The preschool education program Sesame Street was first broadcast on public broadcasting stations November 10, 1969, and will reach the 48th season by the end of 2017. The history of Sesame Street has reflected a change of attitude against developmental psychology, early childhood education and cultural diversity. Featuring Jim Henson muppets, animations, shorts, humor and celebrity appearances, it is the first television program of its kind to base content and production values ​​in laboratory and formative research, and the first to include a "detailed curriculum or expressed in terms of results measurable ". Initial response to the event included mit relief reviews, some controversy and high ratings. At the 40th anniversary of 2009, Sesame Street is broadcast in over 120 countries, and 20 independent international versions have been produced.
The show was initiated in 1966 during a discussion between television producer Joan Ganz Cooney and Carnegie Corporation vice president Lloyd Morrisett. Their goal is to create a children's television show that will "master the quality of the television that is addictive and do something good with them", such as helping small children prepare for school. After two years of research, the newly formed Children's Television Workshop (CTW) received a combined $ 8 million grant from Carnegie Corporation, Ford Foundation, and the US federal government to create and produce new children's television shows.
On the tenth anniversary of the event in 1979, nine million American children under the age of six watched Sesame Street every day, and some studies show it has a positive educational impact. The cast and crew expand during this time, including hiring women in the crew and an additional minority in the cast. In 1981, the federal government withdrew its funding, so CTW turned to other sources, such as magazine divisions, book royalties, product licenses, and foreign revenues. During 1980, Sesame Street's curriculum expanded to include topics such as relationships, ethics and emotions. Many storylines are drawn from the experience of the author's staff, cast and crew, especially the death of Will Lee - who plays Mr. Hooper - and the marriage of Luis and Maria.
In the last few decades, Sesame Street has faced social and economic challenges, including changes in children's viewing habits, more competition than other events, cable television developments and downgrades. After the turn of the 21st century, the show made major structural adaptations, including changing the format of its traditional magazine into a narrative format. Due to the popularity of Elmo Muppet, the event combines a popular segment known as "Elmo World". Sesame Street has won eight Grammys and over a hundred Emmys in its history - more than any other kids show.
Video History of Sesame Street
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In the late 1960s, 97% of all American households had television, and preschoolers watched an average of 27 hours of television per week; programs created for them are widely criticized for being too harsh and to reflect commercial value. Producer Joan Ganz Cooney calls children's programs "deserts," and he is not alone in his critics. Many children's television programs are produced by local stations, with little concern for educational purposes, or cultural diversity and the use of children's programs as an "unproven" educational tool and "revolutionary concept".
According to children's media experts, Edward Palmer and Shalom M. Fisch, children's television programs of the 1950s and 1960s duplicated "previous media forms". For example, they tend to show simple pictures of camera views from locations populated by children, or they recreate storybooks with book cover images and motion picture pages. The host of these programs is "patronizing unbearably," though one exception is Captain Kangaroo, created and organized by Bob Keeshan, whose writer Michael Davis is described as having a "slow pace and idealism" that most children the other children show deficiencies.
Early childhood education research has shown that when children are ready to succeed in school, they achieve higher scores and learn more effectively. Children from low-income families have fewer resources than children from high-income families to prepare them for school. Research has shown that children from low-income minority backgrounds are tested "substantially lower" than middle-class children in school-related skills, and that they continue to experience school deficits throughout the school. The field of developmental psychology has grown during this period, and scientists are beginning to understand that changes in early childhood education can enhance children's cognitive growth. Due to the trends in this education, along with the major social changes that have taken place in the United States during this era, the time has come for the making of events such as Sesame Street .
Maps History of Sesame Street
Pre-production (1966-1969)
Beginning
Since 1962, Cooney has produced talk shows and documentaries on WNDT's educational television station, and in 1966 has won an Emmy for a documentary on poverty in America. In early 1966, Cooney and her husband Tim hosted a dinner party at their apartment in New York; the experimental psychologist Lloyd Morrisett, who has been called the "Sesame Street " financial godfather, "and his wife, Mary, were among the guests. Cooney's boss, Lewis Freedman, whom Cooney calls "grandfather of Sesame Street," also attended the party, as did their colleague Anne Bower. As vice president at Carnegie Corporation, Morrisett has awarded several million dollars in grants to organizations that educate poor and minor preschoolers. Morrisett and the other guests felt that even with limited resources, television could be an effective way to reach millions of children.
