Abstract
The programmes of Smallfilms and Gordon Murray Puppets appear hand-made, crafted. The relative cultural value of ‘craft’ as opposed to art’, in conjunction with the programmes’ address to a very young audience and animated aesthetic, has positioned them as less available for critical consideration. Their ‘hand-made’ aesthetic — the visibility of the maker’s mark so critical to the discourse of craft — means thai these programmes have operated around an address based on intimacy, DIY participation and an imagined closeness to the child’s real life environment (of crafted toys and play with small things). The focus on a hand-made aesthetic is, equally, a central way in which the programmes staged their encounter with modernity and the values of their cultural moment.
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