1 5.9 340
The Story of Tracy Beaker Drama BBC1 5.7 330
Since the previous study conducted by the Broadcasting Standards Commission in 1997,
Internet penetration has risen from 5% to 43% (The Public’s View 2002). Figures show
penetration is skewed towards households with children - 49% of these households have
access via a computer in the home.
This, along with the technical development of games consoles and the growth of mobile
‘phone penetration, has meant that today’s children are faced with more diverse media
choices, both as a source of entertainment and of communication. These extra choices will
undoubtedly lead to the fragmentation of children’s leisure time as they spend time away
from the television, using their PCs, mobile phones or games consoles.
Netvalue measures the usage of the Internet at home and is based on a panel of 7000
households. In June 2002, the average child connected to the internet 10 times, spending
28 minutes online during each session. Frequency of usage is marginally lower than among
adults, who connect 17 times per month, but the average session for children is two minutes
longer. Usage is highest on weekends, between 1800-2100 and after school, between
1500-1800, whereas adult usage is heaviest between 1800-midnight.
Figures suggest 52% of 7-16 year olds own a mobile phone, rising to 82% of 14-16 year
olds (Source: NOP). As well as contributing significantly to the millions of SMS messages
sent via mobile phones each day, children are heavy users of the Internet as a means of
communication. They are more likely than the average Internet user to participate in instant
messaging (38% of online children versus an average of 28% of the Internet population)
and visit chat rooms (8% of online children versus an average of 5% of the Internet
population), as shown below.
Leisure/games
Leisure/entertainment
Media/television
Instant messaging
Chat
0 10 20 30 40 50%
The analysis conducted in 1997 had been an update of a project, with similar objectives,
conducted for the Broadcasting Standards Commission by Professor Blumler in 19927. That
study had considered the provision and range of children’s programming on the terrestrial
channels between 1981 and 1991. There were significant methodological differences
between the two studies, but broad trends and changes could be found.
This analysis, of children’s programme provision in the five years to 2001, updates Professor
Messenger Davies’s study, which had tracked changes from 1992 to 1996. Again, there are
methodological differences. While Professor Messenger Davies had used BARB-based
analysis tools, she also conducted desk research looking at issues such as origination of
production. The analysis presented here is taken entirely from the BARB, industry-based
measurement system. Despite these differences, an overview of trends in children’s
programme provision can be taken, both in terms of time and variety of material. Data
presented here offer a further analysis of the changes since 1991:
■ The current analysis found a further increase. The introduction of Channel 5 (now
Five) and an increase in children’s programming provision on BBC2 have
contributed to this change. In addition, a number of new channels have been
introduced for those in multichannel homes. These are either new services or
channels which target particular age groups, having split from ‘host’ channels (e.g.
from the Disney Channel stable have come two new channels, Toon Disney and
Playhouse Disney).8
■ This analysis of the years from 1996 showed that the increase on analogue terrestrial
channels continued to be in the provision of children’s programming in the early
morning or breakfast slot (0600-0929).
■ There was little change in the late morning (0930 –1159) or after school
(1530-1729) slots.
■ Provision in the early afternoon slot (1200-1529) had fallen over this period.
7 Blumler, J. G., The Future of Children’s Television in Britain: An Enquiry for the Broadcasting Standards Council, 1992.
8 It needs to be borne in mind that two further BBC children’s channels were launched in 2002.
■ The analysis of genres since Professor Messenger Davies’s study shows that
animation is still the main genre within children’s output across all channels.
However, the analyses do not differentiate between the styles of animation, which
are varied, nor is any information available on country of origin.
■ Three-quarters of the output on the dedicated channels falls within this category.
■ BBC2 also increased its output of animated programming, as did Five and GMTV,
the breakfast time commercial Channel 3 service.
■ The 1997 study had shown that, despite the increased concentration on animation in all
the schedules, the provision of drama on the BBC channels had remained stable, while
Channel 4 had increased its provision. The analysis had also shown an arrest in the
decline of time devoted to the drama genre on ITV1.
■ The analysis of output since then confirms that drama provision has continued to
increase, albeit slowly, with Five making a significant contribution to this genre,
especially around 1999. This peak in provision on the channel appears to have fallen
back in the past two years (to 2001).
■ BBC1 also made a significant contribution to this genre, but the level of output has
decreased since 1999, with BBC2 taking an increasing share.
■ Provision on ITV1 has remained constant.
■ While there had been growth in this genre across the period sampled on the
dedicated satellite- and cable-delivered channels, a sharp decline was noted in 2001,
and the output will have to be tracked to see what is happening.
■ BBC1 was noted to be the main home of factual programming in the 1997 study, with
provision on BBC2 overtaking it in the last year considered (1996). While Channel 4
was noted to be increasing its minutage across the sample period to 1996, the genre was
considered to be declining across all the schedules.
