ABSTRACT
Organisations like Disney and DreamWorks, long implicitly producers of cross-platform media, now talk explicitly about “making products and content” (Deuze, 2013 , p. 172) rather than programmes or fi lms. The BBC similarly, and particularly within its children’s department, is wedded to a platform agnostic 360 degree commissioning approach; one that ideally looks in all directions (across all potential platforms) throughout each production’s development. These positions, or ambitions, may be seen as neoteric and forward-facing to many, yet they could equally be seen as refl ecting only a rhetoric of crossmediality , which to some measure conceals unreconstructed platform-led industrial practices (Bennett & Strange, 2012 ). There may well be a tension between top-down pan - media strategy and the day-to-day, perhaps more siloed, activities of those that actually create media; whatever the reality however, children clearly access media across platforms.