A few days after the dinner party, Cooney, Freedman, and Morrisett met at the Carnegie Corporation office to plan; they want to harness the power of television addiction for their own purposes, but do not know how. The following summer, although Cooney lacks experience in education, Morrisett hires him to do research on child development, education and media, and he visits experts in this field throughout the United States and Canada. He examines their ideas about the habit of watching young children and writing reports about his findings.
Cooney's research, entitled "Television for Preschool Education", outlines how television can be used to help children, especially from low-income families, prepare for school. The focus on the new event is on children from disadvantaged backgrounds, but Cooney and the show makers admit that to achieve the success they want, it must be accessible to children from all socio-economic and ethnic backgrounds. At the same time, they want to make the show so appealing to children downtown that will help them learn as much as children with more educational opportunities. This is the main criteria of the event for success.
Cooney proposes that public television, despite having a poor track record in attracting inner-city audiences, can be used to improve the quality of children's programs. He suggests using the "most attractive properties" of television media, including high production values, sophisticated writing, and quality movies and animations, to reach the most possible audience. In the words of critic Peter Hellman, "If [children] can recite the Budweiser jingle from TV, why not give them a program that will teach ABC concepts and simple numeracy concepts?" Cooney wants to create a program that will disseminate educational values ​​for nonviewers - including their parents and older siblings, who tend to control the television set. To this end, he suggested that adult-directed humor be included, which, as reported by Lesser, "may be a pretty good system in forcing young people to stretch to understand programs designed for older audiences." Cooney also believes cultural references and guest appearances by celebrities will encourage parents and older brothers to watch the show together.
Development
As a result of Cooney's proposal, Carnegie Corporation granted it a $ 1 million grant in 1968 to establish a Children's Television Workshop (CTW) to provide support to the creative staff of the new show. Morrisett, responsible for fundraising, obtained additional grants from the United States federal government, the Public Broadcast Corporation, and the Ford Foundation for CTW's initial budget of $ 8 million; obtaining funding from a combination of government agencies and private foundations protects CTW from the economic pressures experienced by commercial networks.
Producers spend eighteen months preparing for a new event, something that has never happened before on children's television. The show has an "impressive" budget of $ 28,000 per episode. After being appointed as CTW's executive director, Cooney began to form a team of producers: Jon Stone was responsible for writing, casting, and formatting; David Connell takes over animation and volume; and Samuel Gibbon served as chairman of the event liaison between the production staff and the research team. Stone, Connell, and Gibbon have been working on Captain Kangaroo together, but were not involved in children's television when Cooney recruited them. Initially, Cooney plans to split the production of a five-episode event a week among several teams, but he was advised by CBS vice president Mike Dann to use just one. The production team is led by Connell, who has gained experience producing many episodes in a short period of time, a process called "volume production", for eleven years at Captain Kangaroo.
CTW employs Harvard University professor Gerald S. Lesser to design the aims of show education and establish and lead the National Advisory Council. Instead of giving the so-called Lesser "window dressing", the Council actively participates in the development of educational goals and creative methods. At the direction of the Council, Lesser held five three-day curriculum planning planners in Boston and New York City in the summer of 1968. The purpose of the seminar was to ensure which school preparation skills were emphasized in the new show. Producers gather professionals with diverse backgrounds to get ideas for educational content. They reported that the seminar was "widespread success", and produced a long and detailed list of topics that might be included in the Sesame Street curriculum; in fact, seminars produce more suggested educational goals than can ever be handled by a single television series.
Instead of focusing on the social and emotional aspects of development, the producers decided to follow the seminar's recommendations and emphasize cognitive skills, decisions they felt justified by the demands of the school and the wishes of the parents. Objectives developed during the seminar are condensed into key categories: symbolic representations, cognitive processes, and the physical and social environment. The seminars establish new racial events and social issues and provide event productions and creative teams with "crash courses" in psychology, child development, and early childhood education. They also marked the beginning of Jim Henson's involvement at Sesame Street . Cooney met Henson at one of the seminars; Stone, who is familiar with Henson's work, feels that if they can not carry it, they must "do without the doll".
