The purpose of this study is to research the gender roles represented in SVT’s Bolibompa and whether these confirm or question the traditional stereotypes. I also studied if female and male characters were given equal roles, both in qualitative and quantitative terms. The study is based on eight programs aired on the morning of April 19th 2013, seven of which are cartoons and one filmed live action. The feminist gender theories were the starting point for this study. This point of view states that there are gender-related inequalities on television and in the society as a whole and that these should be corrected. By qualitatively analyzing the visual attributes of the characters and the roles assigned to them in the narrative I have studied the gendered values on both explicit and implicit levels. The results showed that although certain stereotypes were questioned, children’s programs to a high degree conform to traditional gender roles. Males are usually main characters and more active protagonists than females.

AbstraktDe flesta av oss minns barnprogrammen vi såg som barn. Vissa program minns vi nostalgiskt.Vad var det i programmet som tilltalade oss? Som andra generationens invandrare medupplevelser från min fars hemland Italien och den invandrartäta pizzerian funderar jag på vaddet var i barnprogrammens miljöer som jag kunde identifiera mig med och som eventuellttilltalade mig. Jag började i den gestaltande delen att försöka göra ett barnprogram och komfram till min frågeställning: Vem konstruerar barnprogrammet Bolibompa som sin betraktare,genom scenografi och form? Examensutställningen bestod av min arbetsplats, modellhusetoch en sammanställd arbetsbok med texter och processbilder på gestaltandet av ettbarnprogram. (se bilaga 1) I den här undersökningen har jag valt att titta på det barnprogramsom flest svenska barn kommer i kontakt med, Bolibompa i SVT:s Barnkanalen. Mitt syfte äratt som blivande bildpedagog med medieinriktning få syn på medias roll och få förståelse förde rumsliga möjligheter till identifiering som förmedlas i barnprogrammet Bolibompa. Jagvill på så sätt få idéer hur vi som blivande bildpedagoger med inriktning media, ska kunnaidentifiera och utmana dessa normskapande bilder i min undervisning, utifrån Skolverketsstyrdokument. Jag har valt att göra en textstudie så jag kan närma mig utifrån ettproducentperspektiv, på liknande sätt som producent av ett TV-program. När jag studerarBolibompas ram använder jag mig av Simon Lindgrens metod med tre olika analysnivåer:Textuell nivå, kontextuell nivå och sociohistorisk nivå och perspektiviserar med hjälp avpratshowen Malou efter tio i TV4, barnprogrammet CeeBebies på BBC och ett barnprogrampå Arabiska från Bahraim. Jag använder begrepp från semiotiken. Denotation är ett teckensgrundbetydelse som vi kan peka ut direkt vid en neutral bildbeskrivning. Konnotation ärtecknets bibetydelse, en kulturell association som är gemensam för många. Undersökningenresulterar i en skriftlig uppsats och en gestaltning av ett barnprogram med betoning påscenografi. Undersökningen visar att fler har möjlighet att känna igen sig i Bolibompasblandning av stilar. Jag konstaterar att studion inte innehåller arabiska spetsbågar eller sofforfrån Fittja Basar. Snarare är det skandinavisk och svensk design som mer representerarvarumärket Sverige.

It is often discussed that television is bad for children. Research has shown that it is not the actual media but rather the content that is affecting children. It is therefore problematic what children are exposed to when watching television. The purpose of this study is to gain understanding of the content in Bolibompa. It will also be discussed through a perspective with public service and the state in mind to study the themes and eruditions Bolibompa illustrates. By using a multimodal critical discourse analysis, I will answer the questions at issue “What themes are exposed in Bolibompa?” and “What eruditions are shown and how is the discursive upbringing of children followed?”. By using Saussure's semiotic theories together with theories about denotation and connotation the analysis of the visual elements is strengthened. Together with Fairclough’s theory of power and children’s sociology the TV show shall be analyzed to display the themes and eruditions. Previous studies connected to children and TV-watching and also the power relation between producer and children will be taken into account. The analysis is performed by using different analysis tools such as lexical choices, denotation, connotation and Argyle’s (1972) decoding scheme. Every episode was analyzed separately but the results are presented thematically. The result shows three major themes: discourses, authority and knowledge. Within these there are further themes to explain the content such as discourse of power. The results also show different eruditions such as learning to listen, problem solving and including everybody. The conclusions of the study show that it is important that everyone feels included. This was shown by changing rules or that everybody won a price. Another conclusion was that not all segments were as pedagogical as they could have been. Several segments were not explained, and it is therefore of importance to have a parent present for the children’s sensemaking. The study also exposed the importance of good content in a TV-show for children.

