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PUBLIC BROADCASTING: a MEDIUM in SEARCH of SOLUTIONS John W
PUBLIC BROADCASTING: A MEDIUM IN SEARCH OF SOLUTIONS JoHN W. MACY, JR.* INTRODUCTION In its simplest and most comprehensive definition, a communications system is a process in which creative communicators become aware of the expressed and some- times unexpressed needs of the users of the system and responsively collect and provide information, entertainment, and other resources toward the satisfaction of these needs. Despite the often quoted and now popular belief that in electronic com- munications systems "the medium is the message,"' the design of a system in which the message is itself the message-and the medium is merely a means of delivering a diversity of messages of intrinsic value to the users-is a mandate for radio and television in the decade of the 1970s. This is one of the basic philosophies behind the approach of the Corporation for Public Broadcasting (CPB) as it builds and develops the public sector of broadcasting. Some time ago Robert Oppenheimer was quoted as saying, "What is new is new not because it has never been there before, but because it has changed in quality."2 This is surely what is new about the Corporation for Public Broadcasting. But to understand the nature and direction of the qualitative changes brought about by its creation and activities, it is necessary to look first at what was there before and how the Corporation came into being. I BACKGROUND OF PUBLIC BROADCASTING Over the past fifty years, the American public, through its elected representatives and otherwise, has made a series of choices to encourage the development of a public alternative in the field of communications. -
Reviews of the Financial Terms Payable by Classic FM and Talksport – Determination
Reviews of the financial terms payable by Classic FM and talkSport – determination 20 January 2011 Introduction There are three Independent National Radio (INR) licences issued by Ofcom under the Broadcasting Act 1990 (“the 1990 Act”). They are the licences for Classic FM (held by Classic FM Ltd), talkSport (talkSport Ltd) and Absolute Radio (held by TIML Radio Ltd). The Digital Economy Act 2010 (“the 2010 Act”) included provisions which amend the 1990 Act1 to allow the INR licences to be renewed for up to a further seven years rather than be re- awarded under a competitive auction. Each of the INR licensees has applied for a renewal of their licences. The INR licensees are required to make annual “additional payments” to Ofcom (in turn payable to HM Treasury). Licensees pay fixed annual cash bids plus a Percentage of Qualifying Revenue (PQR) applied to the appropriate proportion of their advertising and sponsorship revenue. As part of the process of (further) licence renewal, Ofcom is required to set new financial terms for each licence, made up of a cash bid and a PQR. Ofcom has now determined these terms for Classic FM and talkSport (Absolute Radio will apply for renewal at a later date and we will complete this review in April). How financial terms are set Ofcom set out the methodology applied in calculating the financial terms for each licence in the statement entitled Review of the Independent Radio Licences – methodology for review of financial terms published on 5 October 2010 (‘the October statement’)2. Our methodology reflects the requirement under the relevant provisions of the 1990 Act3 to determine part of the financial terms based on an assessment of the amount each incumbent would have bid were their licence being for the further renewal period granted afresh in a competitive auction. -
Local Commercial Radio Content