The producers and writers decided to build a new show around a brownstone street or a street within the city, Davis's choice was called "unprecedented". Stone believes that in order for the children downtown to get in touch with Sesame Street, it needs to be arranged in a familiar place. Despite the urban arrangements, the producers decided to avoid describing more negatives than what was already in the child's environment. Lesser commented, "[though] all the frenzy and slapstick humor, Sesame Street is a sweet show, and the staff maintain that there is nothing wrong with it."
The new show is called "Preschool Educational Television Show" in promotional material; the producers can not agree on the name they like and wait until the last minute to make a decision. In the short and disrespectful promotional films shown to public television executives, the producers parodied their "naming dilemma". Producers are reportedly "panicked for getting a degree"; they end up choosing their most disliked name: Sesame Street , inspired by Ali Baba's magic phrase, despite the concern that it would be too difficult for young people to say it. Stone was one of the producers who did not like his name, but, he said, "I lost the vote, and I am very grateful".
The casting responsibility for Sesame Street fell to Jon Stone, who set out to form a player in which white actors were in the minority. He did not start the audition until spring 1969, a few weeks before the five tests showed to be produced. He filed an audition, and Palmer took them to the field to test the children's reactions. The actors who received the "most enthusiastic thumbs" were cast. For example, Loretta Long was chosen to play Susan when the kids who saw her audition stand and sing along with the song "I'm a Little Teapot". Stone reports that casting is the only "completely indiscriminate" aspect. Most players and crew find work on Sesame Street through personal relationships with Stone and other manufacturers. Stone hired Bob McGrath (actor and singer best known during his show on show with Mitch Miller on NBC) to play Bob, Will Lee to play Mr. Hooper, and Garrett Saunders to portray Gordon.
Use of research in production
Sesame Street is the first children's television program to use the curriculum with clear and measurable results, and is the first to use research in the design and event content creation. The research on Sesame Street has three functions: to test whether the show is interesting for children, to find out what can be done to make the show more interesting, and to report to the public and investors what impact it shows on viewers young. Ten to fifteen percent of the event budget of $ 8 million is devoted to research, and researchers are always present in the studio during filming. A "Writer's Notebook" was developed to help writers and producers translate research and production results into television-broadcast material; it links the objectives of the event curriculum and the development of the script. Muppet characters are created to meet the needs of a special curriculum: Oscar the Grouch, for example, is designed to teach children about their positive and negative emotions. Lesser calls collaboration between researchers and producers, as well as the idea of ​​using television as an educational tool, the "CTW model". Cooney agrees, commenting, "From the beginning, we - the project planners - designed the show as an experimental research project with educational advisors, researchers, and television producers working together as equal partners."
Producers of Sesame Street believe that television education is possible if they capture and retain children's attention; this means the show requires a strong appeal. Edward Palmer, CTW's first CTW Research Director and Cooney's credited person by building the CTW research foundation, was one of the few academics in the late 1960s who studied children's television. He was recruited by CTW to test whether the curriculum developed at the Boston seminar reaches their audiences effectively. Palmer is also tasked to design and carry out CTW in-house research and work with Educational Testing Service (ETS). His research is very important for Sesame Street which, according to Gladwell, "... without Ed Palmer, the show will never last for the first season".
Palmer and his team's approach to researching the effectiveness of the show was innovative; this is the first formative research done in this way. For example, Palmer developed a "distractor", which he used to test whether the material displayed on Sesame Street attracted the attention of young viewers. Two children at one time were taken to a laboratory; they were shown an episode on a television monitor and a slide show next to it. The slides will change every seven seconds, and researchers take note when the attention of the children is diverted from the episode. They can record almost every second of Sesame Street in this way; if this episode attracts children 80-90% of the time, the producer will broadcast it, but if it only tests 50%, they will reshoot. In the fourth season of the show, episodes are rarely tested below 85%.
July 1969 test episode
During Sesame Street's first season, producers created five one-hour episodes to test the attraction of the show to children and check their understanding of the material. Not intended to be broadcast, they were presented to preschoolers in 60 homes in Philadelphia and at daycare centers in New York City in July 1969. The results were "generally very positive"; children learn from the show, their charms are high, and their attention is maintained for an entire hour. However, the researchers found that although the attention of the children is high during the Muppet segment, their interest vibrates during the "Road" segment, when there is no Muppet on screen. This is because manufacturers have followed the advice of child psychologists who are concerned that children will be confused if human actors and Muppet are featured together. As a result of this decision, the appeal of the test episode is lower than the target.