■ Light entertainment programming on ITV1 was high in the 1997 study and represented a
far greater share of its schedule than BBC1. By 1996, this genre on BBC2 was beginning
to match the levels on BBC1.
■ Comparative data, to 2001, showed there was some provision of light entertainment
on the dedicated children’s channels, based around a few channels. Output had
grown almost threefold across the period monitored.
■ BBC1 led BBC2 in this area within the sample period.
■ ITV1's output remained stable while there was some decline noted in Five’s
provision
in this area.
■ This genre was the main constituent of children’s programming for GMTV.
■ Both Professor Blumler and Professor Messenger Davies referred to the importance of
‘the provision of pre-school programmes as a separate indicator of a broadcasting
organisation’s commitment to children as a unique and different audience’. There was,
however, a decline noted in this category on both Channel 4 and BBC1, as the latter
shifted programmes to BBC2.
■ The analysis of the years from 1996 to 2001 suggested fluctuating provision of
programming aimed at the pre-school audience on analogue terrestrial television,
with a dip in provision corrected by 2001.
■ Much of the increase in provision in the last year surveyed came from Five.
■ On the dedicated channels, the increased targeting of age groups meant that
pre-school provision increased dramatically, with both Nickelodeon and the Disney
Channel creating formats designed exclusively for this audience.
Background
The study carried out previously by Professor Messenger Davies included interviews with
professionals, but not children themselves. This latest study, as well as providing an update
of the actual amount and range of children’s programming available, includes qualitative
research with both children and some parents to find out their respective expectations of
children’s programming and whether these are being met.
Qualitative research is useful for telling us something about the story behind the viewing
figures. It does not provide statistics, but offers an insight into the views and opinions held
by audiences. It helps to answer questions such as: what do children think about what they
watch? How do they select the programmes they see, and how has multichannel television
changed their viewing habits? What are parents’ concerns with current output, and are these
different from children’s concerns? Are children happy with the range and diversity of
programming aimed specifically at them? How are children using the electronic programme
guide (EPG), and what effect has it had on their viewing habits?
Focus groups and trio depth interviews were carried out with a range of children aged
6 - 12 years, along with some family observations and discussion groups with parents.9 This
research provides an understanding of the importance of children’s television to children,
both on terrestrial and digital channels.
Objectives
The key objective for this part of the project was to understand both children’s and parents’
responses to current children’s programming in the United Kingdom, in the context of the
growth of multichannel access and digital television and its associated interactive services.
The work of Professor Livingstone and Moira Bovill (2001)10 found that the importance of
television to young people and children is very clear. It is the most pervasive medium in
European homes and the one children spend most time with by far. Out of a list of 16
media, both boys and girls in the majority of the 12 European countries surveyed named
television as the medium they would miss most. This finding was particularly true for
British children, emphasising the United Kindom’s strong screen entertainment culture. UK
children have one of the highest levels of personal ownership of television sets in Europe.
Uniquely, they are as likely to have a television set in their bedroom as they are to have a
shelf of books.
Livingstone and Bovill set out to look at the role of the media and how they shape, as well as
are shaped by, children’s and young people’s identity and culture, and their relations with
family, peers, school and community. The framework for their study was initially conceived as
a follow-up to Himmelweit et al’s 1958 postwar study, Television and the Child.11 Despite the
dramatic technological changes over the decades since this original study, in many respects
children’s lives are as they were 20 or even 40 years ago. ‘Children grow up, watch television,
ride their bikes, argue with their parents, study hard, or become disaffected with school, just
as they always did... Then, just as we find today, children prefer to play outside with their
friends than use the media, mainly watching television to relieve boredom.’
This new, much smaller scale qualitative research shows a high degree of continuity with
previous studies. The findings reinforce the continued importance of television viewing
within the context of children’s busy lives, but also show that, regardless of the increased
access to new media, additional television channels etc, children continue to enjoy doing
many of the things that they have always enjoyed doing. The research took place over the
summer months when most children said that their favourite thing to do was to play outside
with their friends. Parents encourage their children to be outside if the weather is good,
although there are concerns for their children’s personal safety.
There are well-documented differences in media use between the genders. In this study, the
boys were found to enjoy computer games and games consoles - PlayStation 2 was still a
firm favourite. The girls were more likely to read on occasions, although this was not a
popular activity for the majority, and to listen to music.
In general, however, television is very much the main leisure activity in the home. Most of
the children in the study could not imagine life without television. They were asked what
they would do if their television was taken away:
10 Livingstone, S. and Bovill, M., Children and Their Changing Media Environment A European Comparative Study, 2001.
11 Himmelweit, H. T., Oppenheim, A. N. and Vince, P., Television And The Child, 1958.
‘I switch it off when I go to bed at night - I’m usually the last one awake - and the kids
turn it on in the morning.’
