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Who would ever expect that an essay on the belt race game could include information about games for children? Who would guess that certain elements of the games provide guidance for the development of children's games? Read below and discover how an game, a game that focuses on all games, has been used a s a prototype for a noncompetitive children's games.

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CHILDREN'S CULTURE: The popular culture produced for, by, and/or about children. Children's culture is not "innocent" of adult political, economic, moral or sexual concerns. Rather, the creation of children's culture represents the central arena through which we construct our fantasies about the future and a battleground through which we struggle to express competing ideological agendas.

CHILDREN AS MEDIA CONSUMERS
"Going Bonkers!': Children, Play, and Pee-Wee" represents my earliest writing on children's culture, produced as part of an independent study under the direction of John Fiske, when I was a graduate student at University of Wisconsin-Madison. The essay used as its starting point a "Pee-Wee's Playhouse" party for my son and his kindergarten age friends. The essay argues that children's characteristic engagement with television content involves play (which is spontaneous, unstructured and exploratory) rather than games (which are structured, goal-oriented, and rule-bound); that the kindergarten age students used Pee-Wee's ambiguous age status to explore their own mixed feelings about leaving home and going to school; and that the program's "Ket"-like aesthetic enabled children to express a cultural identity distinct from their parent's demands upon them. "Going Bonkers!" appeared initially in but was reprinted in the book.

PERMISSIVE CHILD-REARING AND POPULAR CULTURE

I am currently considering writing a book-length study of the impact of permissive child-rearing doctrines on post-war popular culture aimed at children. This research has resulted in a series of already published essays examining major landmarks of the period in terms of their relationship to the changing conception of the child.

"'No Matter How Small': The Democratic Imagination of Doctor Seuss" examines the ways that shifting post-war assumptions about childhood were linked to larger debates about democracy and represented a domestic extension of the pre-war Popular Front movement. I examine the links between Doctor Seuss's pre-war and wartime activities as an editorial cartoonist for PM and as a propagandist working in the Capra Unit and his post-war writings for children. This essay will appear in Hop on Pop: The Politics and Pleasure of Popular Culture.

CHILDHOOD INNOCENCE

The Children's culture books brings together a range of pre-published essays by social historians, cultural scholars, literary critics, anthropologists, psychologists, and others, mostly centered around the politics of childhood innocence, the construction of children's sexual and gender identities, and the relationship between children's play and children's consumption. The Workbook section reproduces a number of primary documents drawn from child rearing guides from the 1910s-1960s.

The children culture books is the introduction to this collection. Using a consideration of Susan Molinari's address to the 1996 Republican National Convention and Hilary Clinton's speech to the 1996 Democratic National Convention, I demonstrate the complex relationship between the image of the innocent child and adult politics. Then, I offer an overview of the ways that our understanding of the child has shifted across the last five hundred years and the ways that cultural scholars and others have understood the issue of children's cultural and political agency.

The pedagogical implications of this work are examined in an essay published in Radical Teacher titled "Empowering Children in the Digital Age: Towards a Radical Media Pedagogy." Here, I argue for a mode of teaching which starts from the assumption that popular culture is a meaningful part of children's lives and that teachers should empower them to more actively manipulate and appropriate its materials as a way of working through their implications for children's everyday lives. Here, I bring together my work on children's culture with my work on the culture appropriation fandom.

The syllabus for my course, "Understanding Children's Fictions," suggests some ways that classroom teachers might encourage students to reflect on the intersection between adult politics and children's culture.

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