Local commercial radio content Qualitative Research Report Prepared for Ofcom by Kantar Media 1 Contents Contents ................................................................................................................................................. 2 1 Executive summary .................................................................................................................... 5 1.1 Background .............................................................................................................................. 5 1.2 Summary of key findings .......................................................................................................... 5 2 Background and objectives ..................................................................................................... 10 2.1 Background ............................................................................................................................ 10 2.2 Research objectives ............................................................................................................... 10 2.3 Research approach and sample ............................................................................................ 11 2.3.1 Overview ............................................................................................................................. 11 2.3.2 Workshop groups: approach and sample ........................................................................... 11 2.3.3 Research flow summary .................................................................................................... -
RAJAR DATA RELEASE Quarter 1, 2020 – May 14 Th 2020
RAJAR DATA RELEASE Quarter 1, 2020 – May 14 th 2020 COMPARATIVE CHARTS 1. National Stations 2. Scottish Stations 3. London Stations 4. Breakfast Shows – National and London stations "Please note that the information contained within this quarterly data release has yet to be announced or otherwise made public and as such could constitute relevant information for the purposes of section 118 of FSMA and non-public price sensitive information for the purposes of the Criminal Justice Act 1993. Failure to comply with this embargo could result in prosecution’’. Source RAJAR / Ipsos MORI / RSMB RAJAR DATA RELEASE Quarter 1, 2020 – May 14 th 2020 NATIONAL STATIONS STATIONS SURVEY REACH REACH REACH % CHANGE % CHANGE SHARE SHARE SHARE PERIOD '000 '000 '000 REACH Y/Y REACH Q/Q % % % Q1 19 Q4 19 Q1 20 Q1 20 vs. Q1 19 Q1 20 vs. Q4 19 Q1 19 Q4 19 Q1 20 ALL RADIO Q 48945 48136 48894 -0.1% 1.6% 100.0 100.0 100.0 ALL BBC Q 34436 33584 33535 -2.6% -0.1% 51.4 51.0 49.7 15-44 Q 13295 13048 13180 -0.9% 1.0% 35.2 35.5 34.4 45+ Q 21142 20535 20355 -3.7% -0.9% 60.2 59.4 57.9 ALL BBC NETWORK RADIO Q 31846 31081 30835 -3.2% -0.8% 44.8 45.0 43.4 BBC RADIO 1 Q 9303 8790 8915 -4.2% 1.4% 5.7 5.6 5.6 BBC RADIO 2 Q 15356 14438 14362 -6.5% -0.5% 17.4 17.0 16.3 BBC RADIO 3 Q 2040 2126 1980 -2.9% -6.9% 1.2 1.4 1.3 BBC RADIO 4 (INCLUDING 4 EXTRA) Q 11459 11416 11105 -3.1% -2.7% 13.1 13.4 12.9 BBC RADIO 4 Q 11010 10977 10754 -2.3% -2.0% 11.9 12.0 11.7 BBC RADIO 4 EXTRA Q 2238 2271 1983 -11.4% -12.7% 1.3 1.4 1.2 BBC RADIO 5 LIVE (INC. -
Domain Stationid Station UDC Performance Date
Number of days Amount Amount Performance Total Per Domain StationId Station UDC processed for from from Public Date Minute Rate distribution Broadcast Reception RADIO BR ONE BBC RADIO 1 NON PEAK BRA01 CENSUS 92 7.8347 4.2881 3.5466 RADIO BR ONE BBC RADIO 1 LOW PEAK BRB01 CENSUS 92 10.7078 7.1612 3.5466 RADIO BR ONE BBC RADIO 1 HIGH PEAK BRC01 CENSUS 92 13.5380 9.9913 3.5466 RADIO BR TWO BBC RADIO 2 NON PEAK BRA02 CENSUS 92 17.4596 11.2373 6.2223 RADIO BR TWO BBC RADIO 2 LOW PEAK BRB02 CENSUS 92 24.9887 18.7663 6.2223 RADIO BR TWO BBC RADIO 2 HIGH PEAK BRC02 CENSUS 92 32.4053 26.1830 6.2223 RADIO BR1EXT BBC RADIO 1XTRA NON PEAK BRA10 CENSUS 92 1.4814 1.4075 0.0739 RADIO BR1EXT BBC RADIO 1XTRA LOW PEAK BRB10 CENSUS 92 2.4245 2.3506 0.0739 RADIO BR1EXT BBC RADIO 1XTRA HIGH PEAK BRC10 CENSUS 92 3.3534 3.2795 0.0739 RADIO BRASIA BBC ASIAN NETWORK NON PEAK BRA65 CENSUS 92 1.4691 1.4593 0.0098 RADIO BRASIA BBC ASIAN NETWORK LOW PEAK BRB65 CENSUS 92 2.4468 2.4371 0.0098 RADIO BRASIA BBC ASIAN NETWORK HIGH PEAK BRC65 CENSUS 92 3.4100 3.4003 0.0098 RADIO BRBEDS BBC THREE COUNTIES RADIO NON PEAK BRA62 CENSUS 92 0.1516 0.1104 0.0411 RADIO BRBEDS BBC THREE COUNTIES RADIO LOW PEAK BRB62 CENSUS 92 0.2256 0.1844 0.0411 RADIO BRBEDS BBC THREE COUNTIES RADIO HIGH PEAK BRC62 CENSUS 92 0.2985 0.2573 0.0411 RADIO BRBERK BBC RADIO BERKSHIRE NON PEAK BRA64 CENSUS 92 0.0803 0.0569 0.0233 RADIO BRBERK BBC RADIO BERKSHIRE LOW PEAK BRB64 CENSUS 92 0.1184 0.0951 0.0233 RADIO BRBERK BBC RADIO BERKSHIRE HIGH PEAK BRC64 CENSUS 92 0.1560 0.1327 0.0233 RADIO BRBRIS BBC -