(Father, London)
The television is almost like a member of the family in its own right. And it is continually
evolving, especially in multichannel homes where there are new channels and programmes
on offer all the time. In these homes, children find it almost impossible to turn it off
because there is always something to watch. BARB data show that children in multichannel
homes are watching 35 minutes more per day (four hours a week) than children in
terrestrial homes.
In many households, the television stays on even when no one is in. Parents in these
households see it as a burglar deterrent. It also stays on while mothers are getting on with
their household chores. They like to have some background noise in the house, so they just
leave it on even if they are not watching it.
It is not uncommon for all the televisions in the house to be on at the same time.
TVs in bedrooms
Many children aged nine and over have a television in their bedroom. It is usually a hand-
me-down or they have been given it as a birthday or Christmas present. Most children are
now being bought a combined television/video. Parents have an issue about televisions in
bedrooms if they have younger children (under nines), or are first-time mothers. They often
feel uncomfortable admitting that their child has a television in his/her bedroom. They feel
they have to justify it in some way and will say that it helps their child to get to sleep or
that it is just there for the PlayStation, or that there is no aerial because it is only used for
watching videos.
The VCR
The video recorder still plays an important role in children’s lives. All children have a video
collection and regularly watch videos, especially younger children. Mothers of younger
children like the control this offers - they appreciate the reassurance of knowing exactly
what their children are watching. Watching films on video is an activity which many
families enjoy together. Perhaps this contributes to the fact that many children are watching
films targeted at a much older age group. Most of the children who took part in this
research had seen films with certificate ratings of 12 and 15. Parents are less concerned
about their children watching these kinds of films if they are around to check up or to
watch with them.
Although some parents do try to control the amount of television their children watch, in
reality there seems to be very little ‘policing’.
There are some households where television is not allowed in the morning as ‘it gets in the
way’, but these families are very much in the minority.
Afternoon television is seen by both children and parents as time to relax after a hard day at
school. It is children’s ‘chill out’ time - a chance to escape from the real world. The mother
endorses this time and hands over responsibility to her children. She trusts what is on
during weekday afternoons, and especially on the analogue terrestrial channels, knowing the
programming is targeted at children. She allows them to take control of their viewing while
she is busy elsewhere.
‘You might not necessarily be really watching and listening, but it’s always
on in the background.’
(Boy, aged 12, Birmingham)
Children have learnt to screen in and out; to attend to the television and then to filter it out if
they are doing something else, e.g. homework. It is almost as if they have developed the ability
to multi-task. Some parents insist that the television goes off, but the vast majority feel that, as
long as their children finish their homework, the television can stay on. Most of the children
who took part in the research were amazed that turning the television off might be a
consideration. They could not conceive why it would be thought necessary.
Weekend mornings
Weekend mornings were thought by most respondents to provide the best children’s
television. Children felt there was always something on for them to watch at this time,
whether they had terrestrial or multichannel television. Terrestrial-only viewers considered
that they were particularly well catered for.
‘I love it when I wake up on a Saturday, and you just know there is going
to be good telly.’
(Terrestrial, boy, aged 12, Manchester)
Evenings
In the lounge
Children have less control over viewing in the evenings. Evenings tend to be more family
viewing time where the household is often watching more ‘adult’ programming. Parents take
more control if there is a specific programme on that they want to watch. As another
report, Striking a Balance12 found, parents are keen to protect their own ‘leisure space’.
After the Watershed there is some regulation of children’s viewing. The more potentially
inappropriate adult programmes are often banned outright, or parents decide to watch with
their children. For example, Bad Girls and Big Brother were cited as programmes that
parents watched with their children. Watching these kinds of programmes, from the
children’s point of view, is often a good way to negotiate going to bed later, every child’s
primary goal. Parents admitted that they often gave in to pestering.
‘You can watch anything you want in your room, but there’s not many channels.’
(Girl, aged 8, Manchester)
Some mothers of younger children control their viewing by having the bedroom
television linked to a VCR rather than to an aerial. They may watch part of a video
before going to sleep.
‘I always put on a video just before they go to bed - one of their favourites. It helps
them to unwind and relax before sleeping.’
(Mother, Manchester)
Children tend to flick during evening viewing in their bedrooms and stay up beyond their
official bedtime. This is something parents are aware of, but nevertheless tolerate.
‘You just get the best view when you sit near.’
(Girl, aged 10, London)
Sitting close means less disturbance from other family members. Children described the
sense of control they have when they are in close proximity to the television set where
no one can get in their way.
Older siblings tend to be in charge, so younger children often have to watch what their older
brothers and sisters want to watch. Younger children gain control when the older members of
the family do not want to watch any more or are not that bothered about what is on.
Parental regulation
Pre-Watershed, children are given free range to watch pretty much what they want. Parents
assume that programming before 2100 is suitable for their children to watch alone. Post
2100 parents differ in terms of what they consider suitable for their children to watch. Some
parents are stricter than others, but most seem to give in quite easily to their children’s
pestering. Many parents feel it is just not worth the argument, especially with children aged
10 years and older. Ten appears to be the age when parents start to become more relaxed
about monitoring their children’s viewing. This ties in with the findings from Striking a
Balance, which found that, around this age (the top class in junior school), there is a drive
towards separation from parental influences.
