Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day

References

1. The Adventures of Priscilla, Queen of the Desert ( 1994), Stephan Elliott (wr.), Stephan Elliott (dir.), Australia:: PolyGram Filmed Entertainment;.
   [Google Scholar]
2. Australian Children’s Television Foundation ( 2021;), ‘ First Day teaching toolkit (Series). ’, Australian Children’s Television Foundation;, https://actf.com.au/teaching_resources/id/10444/. Accessed 18 April 2021.
   [Google Scholar]
3. Balanzategui, J.,, Burke, L., and McIntyre, J.. ( 2021;), ‘ “What would Bandit do?”: Reaffirming the educational role of Australian’s children’s television during the COVID-19 pandemic and beyond. ’, Media International Australia, 178:1, pp. 54–62.
   [Google Scholar]
4. Beirne, R.. ( 2008;), ‘ Introduction: A critical introduction to queer women on television. ’, in R. Beirne. (ed.), Televising Queer Women: A Reader, New York:: Palgrave Macmillan;, pp. 1–16.
   [Google Scholar]
5. Booth, E. T.. ( 2011;), ‘ Queering Queer Eye: The stability of gay identity confronts the liminality of trans embodiment. ’, Western Journal of Communication, 75:2, pp. 185–204.
   [Google Scholar]
6. Brenes, C. S.. ( 2018;), ‘ Fact and fiction in Jackie (2016): Revisiting a biopic with Paul Ricoeur. ’, Journal of Screenwriting, 9:2, pp. 211–25.
   [Google Scholar]
7. Buckland, W.. ( 2019;), ‘ “Mind our mouths and beware our talk”: Stylometric analysis of character dialogue in The Darjeeling Limited. ’, Journal of Screenwriting, 10:2, pp. 131–47.
   [Google Scholar]
8. Capuzza, J., and Spencer, L.. ( 2015), Transgender Communication Studies: Histories, Trends, and Trajectories, Lanham, MD:: Lexington Books;.
   [Google Scholar]
9. Capuzza, J., and Spencer, L.. ( 2017;), ‘ Regressing, progressing, or transgressing on the small screen? Transgender characters on U.S. scripted television series. ’, Communication Quarterly, 65:2, pp. 214–30.
   [Google Scholar]
10. Carlotta ( 2014), David Hannam (wr.), Samantha Lang (dir.), Australia:: Story Ark Productions;.
    [Google Scholar]
11. Epic Films ( 2021, Epic Films;), ‘ First Day. ’, https://epicfilms.com.au/portfolio/first-day/. Accessed 17 April 2021.
    [Google Scholar]
12. Faking It ( 2014–16, Carter Covington, Dana Goodman and Julia Lea Wolov [crs], USA:: MTV;).
    [Google Scholar]
13. Fellner, A.. ( 2017;), ‘ Trans television culture: Queer politics, gender fluidity, and quality TV. ’, Oceánide, 9, https://dialnet.unirioja.es/servlet/oaiart?codigo=6236608. Accessed 19 December 2020.
    [Google Scholar]
14. Finkelstein, J.. ( 2007), The Art of Self Invention: Image and Identity in Popular Visual Culture, London and New York:: I.B. Tauris;.
    [Google Scholar]
15. First Day ( 2020–, Julie Kalceff [cr.], Australia:: Epic Films for ABC Australia;).
    [Google Scholar]
16. Fouts, G., and Inch, R.. ( 2005;), ‘ Homosexuality in TV situation comedies: Characters and verbal comments. ’, Journal of Homosexuality, 49:1, pp. 35–45.
    [Google Scholar]
17. Gamson, J.. ( 2002;), ‘ Sweating in the spotlight: Lesbian, gay and queer encounters with media and popular culture. ’, in S. Seidman, and D. Richardson. (eds), Handbook of Lesbian and Gay Studies, London:: Paul Chapman;, pp. 339–54.
    [Google Scholar]
18. Giuffre, Liz. ( 2021;), ‘ Bluey, Requestival, Play Sand ME@Home: The ABC (Kids) of communication cultures during lockdown. ’, Media International Australia, 178:1, pp. 63–76.
    [Google Scholar]
19. GLAAD ( 2019;), ‘ Where we are on TV 2019–2020. ’, GLAAD, https://www.glaad.org/whereweareontv19. Accessed 21 April 2021.
    [Google Scholar]
20. Glee ( 2009–15, Ian Brennan, Brad Falchuk and Ryan Murphy [crs], USA:: Ryan Murphy Productions for Fox Network;).
    [Google Scholar]
21. Halberstam, J.. ( 2005), In a Queer Time and Place: Transgender Bodies, Subcultural Lives, New York and London:: New York University Press;.