Response to Ofcom Consultation on the Future of Public Service Media
Response to Ofcom Consultation on the Future of Public Service Media About this submission 1. AudioUK is the trade body for the audio-led production sector in the UK. AudioUK has four core priorities: Business; Representation; Community; and Excellence. As well as producing the annual Audio Production Awards it also runs the successful Audiotrain craft skills training programme, which has so far provided around 2,500 learner days. AudioUK, along with Radiocentre, oversees the administration of the Audio Content Fund which distributes a grant from the UK government to fund public service content on commercial and community radio. As a member of the Government Broadcasting, Film and Production Working Group, AudioUK has produced guidelines for safe working in audio production during the COVID-19 pandemic. 2. We recognise and agree with Ofcom’s reasoning for changing the language around PSB. We believe ‘Public Service Media’ is a better term to describe the content produced, partly to reflect the wider range of media created, as well as the manner in which it is distributed. 3. However, we do here refer to ‘public service broadcasters’ (‘PSBs’) to differentiate between the licenced PSBs – BBC, ITV/STV, Channel 4, S4C, Channel 5 - and other broadcasters also providing content which is officially designated PSM content – the main example being commercial and community stations broadcasting programmes funded by the Audio Content Fund. Audio as part of public service media 4. The UK has a thriving audio content production industry with an independent sector made up of around 200 companies around the UK. These companies create compelling content across a wide range of genres which engages audiences and offers them different voices, perspectives, talent and ideas. -
FREEVIEW DTT Multiplexes (UK Inc NI) Incorporating Planned Local TV and Temporary HD Muxes
As at 07 December 2020 FREEVIEW DTT Multiplexes (UK inc NI) incorporating planned Local TV and Temporary HD muxes 3PSB: Available from all transmitters (*primary and relay) 3 COM: From *80 primary transmitters only Temp HD - 25 Transmiters BBC A (PSB1) BBC A (PSB1) continued BBC B (PSB3) HD SDN (COM4) ARQIVA A (COM5) ARQIVA B (COM6) ARQIVA C (COM7) HD ARQIVA D (COM8) HD LCN LCN LCN LCN LCN LCN LCN 1 BBC ONE 65 TBN UK 12 QUEST 11 Sky Arts 22 Ideal World 64 Free Sports BBC RADIO: 1 BBC ONE NI Cambridge, Lincolnshire, 74 Shopping Quarter 13 E4 (Wales only) 17 Really 23 Dave ja vu 70 Quest Red+1 722 Merseyside, Oxford, 1 BBC ONE Scot Solent, Somerset, Surrey, 101 BBC 1 Scot HD 16 QVC 19 Dave 26 Yesterday 83 NOW XMAS Tyne Tees, WM 1 BBC ONE Wales 101 BBC 1 Wales HD 20 Drama 30 4Music 33 Sony Movies 86 More4+1 2 BBC TWO 101 BBC ONE HD 21 5 USA 35 Pick 36 QVC Beauty 88 TogetherTV+1 (00:00-21:00) 2 BBC TWO NI BBC RADIO: 101 BBC ONE NI HD 27 ITVBe 39 Quest Red 37 QVC Style 93 PBS America+1 726 BBC Solent Dorset 2 BBC TWO Wales BBC Stoke 102 BBC 2 Wales HD 28 ITV2 +1 42 Food Network 38 DMAX 96 Forces TV 7 BBC ALBA (Scot only) 102 BBC TWO HD 31 5 STAR 44 Gems TV 40 CBS Justice 106 BBC FOUR HD 9 BBC FOUR 102 BBC TWO NI HD 32 Paramount Network 46 Film4+1 43 HGTV 107 BBC NEWS HD Sony Movies Action 9 BBC SCOTLAND (Scot only) BBC RADIO: 103 ITV HD 41 47 Challenge 67 CBS Drama 111 QVC HD (exc Wales) 734 Essex, Northampton, CLOSED 24 BBC FOUR (Scot only) Sheffield, 103 ITV Wales HD 45 Channel 5+1 48 4Seven 71 Jewellery Maker 112 QVC Beauty HD 201 CBBC -
Service Review of Network Music Radio (Radio 1, Radio 2, Radio 3, 6 Music, 1Xtra, Asian Network)