All the parents were aware that their children may watch ‘unsuitable’ programmes when not
in their care, e.g. at friends’ houses, grandparents’ homes, in their bedrooms.
‘I’d like to think I know what they watch, but I never remember the [programme]
names or anything.’
(Mother, Birmingham)
Fathers, on the other hand, say they do not have a clue about their children’s viewing, but in
practice were found to spend more time watching television with their children than they
said they did or realised they did. It appears to be almost subconscious viewing. One father,
for example, was unaware that he was singing along, word perfect, to the tune of the Power
Puff Girls! It is likely that mothers find it hard to sit down and watch television with their
children because they are always conscious of the chores that have to be done.
Summary
To summarise, the role of television in children’s lives is a bit like a noisy light bulb. It is on
all the time, and everywhere in the home. Children prefer, ideally, to watch it on their own.
They feel they would be lost without television and spend most of their time trying to gain
control of it.
Children are unaware that they are mixing up programmes and channels, and believe that
they know exactly what they are talking about. They do not ‘feel’ confused and do not
regard it as a problem.
Genres
Younger children under the age of eight years have some understanding of different
programmes and segment them on a very basic level - programmes ‘for me’, programmes
‘for adults’ and programmes ‘for everybody’. The main bulk of viewing of children this age
is of the children’s programming genre only. By about nine years of age, however, children
start to understand and become more aware of the different genres and their repertoire of
genres increases. They talk about preferring to watch music programmes versus cartoons, or
real-life programmes, nature programmes etc.
Channel loyalty
In general, there is less channel loyalty than there once was. Children are programme
seekers, rather than channel seekers. They tend to search out their favourite programmes.
Multichannel children are aided by the EPG to search for programmes rather than to look
for specific channels. Although they do still have favourite channels, the distinction between
channels is blurred when there are so many to choose from. Multichannel children are not
always aware of what is on when.
Terrestrial-only children, with a limited number of channels to choose from, and in the
absence of an EPG to help organize their viewing, are more aware of the channel they are
watching at a given time. This does not necessarily result in greater channel loyalty,
however, as terrestrial children do not feel a particularly strong affinity with any of the five
channels on offer. That said, they are aware of CITV and CBBC as branding, and the
younger children in the research spontaneously referred to CBeebies, so they do have a sense
that parts of the terrestrial networks are dedicated to programming especially for children,
and this is appreciated. Terrestrial parents feel that this demonstrates that broadcasters care
about their child audience. They considered it would be unacceptable for any of the
‘If children’s television was taken away, then it would be videos, I suppose. It certainly
wouldn’t make me necessarily be lulled into purchasing digital TV.’
(Mother, Edinburgh)
When talking of the removal of children’s television from one of the terrestrial channels:
‘I think it’s saying that the kids aren’t good enough so we’re putting the boring cricket
match on instead of programmes for the kids.’
(Mother, Edinburgh)
‘Not everybody has access [to digital] and not everybody can afford digital, so the BBC
has a duty to give everybody across the range the opportunity to watch programmes
they enjoy. Possibly ITV1 don’t have that duty, but then it can fund programmes from
advertising, so it should cater for everyone, too.’
(Mother, Edinburgh)
Favourite programmes
Children have lots of favourite programmes, and these change all the time. For terrestrial
viewers, in particular, their favourites are dependent on the schedules and what is currently
being broadcast. Children easily forget if a programme has not been on for a few weeks.
Multichannel schedules are far more predictable, as they show most of the same
programmes each day/week.
But in reality there is little difference between the ‘favourites’ of multichannel and terrestrial,
however, only children. They tend to like the same programmes. The key difference is that
children in multichannel homes get to see their favourite programmes more often.
The Simpsons
The Simpsons is a show for the whole family. Everyone enjoys it, even mothers. It is the
kind of programme that children like watching over and over again. It has something in it
for everyone. It was spontaneously mentioned as a ‘favourite’ in every children’s group. It is
easy watching and a programme that makes everyone laugh.
Sabrina
Sabrina is still very popular, especially with girls who relate strongly to the main character.
They see her as ‘a girl like me but a bit different’. It has make-believe and fantasy for
younger children, but also real-life teenage issues for the older girls. Children also think it
looks good, in terms of its production values. They have a sense that it is ‘high quality’.
Again, they like to watch it repeatedly.
‘The kind of programme you can watch over and over again.’
(Girl, aged 8, London)
Blue Peter
Blue Peter remains popular with terrestrial viewers, but multichannel children are less
enthusiastic about it. Some of the children said that they tuned in to the parts of the
programme they liked, but often did not watch the whole programme. They thought it was
quite mixed, with good and bad bits. Multichannel viewers have less patience when
watching and switch over more quickly. They are less likely to return because of the choice
of other programmes available.
