Katalin Lustyik
Biographic Data
| ID | 3065058 |
|---|---|
| NAME | Katalin Lustyik |
| GIVEN NAMES | Katalin |
| FAMILY NAME | Lustyik |
| SIGNATURE | LUSTYIK K |
| AFFILIATIONS | Ithaca College |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 2 |
Negotiating 'non-profit
Our study focuses on Sesame Street and sets out to examine how Sesame Workshop, as a 'non-profit' organization targeting children, has been able to continuously transform and make itself relevant in a predominantly commercial children's television landscape dominated by transnational ownership structures. The analysis includes an investigation of Sesame Workshop's mission statements, organizational structure, annual fiscal reports, promotional ma…
The Marvel Studios Phenomenon
The Marvel Studios Phenomenon (2016) rigorously defines the history of an organization in both creative and industrial terms as it transitions from its inception in 1961 as Timely Comics to the cur
Digital children’s channels
There are over two billion children worldwide under the age of 18, who are targeted by an increasing number of television channels solely dedicated to them. As such globally circulated programmes and networks expand their reach using digital platforms, is there a need – and room for – locally produced television content for young people? From the perspective of national media policy advocates, locally developed, produced and broadcast programmes …
Is There Local Content on Television for Children Today?
This chapter explores the dichotomy between “local” and “global” television content targeting children in the context of debates on media globalization. Our three case studies – TVNZ6 in New Zealand, Minimax in Eastern Europe, and Al Jazeera Children's Channel in the Middle East – focus specifically on locally produced content offered on thematic children's television channels launched to promote the cultural heritage of a particular nation or re…
The Commercialization of Children's Television in Postsocialist Europe
By the beginning of the twenty-first century, the children's television business had become one of the fastest growing sectors of the European media industries. The emerging postsocialist media markets have become a high priority for both transnational and regional media companies looking for new audience groups. In this article, the author provides a historical overview of the transformations that occurred in the arena of children's media cultur…
Media Regulation and the International Expansion of Nickelodeon
In De-Westernizing Media Studies, Curran and Park (2000) offer a typology to examine media policies and systems. We apply their work to five disparate countries—Mexico, Zimbabwe, New Zealand, China, and Canada—and the entrance of a transnational corporation—Viacom as represented by Nickelodeon—into those countries. Since its US launch in 1979, Nickelodeon has become a dominant transnational children's media brand and our findings indicate that Ni…
Transnational Children’s Television
This article examines children’s television in the context of the debate on media globalization by positioning Viacom-owned Nickelodeon, currently beamed into more than 400 million households, as a quintessential type of transnational television that is critical to understanding the contemporary landscape of media industries and cultures worldwide. The author argues that the majority of globally branded children’s television networks, in comparis…
From The Simpsons to “The Simpsons of the South Pacific”
New Zealand’s first primetime animated program, bro’Town, ran successfully for five seasons between 2004 and 2009. Described by its creators as a “modern-day non-PC satire,” bro’Town focuses on five New Zealand teenagers of Samoan and Maori ethnicities growing up in Auckland. While the program was promoted as “ The Simpsons of the South Pacific,” its audience, critics, and politicians have celebrated it as a twenty-first-century New Zealand creat…
Need to Localise in New Zealand? Nickelodeon and the Institutional Logics of 'Media Superpowers
Following the call for studies that 'turn away from speculative theory and argument-by-anecdote towards a more empirical consideration of media institutions as one of the contested interfaces between national and global forces' (Curtin, 2005: 159), this paper investigates the institutional logics of Nickelodeon in the Asia-Pacific region. Focusing on Nickelodeon's operations in New Zealand can provide a particularly revealing case study in the dy…
Virtual Junk Food Playgrounds in Europe
Unhealthy foods and drinks are among the top products advertised to young children. Considering the growing childhood obesity epidemic and the soaring number of children accessing the Internet, even online junk food advertising has come under increasing scrutiny. Many countries are in the process of expanding and revising existing regulation to account for the realities of the digital age and to respond to health and other social concerns. This p…
The Marvel Studios Phenomenon
The Marvel Studios Phenomenon (2016) rigorously defines the history of an organization in both creative and industrial terms as it transitions from its inception in 1961 as Timely Comics to the cur
The Commercialization of Children's Television in Postsocialist Europe
By the beginning of the twenty-first century, the children's television business had become one of the fastest growing sectors of the European media industries. The emerging postsocialist media markets have become a high priority for both transnational and regional media companies looking for new audience groups. In this article, the author provides a historical overview of the transformations that occurred in the arena of children's media cultur…
Transnational Children’s Television
This article examines children’s television in the context of the debate on media globalization by positioning Viacom-owned Nickelodeon, currently beamed into more than 400 million households, as a quintessential type of transnational television that is critical to understanding the contemporary landscape of media industries and cultures worldwide. The author argues that the majority of globally branded children’s television networks, in comparis…
Negotiating 'non-profit