    [Google Scholar]
22. Hart, P.. ( 2016;), ‘ Writing characters with intersex variations for television. ’, Journal of Screenwriting, 7:2, pp. 207–23.
    [Google Scholar]
23. Henderson, F. D.. ( 2011;), ‘ The culture behind closed doors: Issues of gender and race in the writer’s room. ’, Cinema Journal, 2, pp. 145–52.
    [Google Scholar]
24. Jones, T.,, Smith, E.,, Ward, R.,, Dixon, J.,, Hillier, L., and Mitchell, A.. ( 2016;), ‘ School experiences of transgender and gender diverse students in Australia. ’, Sex Education, 16:2, pp. 156–71.
    [Google Scholar]
25. Kalceff, J.. ( 2020;), video conference interview with N. Krikowa. , Sydney, Australia:, 19 May.
    [Google Scholar]
26. Krcmar, M., and Cingel, D. P.. ( 2017;), ‘ Do young children really learn best from the use of direct address in children’s television?. ’, Media Psychology, 22:1, pp. 152–71.
    [Google Scholar]
27. Krikowa, N.. ( 2018;), ‘ STEM and diversity on primetime television: The representation of gender and race in The 100. ’, in A. L. Carlson. (ed.), Women in STEM on Television, Jefferson, NC:: McFarland;, pp. 71–85.
    [Google Scholar]
28. Krikowa, N.. ( 2019;), ‘ Intervention as activism: Advocating queer female representation through independent film production. ’, Refractory: A Journal of Entertainment Media, 33:7, https://refractory-journal.com/intervention-as-activism-advocating-queer-female-representation-through-independent-film-production/. Accessed 17 April 2021.
    [Google Scholar]
29. Ksenofontova, A.. ( 2019;), ‘ Once again into the cabinets of Dr. Caligari: Evil spaces and hidden sources of the Caligari screenplay. ’, Journal of Screenwriting, 10:3, pp. 261–77.
    [Google Scholar]
30. Lee, J.. ( 2013), The Psychology of Screenwriting: Theory and Practice, New York:: Bloomsbury;.
    [Google Scholar]
31. Martin, R.. ( 2017;), ‘ Gender and emotion stereotypes in children’s television. ’, Journal of Broadcasting & Electronic Media, 61:3, pp. 499–517.
    [Google Scholar]
32. McIntyre, J.. ( 2011;), ‘ Before Priscilla: Male-to-female transgender in Australian cinema until the 1990s. ’, Refractory: A Journal of Entertainment Media, 18:5, https://refractory-journal.com/before-priscilla-male-to-female-transgender-in-australian-cinema-until-the-1990s-joanna-mcintyre/. Accessed 17 April 2021.
    [Google Scholar]
33. McIntyre, J.. ( 2015;), ‘ Mass communication, minority representation, and national identity: Transgender in mainstream Australian television and film. ’, in Refereed Proceedings of the 2015 ANZCA Conference: Rethinking Communication, Space and Identity, Queenstown, New Zealand, 8–10 July, pp. 1–12, https://research.usc.edu.au/discovery/fulldisplay/alma99449297602621/61USC_INST:ResearchRepository. Accessed 15 April 2021.
    [Google Scholar]
34. McIntyre, J.. ( 2017;), ‘ More Australian trans stories on our TV screens, please. ’, The Conversation, 19 December, https://theconversation.com/more-australian-trans-stories-on-our-tv-screens-please-88556. Accessed 18 December 2020.
    [Google Scholar]
35. Miller, L.. ( 2015;), ‘ Becoming one of the girls/guys: Distancing transgender representations in popular film comedies. ’, in L. G. Spencer, and J. Capuzza. (eds), Transgender Communication: Histories, Trends, and Trajectories, Lanham, MD:: Lexington Books;, pp. 127–42.
    [Google Scholar]
36. Miller, Q.. ( 2019), Camp TV: Trans Gender Queer Sitcom History, Durham, NC:: Duke University Press;.
    [Google Scholar]
37. Monaghan, W.. ( 2021;), ‘ Post-gay television: LGBTQ representation and the negotiation of “normal” in MTV’s Faking It. ’, Media Culture & Society, 43:3, pp. 428–43.
    [Google Scholar]
38. Neighbours ( 1985–present, Reg Watson [cr.], Australia:: Grundy Television Australia, for Network 10;).
    [Google Scholar]
39. Norbury, K.. ( 2014;), ‘ Re-writing the script: Representations of transgender creativity in contemporary young adult fiction and television. ’, Barnboken, 37, https://doaj.org/article/21e6975e3fc7426897ac6e1fdea3c910. Accessed 15 December 2020.