Art Attack
Art Attack is still very popular. It is one of the programmes that all children enjoy watching
and talking about. It is clever and intriguing.
They know their parents approve of them watching this programme and they recognise
themselves that it has an educational value, but it is also fun.
Newsround
Newsround is not a programme that most children say they actively choose to watch,
although viewing figures show that it was the top children’s programme in 2002. Many are
perhaps watching it because of its scheduling, i.e. immediately before Neighbours on BBC1.
But children say they are interested in news stories that are especially relevant to them,
e.g. if they involve children or are of great significance, such as the terrorist attack on the
Twin Towers and the war in Iraq. Some multichannel children are watching adult news
channels i.e. Sky News and BBC News 24.
Soap Operas
Ownership of the soap operas resides with mother. Most children watch them because their
mothers do. Girls and mothers refer to watching soap operas together as ‘bonding’ time.
Viewing soap operas allows children a window into the adult world. They feel more grown
up watching programmes that deal with real-life issues and relationships. Striking a Balance
comments on the fact that parents feel that their children are maturing earlier; although they
highlight the difficulty in judging whether their physical and social maturity is matched by
their emotional maturity, and that there is a need to educate children about the real world.
The media, and soap operas in particular, are thought by parents to have a role in this.13
Even young children of six and seven years of age are watching soap operas with their
mothers. There are mothers who have concerns about some of the issues in the soap operas
13 Millwood Hargrave, A. with Gatfield, L., Soap Box or Soft Soap? Broadcasting Standards Commission, 2002.
Sport
Sport is fathers’ domain. Fathers usually control the sport watching, and boys love watching
with them. Football is a favourite. It creates a sense of togetherness when the whole family
watches events such as the World Cup. Other sporting events, which have united the family,
include the Commonwealth Games, Wimbledon etc.
Music channels
Multichannel children, especially older children, are watching music channels a lot. They
find them easy to turn to - they are always there and there is always something to watch.
These channels offer good ‘in between’ viewing, even the young ones aged five or six will
tune in for short periods. They learn the moves and the words, and it allows them into the
world of music, a world that terrestrial viewers rarely get to see on a regular basis.
Nature programmes
Nature and wildlife programmes are very popular with both girls and boys and these are
often watched as a family. Children know that their parents like them to watch these
programmes, but they do enjoy them.
Nature programmes are more popular with terrestrial viewers, especially when shown on a
Sunday night. Boys tend to enjoy the more violent series such as Ultimate Killers and
Walking with Beasts, and episodes about sharks or crocodiles. Girls prefer programmes
about cuter animals such as dolphins, elephants or baby animals.
Cartoons
Cartoons are what children love to watch. They see them as television they own - television
that is really for them. They watch cartoons every day, especially the boys. They are fun and
easy to watch.
In general, all children like to watch a variety of programmes. Watching anything for too
long can become boring. As one child said, ‘You can even tire of watching The Simpsons’.
They value diversity in programming, something which is underpinned by the viewing
figures which show that children’s top programmes (see p57 of the report) include a range
of genres: factual (including news), light entertainment, animation and drama. This is the
same across both terrestrial and multichannel households.
The boys tended to be more into sports, action, adventure, fantasy and noise. They cited
among their favourite programmes action manga cartoons such as BeyBlades and Dragon
Ball Z, and loud and interactive game shows such as Scrapheap Challenge and Robot Wars.
And many were avid watchers of football. Boys’ interests in action and adventure have been
found also to influence their choice of electronic games, reading material and video rentals,
as well as affecting their musical tastes.14
14 Lemish, D. Liebes, T. and Seidman, V., Gendered Media Meanings and Uses. In: Children and their Changing Media Environment,
edited by Livingstone S. and Bovill M., 2001.
Overview
Terrestrial and multichannel television are two different worlds. Multichannel children
always have something to watch whatever the time of day, so they tend to watch television
more than terrestrial-only children do. Viewing figures show that multichannel children are
watching 35 minutes more per day. It is harder for those in multichannel homes to actively
turn the television off when they know that there are always programmes on for them to
see. But increased choice does not necessarily mean greater diversity. The earlier part of this
report shows that the balance of children’s programming on individual dedicated channels is
more limited, when considered as a proportion of broadcast time, than on the individual
terrestrial channels. Even when the hours of transmission are taken into account, the
balance of programming on the main dedicated channels is weighted towards light
entertainment in the form of animation.
Notably, although multichannel children have more programmes available specifically for
them, they are not watching any more children’s programming than are terrestrial children
(30 minutes per day). The rest of the time, therefore, they are watching genres outside
children’s television.
Terrestrial children do not have the same luxury of always having children’s programmes to
turn to, so often when they turn on the television they cannot find anything to watch. As a
result, they are more selective about their viewing and only watch at certain times. If there is
nothing on that they want to see, they will turn the television off.