Our study focuses on Sesame Street and sets out to examine how Sesame Workshop, as a 'non-profit' organization targeting children, has been able to continuously transform and make itself relevant in a predominantly commercial children's television landscape dominated by transnational ownership structures. The analysis includes an investigation of Sesame Workshop's mission statements, organizational structure, annual fiscal reports, promotional ma…
Digital children’s channels
There are over two billion children worldwide under the age of 18, who are targeted by an increasing number of television channels solely dedicated to them. As such globally circulated programmes and networks expand their reach using digital platforms, is there a need – and room for – locally produced television content for young people? From the perspective of national media policy advocates, locally developed, produced and broadcast programmes …
Need to Localise in New Zealand? Nickelodeon and the Institutional Logics of 'Media Superpowers
Following the call for studies that 'turn away from speculative theory and argument-by-anecdote towards a more empirical consideration of media institutions as one of the contested interfaces between national and global forces' (Curtin, 2005: 159), this paper investigates the institutional logics of Nickelodeon in the Asia-Pacific region. Focusing on Nickelodeon's operations in New Zealand can provide a particularly revealing case study in the dy…
Virtual Junk Food Playgrounds in Europe
Unhealthy foods and drinks are among the top products advertised to young children. Considering the growing childhood obesity epidemic and the soaring number of children accessing the Internet, even online junk food advertising has come under increasing scrutiny. Many countries are in the process of expanding and revising existing regulation to account for the realities of the digital age and to respond to health and other social concerns. This p…
Need to Localise in New Zealand? Nickelodeon and the Institutional Logics of 'Media Superpowers
Following the call for studies that 'turn away from speculative theory and argument-by-anecdote towards a more empirical consideration of media institutions as one of the contested interfaces between national and global forces' (Curtin, 2005: 159), this paper investigates the institutional logics of Nickelodeon in the Asia-Pacific region. Focusing on Nickelodeon's operations in New Zealand can provide a particularly revealing case study in the dy…
From The Simpsons to “The Simpsons of the South Pacific”
New Zealand’s first primetime animated program, bro’Town, ran successfully for five seasons between 2004 and 2009. Described by its creators as a “modern-day non-PC satire,” bro’Town focuses on five New Zealand teenagers of Samoan and Maori ethnicities growing up in Auckland. While the program was promoted as “ The Simpsons of the South Pacific,” its audience, critics, and politicians have celebrated it as a twenty-first-century New Zealand creat…
Transnational Children’s Television
This article examines children’s television in the context of the debate on media globalization by positioning Viacom-owned Nickelodeon, currently beamed into more than 400 million households, as a quintessential type of transnational television that is critical to understanding the contemporary landscape of media industries and cultures worldwide. The author argues that the majority of globally branded children’s television networks, in comparis…
Media Regulation and the International Expansion of Nickelodeon
In De-Westernizing Media Studies, Curran and Park (2000) offer a typology to examine media policies and systems. We apply their work to five disparate countries—Mexico, Zimbabwe, New Zealand, China, and Canada—and the entrance of a transnational corporation—Viacom as represented by Nickelodeon—into those countries. Since its US launch in 1979, Nickelodeon has become a dominant transnational children's media brand and our findings indicate that Ni…
Is There Local Content on Television for Children Today?
This chapter explores the dichotomy between “local” and “global” television content targeting children in the context of debates on media globalization. Our three case studies – TVNZ6 in New Zealand, Minimax in Eastern Europe, and Al Jazeera Children's Channel in the Middle East – focus specifically on locally produced content offered on thematic children's television channels launched to promote the cultural heritage of a particular nation or re…
The Commercialization of Children's Television in Postsocialist Europe
By the beginning of the twenty-first century, the children's television business had become one of the fastest growing sectors of the European media industries. The emerging postsocialist media markets have become a high priority for both transnational and regional media companies looking for new audience groups. In this article, the author provides a historical overview of the transformations that occurred in the arena of children's media cultur…
Digital children’s channels
There are over two billion children worldwide under the age of 18, who are targeted by an increasing number of television channels solely dedicated to them. As such globally circulated programmes and networks expand their reach using digital platforms, is there a need – and room for – locally produced television content for young people? From the perspective of national media policy advocates, locally developed, produced and broadcast programmes …
Negotiating 'non-profit
Our study focuses on Sesame Street and sets out to examine how Sesame Workshop, as a 'non-profit' organization targeting children, has been able to continuously transform and make itself relevant in a predominantly commercial children's television landscape dominated by transnational ownership structures. The analysis includes an investigation of Sesame Workshop's mission statements, organizational structure, annual fiscal reports, promotional ma…
The Marvel Studios Phenomenon
The Marvel Studios Phenomenon (2016) rigorously defines the history of an organization in both creative and industrial terms as it transitions from its inception in 1961 as Timely Comics to the cur
Political science (9 works) · Sociology (7 works) · Advertising (6 works) · Business (6 works) · Media studies (6 works) · Media Studies and Communication (6 works) · Globalization (5 works) · Art (3 works) · Computer Science (3 works) · Context (archaeology (3 works)