This book addresses gaps in our understanding of processes that underpin the making and circulation of children''s screen contents across the Arab region and Europe. Taking account of recent disruptive shifts in geopolitics that call for new thinking about how children’s media policy and production should proceed after large-scale forced migration in both regions, the book asks to what extent children in Europe and the Arab World are engaging with the same content. Who is funding new content and who is making it, according to whose criteria? Whose voices are loudest when it comes to pressures for regulation of children’s screen content, and what exactly do they want? The answers to these questions matter for anyone seeking insights into diverse cross-cultural collaborations and content innovations that are shaping new investment and production relationships.

This book addresses gaps in our understanding of processes that underpin the making and circulation of children''s screen contents across the Arab region and Europe. Taking account of recent disruptive shifts in geopolitics that call for new thinking about how children’s media policy and production should proceed after large-scale forced migration in both regions, the book asks to what extent children in Europe and the Arab World are engaging with the same content. Who is funding new content and who is making it, according to whose criteria? Whose voices are loudest when it comes to pressures for regulation of children’s screen content, and what exactly do they want? The answers to these questions matter for anyone seeking insights into diverse cross-cultural collaborations and content innovations that are shaping new investment and production relationships.

This book addresses gaps in our understanding of processes that underpin the making and circulation of children''s screen contents across the Arab region and Europe. Taking account of recent disruptive shifts in geopolitics that call for new thinking about how children’s media policy and production should proceed after large-scale forced migration in both regions, the book asks to what extent children in Europe and the Arab World are engaging with the same content. Who is funding new content and who is making it, according to whose criteria? Whose voices are loudest when it comes to pressures for regulation of children’s screen content, and what exactly do they want? The answers to these questions matter for anyone seeking insights into diverse cross-cultural collaborations and content innovations that are shaping new investment and production relationships.