Terrestrial children
It is fair to say that terrestrial children are a ‘dying breed’. Most are part-time multichannel
viewers anyway. They may watch at their father’s house if their parents are separated or
divorced, at grandparents’ or at friends’ homes. Given the choice, most would like to have
multichannel television at home. But they accept not having it because there is a sense that
they will get it in the end - it is only a matter of time.
Terrestrial children tend to switch on the television set and flick. Sometimes they know what
is going to be on and have made an appointment to view. More often than not they switch
on and hope they will find something to watch. They have a feel for when their programmes
are on, but otherwise they will flick around until they find something. If nothing is on, they
will turn the television off.
Terrestrial children know exactly when the children’s programmes are on, although not
necessarily the schedules themselves. For example, they know that the best times for them
are immediately after school and on Saturday mornings. If they can read, some will use a
television guide magazine, although most find the guides quite complicated. Some prefer to
use a newspaper and a few said that they turned to teletext.
‘There’s hardly ever anything to watch on a Sunday, only sometimes they have a good
nature programme on.’
(Boy, aged 12, Birmingham)
.
Multichannel children
All those with multichannel television said that life before Sky was really boring. They were
enthusiastic about having access to lots of channels. Before Sky or cable, they said that they
often found it difficult to find something to watch; there was less choice and not enough
programmes for children. They said that they frequently ended up watching programmes
that they did not really like. They referred to terrestrial television as ‘plain TV’.
When asked about terrestrial or ‘plain TV’, multichannel children said that it was not really
for them. They watched it sometimes, but it was not a first choice to view. They mentioned
that they sometimes watched programmes with the rest of the family on the five terrestrial
channels, but otherwise did not choose to visit these channels very often.
Younger children who had always had multichannel television did not really know about
‘plain TV’. BBC1 to them was just a channel with a number like all the rest. Some referred
to the BBC channels as Channel One and Channel Two.
Multichannel television has changed the lives of mothers who have younger children,
especially those with pre-schoolers. It offers a day-long schedule that the children can turn
to whenever they want, which allows mothers to get on with their chores. It is almost like a
substitute nanny.
Multichannel children are becoming more sophisticated at a younger age. They watch
more and they see more, therefore, they want more and expect more. Although they put
up with more repeats, they are also constantly looking for the new and different, and they
often find it. They have more to explore and are open to a much wider repertoire of
programmes and channels. For many, having five channels is an unimaginable thought.
What would you watch?
This research uncovered evidence that children do plan their viewing in advance using the
EPG. Children who have little or no control of the remote control in their family are using
the EPG to gain some control. They utilize the EPG’s ‘programme planners’ at the beginning
of the day to plan their viewing. The programme they want to watch flashes up a reminder
on screen five minutes before it is about to start. Other family members will often then
relinquish control and allow them to watch their favourite programme.
The decision on what to watch is quick. Children flick through or read through, making
decisions very quickly. Frequently the channels further on in the electronic guide do not even
get a look-in as children have already made their decision before they get there. Those
channels which may be missing out, currently include CBBC, CBeebies, some of the Disney
channels and Discovery Kids.
Children tend to have some idea of what they want to watch, and as soon as they see it they
press ‘select’. Typically, they do not go back to the TV guide page again. Once they have
made an initial choice, they then flick through, looking at what is on elsewhere while they
watch what they have selected, or alternatively they use numbers they know.
The majority have an awareness that technology moves on very quickly, however, and that it
is improving all the time, so they believe the future lies with interactivity, but currently it is
far too slow and difficult to use and does not do enough to warrant their involvement.
Quality issues
Children and parents have different views when it comes to what makes a good
programme. Children tend to be looking for a bit of escapism, a good storyline and
humour. Parents prefer children to be watching programmes that have some sort
of moral or educational value, and they especially dislike slang.
A quality programme
The one thing that parents will not tolerate is swearing. They find it offensive and
unnecessary. It is not what they want to be seen allowing their children to watch. It works
against what they are trying to teach their children about good manners and behaviour. But,
parents will tolerate it under certain circumstances, e.g. when it is used in a real-life
situation. Parents and children, especially boys, cited Lads Army as an example of a
programme that they were allowed to watch which contained a high level of bad language.
Parents’ reasoning was that this was not swearing for swearing’s sake. They did not consider
programmes such as South Park to be in the same category and objected to the language
used in the cartoon, which they felt was designed to appeal to children, even though
children are not the target audience.
‘I can’t bear it when they swear all the time and my kids are watching with me. It makes
them think it’s okay to swear, and it’s just not helpful.’
(Mother, Birmingham)
Merchandising
The issue of merchandising was raised with parents. There was not a great deal of
antagonism towards merchandise-based programming. The popularity of merchanised
products is at its peak among children under the age of four. Mothers get a great deal of
vicarious pleasure from giving their youngsters presents, they know their children will love.
