What is it about?

This article argues the early science fiction television programme, Captain Video and His Video Rangers (DuMont, 1949–1955), addressed its young target audience directly as Cold War citizens, while encouraging them to undertake imaginative play in a form of early television fandom. The moral panic about the programme’s perceived high levels of violence led to the negative portrayal of its young viewers in popular culture. Yet Captain Video’s modes of direct address reveal a concerted effort to constitute the early children’s television audience around a playful intertextuality, bringing together consumerism, Cold War ideology and imaginative multi-genre engagement through child’s play.

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Why is it important?

Captain Video promoted child’s play as a form of early television fandom, with a text which was itself playful. Through the discourse of play, Captain Video suggested it was possible to simultaneously enact consumerism, Cold War citizenship and imaginative engagement with numerous genres, under the auspices of being a Ranger for Captain Video himself. However, this mix frequently confused adult commentators, who wanted children to remain innocent, and yet also wanted them to be good Cold War citizens.

Perspectives

Looking at the way a TV show (or other cultural text) is received at the time in which it is produced always yields interesting results. We talk of 'digital natives' today, but the commentary around Captain Video reveals that 'TV natives' - the first generation of young children growing up with TV - were quite different viewers to adults.

Dr Djoymi Baker
RMIT University

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This page is a summary of: Child’s play: Addressing the young Cold War audience in Captain Video and His Video Rangers (1949–1955), Critical Studies in Television The International Journal of Television Studies, May 2020, SAGE Publications,
DOI: 10.1177/1749602020911359.
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