The street scene, as Palmer explains, is the "glue" that "pulls the show together", so the producers know they need to make significant changes. Based on their experience of Captain Kangaroo, Cannell, Stone, and Gibbon think experts' opinions are "blank"; Cooney agreed. Lesser called their decision to oppose the recommendations of their advisor "a turning point in the history of Sesame Street ". Manufacturers re-record Road segments; Henson and his co-workers created Muppets that could interact with human actors, especially Oscar the Grouch and Big Bird, who became the two most enduring characters on the show. In addition, the producers discovered the role of Saunders as Gordon was disliked by the children who watched the show, which resulted in an overhauled character by Matt Robinson, who was originally a film-produced producer. This test episode is directly responsible for what Gladwell calls "the essence of Sesame Street - an intelligent fusion of hairy monster and earnest adult".
Premiere and first season (1969-1970)
Two days before the premiere, a thirty-minute preview titled The Road to Sesame Street is aired on NBC. The event is funded by a $ 50,000 grant from Xerox. Written by Stone and produced by CTW publisher Bob Hatch, it was recorded the day before it aired. Newsday calls a preview of "the unique look of cooperation between commercial and non-commercial broadcasters".
Sesame Street aired on November 10, 1969. It is widely praised for its originality, and well received by parents as well as children. The event only reached 67.6% of the nation, but was ranked 3.3 Nielsen, which means 1.9 million households and 7 million children watch it daily. In the first season Sesame Street , ETS reported that the children who watched the event scored higher on the test than the rare audience.
In November 1970, the cover of Time magazine featured Big Bird, which has received more fan mail than any human host of the show. The magazine stated, "... It's not just the best kids show in TV history, it's one of the best parenting shows too". David Frost, talking about the version of Sesame Street produced in other countries, stated that it was a "hit everywhere". An executive at ABC, while admitting that Sesame Street is not perfect, said the show "opens children's TV for feel and intelligence and substance" and "creates the right climate for improvement". Other researchers predict commercial television will be forced to improve its children's program, something that did not substantially happen until the 1990s. Sesame Street won the Peabody Prize, three Emmies, and Prix Jeunesse Prize in 1970. President Richard Nixon sent Cooney a congratulatory letter, and Dr. Benjamin Spock estimates the program will result in "better trained citizens, less helplessness in later generations, fewer people on welfare, and smaller prison populations".
Sesame Street is not without its critics; there was little criticism of the performances in the months after his first show, but it increased at the end of his first season and the start of the second season. In May 1970, a state commission in Mississippi chose not to broadcast the show on the nation's newly launched public television network. A member of the commission leaked a voice to The New York Times, stating that "Mississippi is not ready" for the programmed cast of the event. Cooney called the ban "a tragedy for white and black Mississippi children". The state commission reversed its decision after voting made national news.
Producer Sesame Street made some changes in its second season. Segments that feature children become more spontaneous and allow impromptu dialogue, even when it means cutting off other segments. Because federal funds have been used to produce the show, more segments of the population insist on being represented at Sesame Street ; for example, the event was criticized by Hispanic groups for lack of Latin characters in the early years of production. A committee of Hispanic activists, commissioned by CTW in 1970, called Sesame Street "racist" and said the bilingual aspect of the show was "poor quality and degrading". CTW responded to this criticism by employing Hispanic actors, production staff, and researchers. In the mid-70s, Morrow reported that "the show involved cast members Chicano and Puerto Rican, movies about Mexican holidays and food, and cartoons that teach Spanish words."
While New York Magazine reported criticism of the presence of strong single women at the event, organizations such as the National Organization for Women (NOW) expressed concern that the event should be "less male-oriented". For example, members of NOW take an exception for the character Susan, who was originally a housewife. They complain about deficiencies, as Morrow said, "Muppets of trustworthy women" on the show; Morrow reported that Henson's response was that "women may not be strong enough to hold the doll for hours taping". The show producer responded by making Susan a nurse and by hiring a female writer.
1970s
By the mid-1970s, Sesame Street, according to Davis, had become an "American institution". ETS conducted two "landmark" study events in 1970 and 1971 that showed Sesame Street had a positive educational impact on viewers. The results of this study led producers to get funding for the show over the next few years, and provided CTW with additional ways to promote it. In the second season, Sesame Street has become so popular that the design of ETS experiments to track the educational outcomes of events should be changed: instead of comparing viewers with non-viewer control groups, researchers study the differences between view levels. They found that children who watched Sesame Street more often had a higher understanding of the material presented.