Submission to BBC Trust Service Review of Network Music Radio (Radio 1, Radio 2, Radio 3, 6 Music, 1Xtra, Asian Network) from November 2014 INTRODUCTION This paper should be seen in conjunction with a submission to the BBC Trust from Classic FM’s parent company Global and also from RadioCentre. It focuses on BBC Radio 3 and its exceptional role in broadcasting and commissioning classical music. BBC Radio 3 holds a unique position in the British broadcasting landscape. Its strength in the past has been in its ability to use this unique position, with the safety net of generous public funding, to create bold, distinctive, brave programming, unfettered by the need to deliver audiences to advertisers. With a guaranteed income from the Licence Fee, BBC Radio 3 operates in common with other BBC services, without any fear of commercial failure. The position of BBC Radio 3 in the marketplace means that the BBC occupies a potentially market-distorting role in terms of the commissioning, broadcast and promotion of live classical music in the UK, either on radio or via digital online broadcasts. SUMMARY The BBC must have greater regard for the impact of BBC Radio 3 on the market place and on the classical music eco-system in the UK. In future, the BBC should enforce far tighter content requirements on publicly subsidised services such as BBC Radio 3, with far greater regard to the overall competitive broadcast marketplace when programming changes are made. Alone among any BBC radio or television service, it can be argued that BBC Radio 3’s uniquely guaranteed funding, along with the concentration of power in the hands of the station’s Controller, is unprecedented in any other area of broadcasting or the arts in the UK. -
Radio 3 Content Analysis
BBC Trust: Service Review of BBC Network Music Radio Annex: Radio 3 content analysis About this analysis The Trust analysed two weeks of output from Radio 3 and Classic FM, from 22 September to 5 October 2014, in order to test how similar Radio 3’s music is to Classic FM’s in peak listening periods. This analysis used a log of music played on Radio 3, which was provided by the BBC. Classic FM’s repertory was taken from its playlist, which is published on its website. (Note we substituted a small amount of content for Classic FM from a later week, due to some gaps in the published data at the time of sourcing). For the purposes of the analysis we considered only Radio 3’s primary classical music output, so excluded Jazz, World Music, and programming that only provides short excerpts of music alongside speech (such as CD Review or Music Matters). The analysis included all of Classic FM’s music. The Radio 3 data supplied to us by the BBC included detail on the length of each piece played. As this was not available for Classic FM’s repertory, we estimated the average length of track on Classic FM using the published start times of each piece, then subtracting the estimated amount of speech content. We listened to six hours at different times of the day to provide an estimate of the proportion of speech/advertising to music. Based on this listening, we have estimated that around 20% of Classic FM’s output is not music, which we estimate increases to around 25% during its breakfast programme. -
A Distinctive BBC
A distinctive BBC April 2016 1 TABLE OF CONTENTS Foreword 1. Executive Summary 2. What is distinctiveness 3. Measuring distinctiveness today – what the audience thinks 4. Measuring distinctiveness today – comparisons to other services 5. Enhancing distinctiveness in the future 2 FOREWORD I believe that the case for the BBC is a very straightforward, pragmatic one. We have produced, and continue to produce, some of the very best programmes and services in the world. That is why people like the BBC. That is why they enjoy it. That is why they trust it. That is why they value it. That is what they pay us to do. If the BBC stands for anything, it stands for quality. In just the last month, we have seen Panorama’s exposé of the Panama Papers; Radio 4’s previously