To children this age it is the real thing.
By seven years, however, the desire to have lots of favourite television programme products
lessens considerably. At this age, it is more the occasional T-shirt or pencil case that is being
bought, often as a gift rather than something the seven year old has specifically asked for.
As children grow older, they tend to look for products that are endorsed or sponsored by
their favourite personalities, e.g. sportsmen or women, or pop stars.
Repeats
Children tolerate repeats well. They use them to get a ‘quick fix’. If they have seen
something many times before, they might dip in and out. Repeats used to be more of an
issue, but now many see there are some benefits. Most children will not watch the same
episode twice in a day, but other than that they are happy to watch the episode over and
over again. It does not appear to be a contentious issue, but rather something they have
grown used to and accept. For those who have always had multichannel television, it is
what they have always known.
‘I’d rather watch a repeat of something I like than a new episode of something I don’t.’
(Girl, aged 9, London)
That is not to say, however, that, if new and different programmes were to dry up, children
would not eventually become bored with the limited choice of programming available.
American children’s programming dominates the dedicated channels and, in many cases, is an
increasing part of the terrestrial broadcasters children’s schedules. In 1996, American
productions made up a quarter of the output of children’s programming on ITV1 (Source: ITC).
This has risen to 30% in 2002, although the level has been relatively stable over the past four
years. Five has seen a marked increase year-on-year from 16% of total output in 2001 to 35%
in 2002. Channel 4 shows a significant reduction in its purchase of American content (down
from 84% of total children’s output in 1997 to 43% in 2001 to 27% in 2002).
Children’s views
Most children, especially those under the age of 10-11 years, know little about the origin of
the programmes that they watch. It is not something that concerns them. Children in
London often assume a programme is from the United States and children outside London,
e.g. Scotland, often believe that everything comes from London. It is not until around 11 or
12 years that they start to understand and have an opinion about ‘foreign’ material and
then they can be quite judgmental, e.g. ‘It’s American rubbish’.
Parents’ views
The majority of the parents interviewed were quite happy with the type of children’s
programmes on offer, but more so on the terrestrial channels. Some were critical of the
domination of animation on most of the dedicated children’s channels. They were aware of
the American influence across children’s programming generally, but were pragmatic about
the fact that their children enjoy many of the American shows such as Sabrina, Hey Arnold,
and Keenan & Kel. They felt that these kinds of programmes enable children to escape into
a fantasy world away from the reality of school and homework. They offer a bit of light
relief and are often funny and make children laugh.
‘I just like good programmes, I don’t care where they come from.’
(Mother, Manchester)
Mothers of younger children (under eight) and especially terrestrial-only mothers had more
issues. Some were concerned about children picking up American accents, but the main
worry was that these programmes were not ‘homemade’ and therefore were considered to
be less culturally relevant. Some mothers also felt they were less educational.
‘There are certain American ones which do actually really annoy me... teaching kids to
pronounce things in a certain way, and the language isn’t right for British kids.’
(Mother, Edinburgh)
‘Look at the Teletubbies. That’s a UK creation and that swept the world.’
(Mother, Edinburgh)
Given the choice, however, it is the American shows that many children seem to prefer
watching. Children think that they look better and perceive them to have higher production
values. They make them laugh, and they find the humour more sophisticated. They allow
for escapism, and for some children they were seen to be aspirationa,l with clever, funny
characters living in worlds which children found attractive. American programmes were
perceived to be ‘for my age group and above’ which gives children a sense that they are not
being spoken down to. Programming appeal has been found to be linked to perceptions by
children of its positioning as ‘older’ or ‘younger’ than themselves (Messenger Davies et al).15
While there are different types of UK-based children’s dramas, few seem to incorporate all
of the values of the US-based dramas. Often slapstick humour is used, and, while many
children love it, it can feel young. Programmes such as My Parents Are Aliens are enjoyed,
but tend to be seen as being for younger children. Book-based dramas such as The Worst
Witch and The Queen’s Nose are very popular with the under 10s but, whilst older children
still watch them, given the choice they would prefer more ‘grown up’ programming.
US shows appear to have a far broader appeal. They are more multi-leveled so there is
something in them for everyone. British programmes such as Grange Hill and Byker Grove
are well liked and remembered by terrestrial children, but they are almost forgotten by
multichannel children. The latter always have the choice to watch something else. These
kinds of UK children’s soap dramas are often seen as depressing, and, although they are
more relevant to British children’s lives, they do not fit well with the ‘home from school
mood’ and the need of children for a bit of escapism. Children want to chill out and relax
when they get home from school and not have to think about anything too heavy. Given the
choice, most would opt to watch a funny US programme.
15 Messenger Davies, M., O’Malley, K. and Corbett, B., Channels to the Future. Children’s views about broadcasting provision.
In: What Price Creativity? edited by Ralph, S., Langham Brown, J. and Lees, T., 1997.
