Patricia Hidalgo, MIANIMA 2022 Jury: “We are committed to diversity and inclusion”

The second invitation to MIANIMA promoted by Women in the animation industry (MIA), received 39 projects (19 feature films and 20 series) from 9 countries, Spain being the most important (20), followed by Argentina (5), Peru (4), Chile and Mexico (3). In techniques, 2D (16) abounds, followed by 3D, Stop Motion and mixed (4 each); and targets family, adults and children, while genres include adventure, fantasy, drama, comedy and horror.

On September 23rd, the six winning projects will be announced at the San Sebastián Festival, who will receive mentorship from MIANIMA for five months, and then on March 22nd and 23rd next year at the Palacio de Longoria (Sgae headquarters) their presentation to television stations, OTT, production companies and possible partners.

Previously, Pressbook Children and teenagers interviewed the jurors who made the selection. After the Spanish manufacturer Manuel Christopher and the former Netfli LatAm Daniela Vieira it’s the turn of Patricia HidalgoDirector of Childhood and Education of BBC. A pioneer in the development of new television formats for all audiences Children’s classesone of the first children’s television programs in the world, which was broadcast in 1946.

“We commission, develop and produce over 450 hours of originals each year for children aged 0-12. Our aim is to create highly entertaining content that can also educate and inform children, we do this in many different formats and genres. We have a daily news program called newsround which has been on air for the last 50 years or the world’s oldest live children’s magazine which is celebrating 64 years BluePeter. We produce specials and documentaries that help our audiences make sense of the world around them, such as Black and Britishwhich shines a light on racism, or ‘Let’s talk about menstruation,’ which highlights how important it is to talk openly about this issue,” Hidalgo said.

My life

series like My life celebrate the lives of children in the UK and around the world, produced and directed by a variety of small independent companies. In addition, historical and contemporary dramas: “We launched the live-action period series aimed at children and families tricksterwhich is a derivative of Charles Dickens – Oliver Twist. “Comedy plays an important role in everything we do, live action and animation – we also create funny, highly educational and innovative factual entertainment such as Horrible storieswhich teaches children local and international history, or Operation Ohwhich teaches them all about medicine, how their bodies work,” he added.

Hidalgo continued: “Despite the digital disruptions and challenges facing linear TV today, our channels are still on top with CBeebies Y CBBC as the two UK leaders and our service BBC iPlayer as the #1 SVOD for kids with +1 billion minutes consumed by our kids programming in the last year”.

BBC Children and Education reaches almost half (49%) of children between the ages of 4-15 every day through two linear channels, CBBC for the older ones (7-12) and CBeebies for the smallest (0-6), we also have other digital platforms such as Bitesizefor boys and girls aged 5 to 15 with 1.7 million users per week, or our CBeebies applications for the smallest with 0.8 million users. In social networks, Facebook and Instagram have 1.7 million weekly accounts, YouTube has 12 million weekly visits and TikTok440,000 weekly visits,” he concluded.

The UK is one of the biggest producers of pre-school animated series, but for older children (7+) the main producers are the US, France, Canada and Japan. “There’s no reason why we shouldn’t be as strong in 7+ as we are in pre-school animation. To help find these hits, we’ve launched an initiative called Ignite, which will look for creative ideas that may have international appeal to be produced as animated shows.” “Over 1,000 submissions were received and we’ve spent the last year working with a select few that started at 40 and are now down to nine: three of those will be turned into animated pilots and eventually ordered as full series,” he added.

And he concluded: “We are committed to diversity and inclusion across all of our content, in front of and behind the camera, and have set aside a budget of £300,000 to support the inclusion of talent for work in our shows that comes from under-represented groups.” With funding from Institute of Cinematography and Audiovisual Arts (ICAA) and the Recovery, Transformation and Sustainability Plan, MIANIMA 2022 is subsidized by the Ministry of Culture and Sports, MIANIMA has the cooperation of Netflix Y EGEDAand the support of Festival international du film d’animation d’Annecy, Ventana Sur Animation!, Quirino Awards, San Sebastian Festival and SGAE.

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