Karin Hake
The "Teletubbies" in Norway - A
discussion about quality
There has not been any specific research
on the "Teletubbies" in Norway and in other Nordic countries.
The only research that exists till now are quantitative data from
TV-meters, ratings and markets shares. From August till December
1998, the starting period for "Teletubbies", the "Teletubbies"
obtained a rating of 6 percent among 3- to 6-year-olds in Norway.
We do not know what, if anything, very young
children gain from viewing television in general and what they understand.
There are some methodological challenges in research with children
as young as two years old - the target group for the "Teletubbies".
Probably one has to use observation, for instance video-observation,
recording their viewing behaviour while watching. Interviewing children
of this age is nearly impossible as their speech is rudimentary
at best. It would, however, be of great interest, through a more
qualitative oriented study, to gain knowledge about how children
experience this programme and which elements they find most fascinating.
Given this lack of research, we have not yet any evidence to support
its producers’ claims that the programme is educational for 1-year
olds.
The discussion about the "Teletubbies"
has been centred around quality and content. It is the Norwegian
commercial channel TV2 that today broadcasts the "Teletubbies"
in Norway. The public service channels in Norway and Denmark chose
not to accept "Teletubbies" for broadcasting. The Head
of Acquisition in the Norwegian Broadcasting Corporation, Children’s
and Youth Department, gives the following reasons:
- The world of the "Teletubbies"
is an artificial one, without any elements from children’s everyday
life for identification. The live action sequences are very ritualistic.
- The language in the "Teletubbies"
has an infantile character, not suitable to encourage toddlers’
language development .
- The dramaturgy is very predictable.
- The programme would have to fit into the
ordinary slots for preschool children. NRK gives today priority
to preschool programmes for children between 3 and 7 years old.
This corresponds with an evaluation given
by other TV- professionals as well: "Teletubbies" does
not consist of any story, it has no development in action and no
conclusion. The main content is a set of visual and accustic rituals.
Ms. Ada Haug, the former Head of Preschool Children’s Programmes
in the Norwegian Broadcasting Corporation, states that programmes
for this target group should be "a mixture of a tool and a
toy - a meaningful and entertaining asset to a child’s development".
She also states that the most important aim with the "Teletubbies"
is the prospect of merchandising (The Second World Summit on Television
for Children, London 1998). My own reception studies on preschool
children’s fascination of TV indicate that preschoolers above all
are fascinated by dramatic and emotional stories which reflect their
own daily life and by topics with which they can identify (Hake,
1999).
Nevertheless, in many countries, the "Teletubbies"
have reached a great popularity both among children and parents.
This brings us further into a well-known dilemma: The fact that
children find a programme fascinating, or parents think they do,
does not inevitably mean that the programme is educational or even
good for them. Both "in-house" discussions and earlier
studies have, however, shown that children sometimes may be fascinated
by a programme although it is heavily criticised by adults. Although
it is very important to take into account which form and content
children find fascinating, we also have to take a close look at
what quality standards producers, policy-makers and parents aim
at. Children’s fascination and adults’ criteria of quality do not
always correspond.
In an attempt to evaluate quality of programmes
for young children, Lilian Katz (1993) operates with five different
perspectives. Katz uses these perspectives to assess quality of
"early childhood education". I have, however, transferred her perspectives
to programme development and research. These five perspectives are:
- From above as seen by visiting adults
and observers.
- From below as seen by the children themselves.
- From the outside as seen by the parents
served by the programme.
- From inside as seen by the staff who work
in the programme.
- As perceived by the society and its representatives
who sponsor the programme. (Katz, 1993 in Hake, 1998).
Parents and teachers may evaluate TV-programmes
for children based on criteria as to what is "good for the children"
or they try to put themselves in the place of a child and base their
statements on that. Often if the world and daily life of children
and youngsters deviate from a developmentally, psychologically and
culturally conditioned norm, this may produce anxiety among parents
and teachers.
Eli Åm, a child researcher, puts it
like this:
Do we have to simply accept that children
and adults can perceive a TV- programme in highly different ways?
(--) Is it possible to overcome this "dualism" between a child's
perception and an adult's quality demands? What criteria are superior
to the evaluation of the child? In other areas this is less of a
problem. For instance, we do not consider sweets to be good for
children except in small quantities, even if they do cherish the
taste of chocolate higher than anything else! When it comes to children's
perception of TV programmes it is not longer that easy to check
the child's own evaluation. (Åm, 1991).
Policy makers and society in general may
be faced with a strategic dilemma: On which perspectives and on
what evaluation criteria should they base their policy? How do we
handle a potential dualism? Research that can reveal perspectives
both from the child’s and the parents’ point of view, may contribute
to a better understanding of quality standards for preschool-children’s
programmes. Producing TV for children is not only a question of
preventing "negative elements", but also of listening
to what fascinates a young target group combined with ideas and
a story that parents find important.
REFERENCES:
- Katz, Lilian G. (1993): Multiple
perspectives on the Quality of Early Childhood Programmes, in European
Early Childhood Education Research Journal Vol.1, No.2.
- Hake, Karin (1998): Barn og unges fjernsynsverden. ad Notam
Gyldendal. Oslo.
- Hake, Karin (1999): "Beethoven - er han ikke smart?"
Femåringers fascinasjon av fjernsyn. Rådet for anvendt
medieforskning.
- Haug, Ada (1998): Dumbing Down. Paper presented at The
Second World Summit on Television for Children, London 1998.
- Åm, Eli 1991 Sesam for norske barn. Norsk Senter
for barneforskning, Report no. 21.
AUTHOR
Karin Hake is media researcher at the Norwegian
Broadcasting Corporation, NRK, Oslo.
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