In Kids Rule! Sarah Banet-Weiser examines the cable network Nickelodeon in order to rethink the relationship between children, media, citizenship, and consumerism. Nickelodeon is arguably the most commercially successful cable network ever. Broadcasting original programs such as Dora the Explorer, SpongeBob SquarePants, and Rugrats (and producing related movies, Web sites, and merchandise), Nickelodeon has worked aggressively to claim and maintain its position as the preeminent creator and distributor of television programs for America’s young children, tweens, and teens. Banet-Weiser argues that a key to its success is its construction of children as citizens within a commercial context. The network’s self-conscious engagement with kids—its creation of a “Nickelodeon Nation” offering choices and empowerment within a world structured by rigid adult rules—combines an appeal to kids’ formidable purchasing power with assertions of their political and cultural power.

Banet-Weiser draws on interviews with nearly fifty children as well as with network professionals; coverage of Nickelodeon in both trade and mass media publications; and analysis of the network’s programs. She provides an overview of the media industry within which Nickelodeon emerged in the early 1980s as well as a detailed investigation of its brand-development strategies. She also explores Nickelodeon’s commitment to “girl power,” its ambivalent stance on multiculturalism and diversity, and its oft-remarked appeal to adult viewers. Banet-Weiser does not condemn commercial culture nor dismiss the opportunities for community and belonging it can facilitate. Rather she contends that in the contemporary media environment, the discourses of political citizenship and commercial citizenship so thoroughly inform one another that they must be analyzed in tandem. Together they play a fundamental role in structuring children’s interactions with television.

Winner, 2020 NCA Top Single-Author Book of the Year Award

Fred Rogers is an American cultural and media icon, whose children’s television program, Mister Rogers’ Neighborhood, ran for more than thirty years (1967-2001) on the Public Broadcasting System. In this highly original book, communication scholar Alexandra C. Klarén shows how Rogers captured the moral, social, and emotional imaginations of multiple generations of Americans. She explores the nuanced complexity of the thought behind the man and the program, the dialogical integration of his various influences, and the intentional ethic of care behind the creation of a program that spoke to the affective, cultural, and educational needs of children (and adults) during a period of cultural and political upheaval. Richly informed by newly available archival materials, On Becoming Neighbors chronicles the evolution of Rogers’ thought on television, children, pedagogy, and the family through a rhetorical, cultural, and ethical lens. Klarén probes how Rogers creates the conditions for dialogue in which participants explore possibilities and questions relating to the social and material world.  

Many parents, politicians, and activists agree that there’s too much violence and not enough education on children’s television. Current solutions range from the legislative (the Children’s Television Act of 1990) to the technological (the V-chip). Saturday Morning Censors examines the history of adults’ attempts to safeguard children from the violence, sexism, racism, and commercialism on television since the 1950s. By focusing on what censorship and regulation are and how they work—rather than on whether they should exist—Heather Hendershot shows how adults use these processes to reinforce their own ideas about childhood innocence.
Drawing on archival studio material, interviews with censors and animators, and social science research, Hendershot analyzes media activist strategies, sexism and racism at the level of cartoon manufacture, and the product-linked cartoons of the 1980s, such as Strawberry Shortcake and Transformers. But in order to more fully examine adult reception of children’s TV, she also discusses “good” programs like Sesame Street and Fat Albert and the Cosby Kids. Providing valuable historical context for debates surrounding such current issues as the V-chip and the banning of Power Rangers toys in elementary schools, Saturday Morning Censors demonstrates how censorship can reveal more fears than it hides.
Saturday Morning Censors will appeal to educators, parents, and media activists, as well as to those in cultural studies, television studies, gender studies, and American social history.