Producer Jon Stone played an important role in guiding performances during these years. According to Davis, Stone "gave Sesame Street his soul"; without him "there will not be Sesame Street as we know it." Frank Oz regards Stone as "the father of Sesame Street," and Cooney considers Stone "a major creative talent at Sesame Street and" probably the most brilliant writer of children's material in America "Stone is able to recognize and guide talented people to his crew He actively employs and promotes women at a time when some women get the top production jobs on television.His policies provide performances with succession of female producers and writers, many of whom continue to lead the boom in children's programming at Nickelodeon, Disney Channel and PBS in the 1990s and 2000. One of these women was Dulcy Singer, who became the first female executive producer of Sesame Street
After the initial success of the event, the producers started thinking about endurance beyond its development and the first season and decided to explore other funding sources. CTW decided to rely on government agencies and private foundations to develop the show. This will protect it from the financial pressures experienced by commercial networks, but creates problems in seeking sustained support. This era in show history is marked by a conflict between CTW and the federal government; in 1978, the US Department of Education refused to give a check for $ 2 million until the last day of the CTW fiscal year. Consequently, CTW decides to rely on international licensing, publishing and sales arrangements for its funding. Henson has a trademark for the Muppet character: he was reluctant to market it initially, but agreed when CTW promised that profits from toys, books, and other products would be used exclusively to fund CTW. Manufacturers demand complete control over all product and product decisions; every product line associated with the show must be educative, inexpensive, and not advertised during its broadcast. CTW approached Random House to establish and manage non-broadcast materials division. Random House and CTW named Christopher Cerf to assist CTW in publishing books and other materials that emphasize the curriculum. In 1980, CTW began producing stage-based touring productions, written by Connell and performed by Ice Follies.
Shortly after the premiere of Sesame Street, CTW was approached by producers, educators and officials in other countries, requesting that the show version be aired in their country. Former CBS executive Mike Dann left commercial television to become CTW's vice president and assistant Cooney; Dann started what Charlotte Cole, vice president for CTW's International Research department, called "globalization" of Sesame Street. Flexible models are developed, based on the experience of the creators and producers of their original performances. The event is then called "co-production", and they contain the original set, character, and curriculum goals. Depending on the needs and resources of each country, different versions are produced, including an original event replacement version and an independent program. In 2009, Sesame Street has grown to 140 countries; The New York Times reported in 2005 that revenue from CTW's international collaboration of the show was $ 96 million.
Sesame Street was widened in the 1970s, better fulfilling the original purpose of the show than the greater diversity in both human and Muppet characters. The cast members included Sonia Manzano (Maria), who also wrote for the show, Northern Calloway (David), Alaina Reed (Olivia), Emilio Delgado (Luis), Linda Bove (Linda), and Buffy Sainte-Marie ( Buffy). In 1975, Roscoe Orman became the third actor to portray Gordon, replacing Hal Miller, who had replaced Matt Robinson.
The new Muppet character was introduced in the 1970s. Count von Count was created and performed by Jerry Nelson, who also voiced Mr. Snuffleupagus, a large Muppet that requires two dalangs to operate. Richard Hunt, who, in the words of Jon Stone, joins Muppets as "an 18-year-old wild-eyed youth and grows up to be a great teacher and inspiring teacher", creating Gladys the Cow, Jones Forgetful, Don Music, and Stunner construction worker. Telly Monster performed by Brian Muehl; Marty Robinson took over the role in 1984. Frank Oz invented Cookie Monster. Matt Robinson created a "controversial" character (as Davis called him) Roosevelt Franklin. Fran Brill, the first female mastermind to Muppet, joined the Henson organization in 1970, and started the Prairie Dawn character. In 1975, Henson created The Muppet Show, which was filmed and produced in London; Henson brings many Muppet artists with him, so an opportunity is open for new players and dolls to appear on Sesame Street .
