The team is joined by GuestKats Mirko Brüß, Rosie Burbidge, Nedim Malovic, Frantzeska Papadopolou, Mathilde Pavis, and Eibhlin Vardy
InternKats: Rose Hughes, Ieva Giedrimaite, and Cecilia Sbrolli
SpecialKats: Verónica Rodríguez Arguijo (TechieKat), Hayleigh Bosher (Book Review Editor), and Tian Lu (Asia Correspondent).

Tuesday, 9 September 2003


London-based brand management group Chorion has announced that increased demand for the formerly controversial children's character Noddy will drive a substantial increase in its annual profits, following the UK and overseas success of its computer-generated TV animation series Make Way for Noddy. The company has also signed a deal with independent London TV company London Weekend Television for four new Agatha Christie dramas a year for at least four years. As well as owning the Noddy and Agatha Christie brands (including Miss Marple and Hercule Poirot) Chorion has the TV and film rights to a portfolio of star literary names, including Maigret author Georges Simenon, Margery Allingham, Edmund Crispin and screenwriter Robert Bolt.
Make Way for Noddy was the UK's most highly rated pre-school programme among three to five-year-olds in June, attracting more than 30% viewing share against rivals Bob the Builder, Tweenies and Teletubbies. It also has an average 34% rating among the 4-10 year-old audience in France.

Noddy is a perfect example of a leading brand keeping its competitive edge by changing with the times. The IPKat recalls the dawn of consciousness in the 1960s when the formerly popular Noddy was reviled as a racist (following his sharp encounters with those emblems of Toy Town black street cred, the Golliwogs), a homosexual (he shared a bed with Big Ears) and a rapacious capitalist (he had the exclusive right to operate a taxi in Toy Town). The original Enid Blyton stories were banned from schools, from public libraries and from the bookshelves of all responsible parents. But for small children Noddy's socio-political outlook was not part of the brand's core value: they were more interested in Noddy's friendly, open facial features and tinkling hat. The old Enid Blyton tales were bowdlerised or replaced completely. The rest, as they say, is history.

Noddy as an icon of political incorrectness here
Avoid being politically incorrect: Modern Newspeak here
The new politically correct Noddy here, here and here
Noddy the new radical here
Another reformed Noddy here and here

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