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Research 3 & 4

Wednesday 3rd July 2019, 11:00 - 12:00

Showroom Cinema 1

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Two 30 minute research presentations…

3. Age Ratings in a Limitless World
Teen attitudes to age ratings and regulation, on and offline, in the BBFC Public Consultation 2018. 

Over the past few years there have been dramatic changes in the way families and children consume film and video, along with the growth of streaming services and VOD platforms, meaning there is now more content than ever that is not covered by statutory regulation.
There are also growing concerns about the safety of children in an online world and the emergence of a generation who are self-regulating the content they view. Their options are limitless but are they happy with that, and how have their attitudes to content developed?
Using specific examples from cinema and online, this presentation includes details of how teenagers view and talk about the impact of content, especially difficult content such as 13 Reasons Why, their feelings on regulation, and their desire for it online, and their response to other issues such as sex, discrimination and sexual violence.
The BBFC is the statutory regulator for film and video in the UK and provides age ratings for VOD platforms including both Netflix and Amazon, helping consumers to choose well – using the classification categories U, PG, 12A/12, 15 and 18 and concise ratings information to define the issues raised in any particular work.

Presented by Lucy Brett, BBFC and Nicky Goldstone, Research Consultant

4. HEIHEI, Disrupting Younger Kids Media Provision in New Zealand
With contestable funding and a free kids’ streaming service, this session discusses how New Zealand has introduced innovative ways of supporting local kids’ content.  

The focus of this research presentation is New Zealand on Air’s system of contestable funding and HEIHEI, the country’s new ad-free streaming service for kids content. Launched in 2018, HEIHEI offers New Zealand children local media content on demand including games. HEIHEI’s local focus provides a welcome disruption to existing children’s media offerings, including those from US-based streaming services like Netflix and YouTube. HEIHEI also eliminates linear broadcasters from the commissioning of local children’s content for the first time, removing previous limits on the distribution of domestically produced children’s content in New Zealand.

Working in a small country of only 5 million people, with no dedicated public service media, New Zealand producers of children’s media content are accustomed to having to compete for limited funding, and limited platforms for their children’s content. The analytical research presented here (co-authored by New Zealand on Air Head of Funding) reveals how HEIHEI’s offerings have resonated with New Zealand children and their parents, and what the innovative streaming service has meant for the children’s independent production sector in New Zealand.

Presented by Anna Potter, School of Creative Industries, University of the Sunshine Coast

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