CTW wants to attract the best composer and lyricist for Sesame Street, so songwriters like Joe Raposo, event music director and writer Jeff Moss are allowed to retain the rights to the songs they write. The authors benefit profitably, and the show is able to defend the public interest. Raposo "I Love Trash", written for Oscar the Grouch, was included in Sesame Street's first album Sesame Street, The Sesame Street Book & amp; Record , recorded in 1970. Moss' "Rubber Duckie", sung by Henson for Ernie, remained on the Billboard Top-40 charts for seven weeks of the same year. Another Henson song, written by Raposo for Kermit the Frog in 1970, "Bein 'Green", which Davis called "Raposo's most respected song for Sesame Street" was recorded by Frank Sinatra and Ray Charles. "Sing", which became a hit for The Carpenters in 1973, and "Somebody Come and Play", was also written by Raposo for Sesame Street.
In 1978, Stone and Singer produced and wrote the first special show, the "triumph" of Christmas Eve on Sesame Street, which includes the inspired O Henry story line in which Bert and Ernie hand over their valuables- -Ernie his rubber duck and his collection of paper clips - to buy every other Christmas present. Bert and Ernie are played by Frank Oz and Jim Henson, who in real life, like the dolls they play, coworkers, and friends. For Davis, this shows the incredible ability of the mastermind to play the "Odd Pairs of Dolls". According to Singer, the special - which is also written and directed by Stone - shows the "soul" of Stone, and Sonia Manzano calls it a good example of what Sesame Street . The special won the Emmy for Stone and Singer in 1979, defeating, among other things, the self-produced Sesame Street specifically for CBS.
On the tenth anniversary of the event in 1979, nine million American children under the age of six were watching Sesame Street every day. Four out of five children have been watching it for a period of six weeks, and 90% of children from low-income homes regularly watch the show.
1980s
In 1984, the Federal Communications Commission (FCC) deregulated commercial restrictions on children's television. Ads during the children's networking program were nearly doubled, and deregulation resulted in an increase in commercially oriented programming. Sesame Street succeeded during this era of deregulation despite the fact that the United States government suspended all CTW federal funding in 1981. In 1987, the show earned $ 42 million a year from its magazine divisions, book royalties, product licenses , and foreign income - enough to cover two-thirds of its spending. The remainder of the budget, plus a surplus of $ 6 million, is covered by revenue from its PBS broadcast.
According to Davis, Sesame Street ' the second decade was spent "spinning in, expanding the world of its young audience." The event's curriculum evolves to include more "affective" teaching - positive, negative relationships, ethics, and emotions. Many storyline events are taken from the experience of the writers, cast and crew staff. In 1982, Will Lee, who had played Mr. Hooper since the show premiered, died. For the 1983 season, the show's producers and research staff decided that they would explain Mr.'s death. Hooper to their preschool audience, instead of re-arranging the role: the episode writer, Norman Stiles, said, "We feel we owe something to a man, we are respected and loved." They assembled a group of psychologists, religious leaders, and other experts in the areas of sadness, loss, and separation. The research team conducted a series of pre-episode studies to ascertain whether children could understand the message they wanted to convey about his death. Hooper; research shows most children understand. The parent's reaction to the episode, according to CTW's own report, is "very positive". The episode, which won an Emmy, premiered on Thanksgiving Day in 1983 so that parents can be home to discuss it with their children. Author David Borgenicht calls the episode "painful"; Davis called it a "landmark broadcast" and "a truly memorable episode, one of the best shows". Caroll Spinney, who plays Big Bird and who draws caricatures that are used prominently in the episode, reported the cast and crew were touched while filming.
In the mid-1980s, Americans became more aware of the prevalence of child abuse, so Sesame Street researchers and producers decided to "reveal" Mr. Snuffleupagus in 1985 "Snuffy" has never been seen by an adult on the show and is considered an "imaginary friend of Big Bird". Event producers worry about messages sent to children; "If children see that adults do not believe what Big Bird says (though it's true), they will be afraid to talk to adults about the dramatic or disturbing things that happen to them."
For the 1988 and 1989 seasons, the topic of love, marriage, and childbirth was addressed when the show presented the storyline in which the characters Luis and Mary fall in love, marry, and have a son named Gabi. Sonia Manzano, actress who plays Maria, has been married and pregnant; according to the book Sesame Street Unpaved, which was published after the thirteenth anniversary in 1999, Manzano's real-life experience gives event writers and idea producers. Before writing begins, research is conducted to gain an understanding of what has been revealed by previous studies on the understanding of preschoolers about love, marriage, and family. The performing staff found that at the time very little relevant research was done about children's understanding of these topics, and no books for children were written about them. Studies conducted after the episode of the broadcasted Mary pregnancy show that as a result of watching this episode, the child's understanding of pregnancy increases.