This is a thematic study examining a popular Swedish public service television show for children. The purpose of the study is to uncover how the show, Bolibompa, has communicated diversity over the last 34 years. Through a thematic analysis with multimodal tools, we investigate three categories of diversity that have undergone change in how they are conveyed: ethnicity & culture, gender and sexuality. A fourth category, disability, is briefly mentioned. Even though Bolibompa has progressed to become more positive towards diversity, there are still aspects left to criticize. While Bolibompa mediates multiculturality, only a few displays of creative diversity are shown. Furthermore, no homo- or bisexuality is seen in Bolibompa, although two trans people are seen and heard in 2020 and 2023 respectively. There are both similarities and differences in how Bolibompa shares its values concerning each of the three categories. Elements such as music, games, colors and clothes are used in different amounts depending on which message of diversity is being conveyed.

This study intends to examine why the Swedish children’s programme Bolibompa is produced the way it is during a larger catastrophe. Our intention was to find out how the editorial staff, in the children’s department in the public service television of Sweden (SVT),was handling the Estonia disaster, the September 11 attacks and the Asian Tsunami. To accomplish that, we first had to find out how the children’s programme looked during these catastrophes and also understand how the editorial staff was working with children’s programme during ordinary days. To achieve our purpose we have been interviewing five persons from SVT, who was involved in producing the children’s programme during these three catastrophes. The method we used was qualitative research interview and theories of socialisation, media effects, social responsibility and theories of rhetoric mass media guided our study. We found out that the editorial staff was producing the children’s programme differently during each catastrophe. When the Estonia disaster occurred, the children’s programme was delayed because of extended news. Next to the children’s programme a host was talking directly to the children trying to explain the accident. The day after the September 11 attacks the host of the children’s programme was discussing the catastrophe with invited guests in the TV studio. The editorial staff thought that many children were frightened at the time and that explains why they decided to keep a conversation. During the Asian Tsunami, SVT was broadcasting a Christmas special, and the children’s programmes weren’t changed at all,mostly because a break in the Christmas series would cause a lot of problems.

<p>This study intends to examine why the Swedish children’s programme Bolibompa is produced the way it is during a larger catastrophe. Our intention was to find out how the editorial staff, in the children’s department in the public service television of Sweden (SVT),was handling the Estonia disaster, the September 11 attacks and the Asian Tsunami. To accomplish that, we first had to find out how the children’s programme looked during these catastrophes and also understand how the editorial staff was working with children’s programme during ordinary days.</p><p>To achieve our purpose we have been interviewing five persons from SVT, who was involved in producing the children’s programme during these three catastrophes. The method we used was qualitative research interview and theories of socialisation, media effects, social responsibility and theories of rhetoric mass media guided our study.</p><p>We found out that the editorial staff was producing the children’s programme differently during each catastrophe. When the Estonia disaster occurred, the children’s programme was delayed because of extended news. Next to the children’s programme a host was talking directly to the children trying to explain the accident. The day after the September 11 attacks the host of the children’s programme was discussing the catastrophe with invited guests in the TV studio. The editorial staff thought that many children were frightened at the time and that explains why they decided to keep a conversation. During the Asian Tsunami, SVT was broadcasting a Christmas special, and the children’s programmes weren’t changed at all,mostly because a break in the Christmas series would cause a lot of problems.</p>