    [Google Scholar]
40. Orange is the New Black ( 2013–19, Jenji Kohan [cr.], USA:: Tilted Productions for Netflix;).
    [Google Scholar]
41. Owen, G.. ( 2016;), ‘ Is the trans child a queer child? Constructing normativity in Raising Ryland and I am Jazz: A family in transition. ’, Queer Studies in Media & Popular Culture, 1:1, pp. 95–109.
    [Google Scholar]
42. Plummer, K.. ( 2003;), ‘ Intimate citizenship and the culture of sexual story telling. ’, in J. Weeks,, J. Holland, and M. Waites. (eds), Sexualities and Society: A Reader, Hoboken, NJ:: Wiley;, pp. 37–52.
    [Google Scholar]
43. Poole, R.. ( 2017;), ‘ Towards a queer futurity: New trans television. ’, European Journal of American Studies, 12:2, pp. 1–24, https://doi.org/10.4000/ejas.12093. Accessed 15 December 2020.
    [Google Scholar]
44. Potter, A.. ( 2015), Creativity Culture and Commerce: Producing Australian Children’s Television with Public Value, Bristol:: Intellect Ltd;.
    [Google Scholar]
45. Potter, A., and Steemers, J.. ( 2017;), ‘Children’s television in transition: Policies, platforms and production. , Media International Australia, 163:1, pp. 6–12.
    [Google Scholar]
46. Pullen, C.. ( 2014;), ‘ Self-reflexive screenwriting and LGBT identity: Framing and indirectly reading the self. ’, in C. Batty. (ed.), Screenwriters and Screenwriting: Putting Practice into Context, New York:: Palgrave Macmillan;, pp. 271–87.
    [Google Scholar]
47. Redvall, E. N., and Cook, J. R.. ( 2015;), ‘ Television screenwriting: continuity and change. ’, Journal of Screenwriting, 6:2, pp. 131–36.
    [Google Scholar]
48. Sandercock, T.. ( 2015;), ‘ Transing the small screen: Loving and hating transgender youth in Glee and Degrassi. ’, Journal of Gender Studies, 24:4, pp. 436–52.
    [Google Scholar]
49. Scott, M. C.. ( 2020;), ‘ The change in young Australians’ television viewing behavior and what it means for the future of local content. ’, in D. Frau-Meigs,, S. Kotolaninen,, M. Pathak-Shelat,, M. Hoechsmann, and S. R. Poyntz. (eds), The Handbook of Media Education Research, New Jersey and New York:: Wiley Blackwell;, pp. 75–83, https://doi.org/10.1002/9781119166900.ch5. Accessed 16 December 2020.
    [Google Scholar]
50. Screen Australia ( 2016;), Seeing Ourselves: Reflections on Diversity in Australian TV Drama. , https://www.screenaustralia.gov.au/fact-finders/reports-and-key-issues/reports-and-discussion-papers/seeing-ourselves. Accessed 20 September 2020.
51. Secret City ( 2016–19, Penny Chapman and Penny Win [crs], Australia:: Matchbox Pictures for Foxtel;).
    [Google Scholar]
52. Sink, A.. ( 2018;), ‘ The role of stereotype content in facilitating positive mediated intergroup contact: An examination of perceptions of gay, lesbian, and transgender television characters. ’, Ph.D. thesis, Santa Barbara, CA:: University of California, Santa Barbara;, http://search.proquest.com/docview/2135288776/. Accessed 15 April 2021.
    [Google Scholar]
53. Stake, R. E.. ( 1995), The Art of Case Study Research, Thousand Oaks, CA:: Sage Publications;.
    [Google Scholar]
54. Stryker, S., and Whittle, S.. (eds) ( 2006), The Transgender Studies Reader, New York:: Routledge, Taylor and Francis Group;.
    [Google Scholar]
55. Supergirl ( 2015–present, Ali Adler, Greg Berlanti and Andrew Kreisberg [crs], USA:: Berlanti Productions for CW Network;).
    [Google Scholar]
56. Transparent ( 2014–19, Joey Soloway [cr.], USA:: Picrow Pictures for Amazon Prime;).
    [Google Scholar]
57. Walters, S. D.. ( 2001), All the Rage: The Story of Gay Visibility in America, Chicago, IL:: University of Chicago Press;.
    [Google Scholar]
58. Krikowa, Natalie. ( 2021;), ‘ Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day. ’, Journal of Screenwriting, 12:3, pp. 325–43, https://doi.org/10.1386/josc_00070_1
    [Google Scholar]