Abstract
This paper starts from the premise that research into how producers negotiate issues of diversity and multicultural content in Europe is rare and mostly relies on interviews and documents, and furthermore work on understanding those negotiation processes in relation to children’s screen content is even rarer. The article seeks to reflect critically on an alternative hybrid research method, which aims to open up a space for dialogue about production processes and was applied in three workshops about children’s content and forced migration that the authors ran with content creators and broadcasters of children’s screen content in 2017–2018.
Highlights
TV production studies face a methodological challenge which arises primarily from the teamwork nature of screen media production
In recent years some of the pitfalls, discussed below, have been explored collectively, including at a University of Leeds conference on ‘Advancing Media Production Research’ in June 2013 and in material generated at the launch of the University of Nottingham’s Institute for Screen Industries Research (ISIR) (Freeman, 2016)
Surveys show that industry practitioners who work in academia cannot expect a uniformly positive reception from non-practitioner colleagues (Mateer, 2019: 14)
Summary
TV production studies face a methodological challenge which arises primarily from the teamwork nature of screen media production. As Amanda Lotz argued in a post on the original ISIR website, the nature of industry jobs, marked by ‘day-to-day deadlines and extinguishing immediate fires’, makes it hard for executives to find time for thinking at the ‘broad level available to academics’, which makes conversations difficult (Lotz, n.d.). The paper starts by exploring arguments for a fundamentally multi-method approach to production studies
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