1990s
Davis calls the 1990s "the transition time on Sesame Street". Some people involved in performances from their beginnings died during this period: Jim Henson in 1990 at the age of 53 years "from a strep infection that escaped the lost with a stubborn, untreated fool"; songwriter Joe Raposo of non-Hodgkin's lymphoma fifteen months earlier; longtime Northern Calloway player from heart attack in January 1990; mastermind of Richard Hunt of AIDS in early 1992; CTW founder and producer David Connell about bladder cancer in 1995; director Jon Stone from amyotrophic lateral sclerosis in 1997; and author Jeff Moss of colon cancer in 1998.
In the early 1990s, Sesame Street was, as Davis said, "an unnecessary heavyweight champion of preschool television". Entertainment Weekly reported in 1991 that the musical show has been honored with eight Grammys. The event's dominance, however, was soon challenged by other PBS television shows for preschoolers, Barney & Friends , and the ranking Sesame Street decreased. Producer Sesame Street replied, at the twenty-fifth anniversary of 1993, by extending and redesigning the event set, calling it "Around the Corner". New human and Muppet characters were introduced, including Zoe (performed by Fran Brill), Natasha's baby and her parents Ingrid and Humphrey, and Ruthie (played by comedian Ruth Buzzi). The set of "Around the Corner" was dismantled in 1997. Zoe, one of several surviving characters, was created to include other Muppet women on the show: her brave and fearless personality meant to break the stereotype of women. According to Davis, he is the first character developed on the show by marketing and product development experts, working with researchers at CTW. (The search for female Muppet character "break up" continued into 2006 with the creation of Abby Cadabby, created after nine months of research.) In 1998, for the first time in show history, Sesame Street pursued funding by receiving corporate sponsor. Consumer supporter Ralph Nader, who had been a guest on the show, urged parents to protest the move by boycotting the event.
For the 30th anniversary of Sesame Street ' in 1999, the producer examined why the event rating was lower. For the first time since the show began, the producers and the research team analyzed Sesame Street content and structure during a two-week workshop. They also learned how the habits of watching children have changed in the last thirty years. They found that although the show was produced for those between the ages of three and five, the children started watching it at a younger age. Preschool television is becoming more competitive, and CTW research shows traditional magazine format is not the best way to attract children's attention. The growth of home videos during the 80s and the increase in children's shows for thirty minutes on cable has shown that children's attention can be maintained for longer periods of time, but CTW researchers found that their viewers, especially younger ones, lose attention. on Sesame Street after 40 to 45 minutes.
Beginning in 1998, a new 15-minute segment is displayed at the end of each episode, "Elmo's World", using traditional elements (animation, Muppets, music, and live-action movies), but has a more sustainable narrative. "Elmo's World" follows the same structure every episode, and relies heavily on repetition. Unlike the realism of the rest of the show, this segment takes place in the crafted image-crayon world as conceived by its host. Elmo, who represents a child aged three to four, was chosen as the host of the closing segment because he always tested well this segment of the audience. He was created in 1980 and originally performed by Brian Muehl, and then Richard Hunt, but did not become what eventually portrayer, Kevin Clash, called "phenomena" until Clash took over the role in 1985. Finally, Elmo became, as Davis reported, "the manifestation" of Sesame Street, and the "marketing marvel of our age" when five million Tickle Me Elmo dolls were sold in 1996. Clash believes that Elmo's "Tickle Me Elmo" phenomenon is a household name and leads to the segment "Elmo's World". Michael Jeter is a favorite with a younger audience in his role as Mr. sister. Noodle, Mister Noodle on Sesame Street from 1999 to 2003.
2000s and 2010s
In 2002, the producer's Sesame Street ' Sesame Street shifts downward, from four years to three years, after the 33rd season of the event. As co-executive producer Arlene Sherman stated, "We are basically deconstructing the event". The producers expanded the "Elmo World" by changing from magazine format to narrative format, which makes the show easier for young people to navigate. Sherman called the show's new look "very different". Following a tradition of overcoming emotionally difficult topics, Sesame Street producers chose to tackle the 9/11 attacks during this season in its first episode, which aired February 4, 2002. This episode, as well as a series of four episodes that aired after the Hurricane Katrina in 2005, used in the Community Outreach program from Sesame Workshop.