New media abound, but television retains its importance as the primary source of leisure
entertainment for children. Nevertheless, it has to continue to compete. The leisure industry
is expanding at a rapid rate as new technologies flood the market. Many of the early
adopters of these technologies are households with children. The competition for children’s
leisure time has never been greater.
Television has had to evolve to keep pace. The landscape of children’s television, in
particular, has changed dramatically. Currently, there are 10 main dedicated children’s
channels broadcasting children’s programming 24 hours a day. The provision of children’s
programming overall has tripled in the past five years. Not only do children have access to
their own programmes whenever they want, but also the development of dedicated replay
channels, which repeat schedules every hour, means that they never have to worry about
missing their favourite programmes. Perhaps it is not surprising that it is harder for
multichannel children than it is for terrestrial children to turn the television off.
Terrestrial children have far less flexibility about when they can view and less choice about
what to watch. Television may be a disappointment to them at times, but they do value
what they have and look forward to the times of day when there are programmes on for
them. They are much more able than are multichannel children to turn the television off
when their programmes have ended and to find alternative forms of entertainment.
Most of children’s everyday viewing occurs within the children’s genre, but they also
regularly dip into:
■ music
■ soap operas
■ real-life dramas
■ sport
■ some nature programmes
Multichannel television has created a sense of ownership among the child audience.
Children now feel that they own a part of television. And having additional dedicated
channels has raised their expectations and demands. Children want and expect a good
choice of programmes across a number of channels. They expect to see new programmes on
offer all or most of the time, and they eagerly embrace these new offerings.
Dedicated channels have changed the way children view. This audience no longer has to
worry about missing their favourite programmes because they know they will be on again.
Neither do they have to confine their viewing to certain times of the day because whatever
the time of day there will be programmes on for them to watch. The electronic programme
guide has given children more control over their viewing, and they are adept at using it.
In essence, whether multichannel or terrestrial, children are looking for good programmes.
They have little channel loyalty, especially in the multichannel world where there are so
many options to choose from. Children are a critical audience and they want high quality
programmes that entertain, contain humour, provide interesting information and above all,
do not speak down to them.
While multichannel children are watching more television than terrestrial children are, it is
significant that it is not more children’s programmes they are tuning in to but other kinds of
programming. Analogue terrestrial broadcasters offer a better balance of programming
across the hours they broadcast and more original British productions, which are valued by
parents and enjoyed by children. The challenge facing terrestrial broadcasters is to continue
to compete within an increasingly competitive market place. The BBC has taken the step of
creating its own dedicated channels, CBBC and CBeebies, available in multichannel homes.
It remains to be seen whether other terrestrial broadcasters will see an economic need to
follow suit.
Everyone realises that the future is changing. Children are an audience eagerly embracing
the digital age and families will be the early adopters of the latest technology. There are
still a group of parents, however, who remain to be convinced that more choice means
better quality.
Rosenblatt Research was commissioned by the ITC and the BSC to carry out qualitative research involving
children’s groups, mini groups (trios), and family observations with a range of children aged between six
and 12 years. In addition, a number of parent groups was held. A variety of different techniques were used
in order to facilitate understanding of children’s views in relation to children’s programming. The fieldwork
was carried out by Nicki Karet and Abby Jones.
Family observations
Nicki Karet from Rosenblatt Research returned to a number of families and spent several hours with
them during the evening watching television and observing how the family interacted. These sessions
provided detailed information about how different families negotiate viewing and resolve conflict over
viewing.
Parent groups
Groups were commissioned with parents of children aged between four and 12 years. This was to
enable a comparison to be drawn between children’s views, opinions and concerns and parental issues.
By including some parents of children that took part in the research, it was possible to cross check
responses and iron out any discrepancies.
The Broadcasting Standards Commission is the statutory body for both standards and fairness in
broadcasting. It is the only organisation within the regulatory framework of UK broadcasting to cover all
television and radio. This includes the BBC and commercial broadcasters, as well as text, cable, satellite
and digital services.
This report is published as part of a programme into attitudes towards issues and fairness in
broadcasting. This research, which was carried out by independent experts, is not a statement of
Commission policy. Its role is to offer guidance and practical information to Commissioners and
broadcasters in their work.
The Independent Television Commission licenses and regulates all television services broadcast
in or from the United Kingdom, other than services funded by the BBC licence fee and S4C in Wales.
It operates in the interest of viewers by: setting standards for programme content, advertising,
sponsorship and technical quality; monitoring broadcasters’ output to ensure that it meets those
standards and applying a range of penalties if it does not; ensuring that ITV1, Channel 4 and Channel 5
fulfil their statutory public service obligations; planning frequency allocation and coverage for digital
terrestrial services; ensuring that viewers can receive television services on fair and competitive terms;
and investigating complaints and regularly publishing its findings.
ISBN 1 872521 54 1