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The following paper highlights the findings from Nickelodeon UK's digital study designed to better understand the changed viewing dynamics in digital homes and how that will impact upon building brand loyalty. The findings have been captured in two models: viewer segmentation in cable and satellite, and digital environments and channel/brand loyalty in cable and satellite and digital environments. These two models show how the various segments of viewing will shift in a world of increased competition and how achieving brand loyalty will be more challenging. This is the first set of findings published on digital kids in the United Kingdom as it pre‐dates all audience measurement systems.

Discusses how the children’s market has grown over the last decades, as parents have increasingly planned to have children and bring them up as emotionally intelligent human beings; marketers need to be aware of children as a distinct and increasingly articulate group. Focuses on the Nickelodeon Purchase Study, which found that children had an influence on the purchase of products beyond what were normally thought of children’s products: for instance on the decision to buy a family car. Describes the development by the Nickelodeon Magazine Group of a market research model as the basis for a consultancy to clients who are interested in communicating with children, and indicates some ways in which today’s parents communicate and cope with their children.

Provides a set of guidelines that will assist Internet marketers in maintaining ethical marketing practices. Information about regulation of Internet marketing to children based on Federal Trade Commission regulations and guidelines developed by the Direct Marketing Association, Center for Media Education, and Council of Better Business Bureaux are also explained. Review of some of the Internet sites commonly visited by children provides additional guidelines for Internet marketers. Some of the issues discussed include: the use of kids’ clubs to sell products, appropriateness of content and terminology on the Web pages, information gathering/information sharing practices, and marketing practices.

At the end of the nineteenth century, in the era of the second industrial revolution, falling working hours, rising disposable income, increasing urbanisation, rapidly expanding transport networks and strong population growth resulted in a sharp rise in the demand for entertainment. Initially, the expenditure was spread across different categories, such as live entertainment, sports, music, bowling alleys or skating rinks. One of these categories was cinematographic entertainment, a new service, based on a new technology. Initially it seemed not more than a fad, a novelty shown at fairs, but it quickly emerged as the dominant form of popular entertainment. This paper argues that the take-off of cinema was largely demand-driven, and that, in an evolutionary process, consumers allocated more and more expenditure to cinema. It will analyse how consumer habits and practices evolved with the new cinema technology and led to the formation of a new product/service.

TV advertising is not what it used to be for Kids and Young Adults. There's a proliferation of programming and channel choice; more communication clutter and poorly targeted, lower quality TV commercials. Moreover the New Media is biting into the time that young people watch TV at home which of course includes the Ads. The Internet will become more important to this target market as penetration increases and broadband delivery becomes the affordable norm. But using Ad Banners to do the job alone will not suffice in today's Net Generation Culture. This article discusses the key issues confronting marketers who want to get mote ‘click’ from their ‘digital spends’.

The mass media are cultural pipelines through which flow hours of entertainment and information. They represent a part of our culture which critics decry and media specialists praise. They are difficult, if not impossible, to ignore. Television (free, cable, or pay) is the subject of attention of three‐year‐olds and Ph.D. candidates alike. Newspapers are perused daily by all classes and conditions of people and their content, ownership patterns, and circulation statistics are studied in journalism classes, high schools, and by worried editors and publishers. Films entertained children in Nickelodeons, raised the spirits of millions during World War II, and now are the subject of so much analysis that words like ‘pan,’ ‘take,’ and ‘track’ have taken on new meaning in the vocabulary of most ordinary citizens.

Analyses UK children’s television viewing habits and suggests how their media consumption may evolve; the research is by MediaCom, where the author is head of Kids TV. Finds that what children say they watch differs from what they actually watch; this is known as the Chucklevision effect. Outlines factors that produce change in media consumption: paramount is the falling price of technology like computers, satellite TV and DVD players, but others are the changing family unit, an increase in organised play, and the growing availability of adult brands to children. Looks at the increased TV viewing choices available to children in recent years, noting however that they are actually watching slightly less TV and may anyway prefer adult programmes to those designed for them. Addresses the issues of whether internet use will replace TV viewing, UK versus US programmes and the role of the BBC in programme making, changes in reported favourite programmes since 1997, the influence of TV advertisements, and what adverts children like.

“Dora! Dora!” squealed my 18-month-old son from his stroller on the crowded subway platform. I scanned the crowd but could not locate the source of his excitement. Then a young girl turned her back to us and I saw on her purple backpack the face of “Dora the Explorer,” whose name had made its way into my son's small vocabulary. This scene could have easily taken place in any city or town in the US; young children of all ethnicities are familiar with Dora's animated television program. Worldwide, parents have spent over $3 billion on Dora the Explorer merchandise since 2001, and most products feature English and Spanish phrases (Jiménez, 2005). And Dora is not alone: her show was just the first in a recent wave of animated educational children's programs featuring Latino main characters and dialogue in Spanish.