unseen footage of Kim Philby speaking to the Stasi; the domestic abuse storyline on The Archers; Inside Obama’s White House and Behind Closed Doors; The Night Manager, Undercover and Cuckoo. We have just launched the 2016 BBC Proms. And those are just a few highlights. This is the BBC I believe in. A beacon of cultural excellence in a world increasingly awash with media of all kinds. A trusted voice in a crowded arena, accountable to the public and focused on their interests, independent of both government and market. A benchmark of quality. But the unique way the BBC is funded places two further obligations on us. Because the BBC’s funding is independent, that gives us creative freedom. That means a BBC that must be more prepared than ever to take risks. -
Digital Switchover of Television and Radio in the United Kingdom
HOUSE OF LORDS Select Committee on Communications 2nd Report of Session 2009–10 Digital switchover of television and radio in the United Kingdom Report with Evidence Ordered to be printed 18 March 2010 and published 29 March 2010 Published by the Authority of the House of Lords London : The Stationery Office Limited £price HL Paper 100 The Select Committee on Communications The Select Committee on Communications was appointed by the House of Lords with the orders of reference “to consider communications”. Current Membership Baroness Bonham-Carter of Yarnbury Baroness Eccles of Moulton Lord Fowler (Chairman) Lord Gordon of Strathblane Baroness Howe of Idlicote Lord Inglewood Lord King of Bridgwater Lord Macdonald of Tradeston Baroness McIntosh of Hudnall Bishop of Manchester Lord Maxton Lord St John of Bletso Baroness Scott of Needham Market Publications The report and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee are available on the intranet at: http://www.parliament.uk/parliamentary_committees/communications.cfm General Information General information about the House of Lords and its Committees, including guidance to witnesses, details of current inquiries and forthcoming meetings is on the internet at: http://www.parliament.uk/about_lords/about_lords.cfm Contact details All correspondence should be addressed to the Clerk of the Select Committee on Communications, Committee Office, House of Lords, London SW1A 0PW The telephone number for general enquiries is -
Yorkshire Coast Radio (Scarborough and Bridlington)
Section 355 Review of Output Yorkshire Coast Radio (Scarborough and Bridlington) Publication Date: 30 June 2020 Section 355 Review: Yorkshire Coast Radio (Scarborough and Bridlington ) Introduction When a local commercial radio licence undergoes a change of control (this includes licence transfer), Ofcom is required, under section 355 of the Communications Act 2003 (‘the Act’), to undertake a review of the effects or likely effects of the change of control in relation to: • the quality and range of programmes included in the service; • the character of the service, and; • the extent to which Ofcom’s duty under section 314 of the Act is performed in relation to the service. Ofcom’s duty under section 314 of the Act relates to securing the inclusion of an appropriate amount of local material, and a suitable proportion of locally-made programmes in the service. Under section 356 of the Act, where it appears to Ofcom from its review that the change of control would be prejudicial to any of the three matters listed above, then it must vary the licence, by including such conditions as it considers appropriate, with a view to ensuring that the relevant change of control is not so prejudicial. In doing so, any new or varied conditions must be such that the licence holder would have satisfied them throughout the three months immediately before the change of control. Ofcom is required to publish a report of its review, setting out its conclusions and any steps it proposes to take under section 356. Where Ofcom proposes to vary the licence, it is required to give the licence holder a reasonable opportunity to make representations about the variation.