In 2006, the US Department of State named Sesame Street the world's most viewed children's TV show. More than half of the international production of the event was made after 2001; according to documentary 2006 World According to Sesame Street , 9/11 events inspire these co-production producers. In 2003, Takalani Sesame , a joint South African production, provoked criticism in the United States when its producers created the first HIV-positive Muppet, which aims to educate children in South Africa about the AIDS epidemic. The controversy, which surprised the Sesame Workshop, was short-lived and eased after Kofi Annan and Jerry Falwell praised the Workshop's efforts. In 2006, Sesame Street has won more Emmy awards than any other children's show, including winning an incredible twelve-year children's series award - each year Emmy is a category. In 2009, the event has won 118 Emmys throughout its history, and was awarded the Outstanding Achievement Emmy for 40 years in the air.
Towards the 40th anniversary of Sesame Street Sesame Street , it is ranked 15th among the most popular children's shows on television. When the show aired in 1969, 130 episodes a year were produced; in 2009, due to rising costs, twenty-six episodes were made. In 2000, the Children's Television Workshop, which was renamed Sesame Workshop (SW) in June 2000 to better reflect the entry into non-television and interactive media, launched the website with a free video clip library and free podcasts from all along event history. The 2008-2009 recession, which led to budget cuts for many non-profit art organizations, was severely affected Sesame Street ; in the spring of 2009, SW had to lay off 20% of its staff.
The 40-year-old Sesame Street is commemorated by the publication of 2008 Street Gang: The Complete History of Sesame Street, by Michael Davis, who has been called a "statement definitive "about the history of the show.
Beginning in 2009, producers Sesame Street took steps to bring back older audiences; it also managed to increase its audience among children aged 3 to 5 years at the end of the 40th season. In 2012, the 43rd season of the event, Elmo's World is replaced by Elmo the Musical , which is targeted at older viewers of the program. Subsequently, in September 2014, beginning with the 45th season of the event, Sesame Workshop began distributing a half hour version of the program to PBS member stations. The new version, which completes a one-hour broadcast and focuses more on the interstitial segment (though certain segments like Elmo the Musical or Abby's Abby Schools are removed from that version), added because increased mobile and online viewing among children and increased competition for preschool children on linear and online television, increased use of PBS Kids mobile video applications during 2013 and decreased viewing of broadcasts; a half hour version airs in the afternoon on PBS member television stations (with one hour version airs in the morning) and is available for online streaming and mobile devices via PBS website, mobile app and Roku channel.
On August 13, 2015, as part of a five-year programming and development agreement, Sesame Workshop announced that the first episode of Sesame Street will be transferred to the HBO premium television service (which does not broadcast any original) children program since 2005) by the end of 2015. Sesame Workshop seeks agreement due to decreased revenue from audience donations, and decreased distribution fees paid by PBS member stations and licensing for merchandise sales (mainly through Sesame Workshop dependence on revenues from DVD sales), with a view to performances stays on PBS in a certain way (HBO already has involvement in public television at the time of the deal, provides funding for a Charlie Rose talk show ); The agreement also emerged after changing the habits of viewers of American children over the previous ten years. HBO will hold first-run rights for all the more recent episodes of the series starting with season 46, after which they will air on PBS member stations after exclusive exclusive nine-month window, at no cost to the station to deliver content; however, HBO has not announced whether the episode was first shown on the main channel of the paid service or its multiplexed channel, HBO Family. The agreement also grants HBO exclusive rights to stream past and future episodes of Sesame Street on HBO Go and HBO Now - assuming those rights from Amazon Video and Netflix. On August 14th, Sesame Workshop announced that they would discontinue the in-house subscription streaming service, Sesame Go, as a standalone service; instead of closing it entirely, it intends to reconsider its offer to give access to a list of free or reduced content or act as a portal for Sesame Street Sesame Street websites.
In April 2017, Sesame Street introduced a new Muppet called Julia with Autism to the show.
Footnote
Note
References
External links
- Cooney proposal paper "Potential Use of Television in Preschool Education"
- 1970 Time magazine cover (featuring Big Bird)
Source of the article : Wikipedia
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