DOCSLIB.ORG

4 Facts February 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4 Facts February 2021 Channel 4 Factsheet March 2021 FACTS Next on Channel 4 Channel 4 is a unique and 24 Hours in Recent programme distinctive part of the UK. Police Custody highlights Publicly owned but entirely Married at First Sight Australia consolidated with commercial and self-sufficient, 1.4m/6.21% individuals and 368k/14.67% 16-34s. our purpose is to create change This is E4’s best non-scripted series since Made In Chelsea series 7 in 2014. through entertainment. To do Channel 4’s live coverage of the test series this, we represent unheard between India and England has reached 9.0m voices, challenge with purpose people across the four tests, with our audience and reinvent entertainment. Taskmaster The Circle peaking with 1.7m on the third day of the first test. The UK’s biggest and most The nation’s most famous block The BAFTA-winning comedy We have the UK’s biggest free streaming successful true crime of flats welcomes its latest set game show returns for an 11th service, All 4, plus a network of 12 television documentary series returns of residents. A £100k prize is at series with a new cast of channels. We have the youngest-skewing public with four gripping new films stake in an unpredictable game hopefuls who are all keen as a service channel in the UK – and we reach more that take viewers behind the of popularity. condiment to win the most 16-34-year-olds than any other commercial scenes of police investigations revered gong in television: a broadcaster across streaming and TV. Through into major crimes. vague representation of Film4, we back creative excellence and invest in Taskmaster Greg Davies’ head British filmmakers, to huge critical acclaim – sprayed with gold paint. Film4 films have produced 144 Oscar The First nominations and 35 wins in our 39-year history. Dates Hotel Future4: Channel 4 has set out its path to a digital future through its strategy Future4. By 2025, our goals are to: • Double All 4 viewing • Digital advertising to be at least 30% of total revenue Strangers Formula 1® • Non-advertising to be at least 10% Making Babies Steve Jones is joined by David of total revenue Coulthard and Mark Webber for In this new series, would-be The First Dates Hotel throws highlights of the opening Grand To achieve this, we are: prioritising digital growth parents throw themselves into a open its doors and dusts off Prix of the 2021 Formula 1® Married at over linear ratings, putting viewers at the heart of groundbreaking scheme, as they the sun loungers as another season, which comes from First Sight Australia our decision-making, diversifying new revenue try to find someone to have spectacular season of love Bahrain for the first time. streams and focusing on strategic partnerships. children with, without the begins. complication of finding love first. Channel 4 Factsheet March 2021 Key Stats (2020): STREAMING TV SOCIAL FINANCIAL Impact (2020): Channel 4’s biggest show Channel 4 News: The Great British Bake Off Channel 4 is the most trusted The 2020 series was the biggest national TV source for getting yet on Channel 4. The final information / news about the 1.2bn+ 1 0.1 % 1st consolidated to 11.5m / 41.8%, Coronavirus outbreak which is Channel 4’s 2nd biggest programme views on All 4 viewing share Biggest UK channel on record financial surplus Facebook for global views in 2020 (forecast) commissioned programme ever. 16-34 share has increased by a huge +52% 24m 78% 9 compared with the same period last 11bn+ 1/5 year and is the highest 16-34 yearly viewers registered on All 4 Channel 4’s main channel reach out of the UK’s top 10 factual share since 2010 of all UK individuals per month Channel 4 brands achieved overall corporation revenue entertainment programmes for 16-34s on average – 47m people 11bn+ social views in 2020 from digital in 2020 in 2020 were shown on Channel 4 Also highest yearly BAME 80% share ever All 4’s registered users include 85% 700m+ 1/2 80% of all 16-24 and 16-34- year-olds in the UK, making it Channel 4’s portfolio reach of Channel 4 News is the biggest news content spend ring fenced for the youngest-profiling UK PSB all UK individuals per month on programme on social media in the BAME-led, Nations & Regions 4 All the UK: streaming service average – 51m people UK, with more than 700 million based and smaller companies views on social media in 2020 in 2020 3,000 estimated number of new 14.5k 15.7 % production jobs in the 124m Nations and Regions hours of content available on viewing share among 16-34s demand (December 2020) – –the only PSB with a greater Channel 4 brands achieved increased content budget economy supported we’re the biggest free streaming share of viewing of 16-34s than 124m social engagements forecast for 2021 by 4 All the UK service in the UK the general population in 2020 GLASGOW LEEDS Remit delivery (February 2021): MANCHESTER Channel 4 viewers (on All 4, Represent unheard voices Challenge with purpose Reinvent entertainment BRISTOL LONDON linear, social or YouTube) believe “Shows different kinds of “Pushes boundaries”: 50% “Always trying something that we perform strongly for: cultures and opinions in the new”: 47% UK”: 54%.
Load more

Recommended publications
  • PSB Report Definitions
    Definitions: Channel groups (1) Channel group Output & Spend definition TV Viewing Audience Opinion Legal Definition BBC One, BBC Two, BBC Three, BBC All BBC channels (BBC Four, BBC News, BBC Parliament, CBBC, One, BBC Two, BBC CBeebies, BBC streaming channels, BBC Three, BBC Four, BBC BBC One, BBC Two, BBC HD (to March 2013) and BBC Olympics News , BBC Parliament Three, BBC Four, BBC News, channels (2012 only). ITV Network* (inc ,CBeebies, CBBC, BBC PSB Channels BBC Parliament, ITV/ITV ITV Breakfast), Channel 4, Channel 5 and Alba, all BBC HD Breakfast, Channel 4, Channel S4C (S4C is added to C4 2008-2009 and channels), the Channel 3 5,, BBC CBBC, CBeebies excluded from 2010 onwards post-DSO in services (provided by ITV, Wales). HD variants are included where STV and UTV), Channel 4, applicable (but not +1s). Channel 5, and S4C. BBC One, BBC Two, ITV Network (inc ITV BBC One, BBC Two, ITV/ITV Main five PSB Breakfast), Channel 4, Channel 5. HD BBC One, BBC Two, Breakfast, Channel 4, Channel channels variants are included where applicable ITV/STV/UTV, Channel 4, 5 (but not +1s). Channel 5 BBC One, BBC Two, BBC Three, BBC Four , BBC Main PSB channels News, ITV/STV/UTV, combined Channel 4, Channel 5, S4C Commercial PSB ITV/ITV Breakfast, Channel 4, Channels Channel 5 ITV+1 Network (inc ITV Breakfast) , ITV2, ITV2+1, ITV3, ITV3+1, ITV4, ITV4+1, CITV, Channel 4+1, E4, E4 +1, More4, CITV, ITV2, ITV3, ITV4, Commercial PSB More4 +1, Film4, Film4+1, 4Music, 4Seven, E4, Film4, More4, 5*, Portfolio Channels 4seven, Channel 4 Paralympics channels 5USA (2012 only), Channel 5+1, 5*, 5*+1, 5USA, 5USA+1.
    [Show full text]
  • Channel 4 - a Change of Ownership?
    By John Woodhouse 15 September 2021 Channel 4 - a change of ownership? Summary 1 Background 2 Further reading commonslibrary.parliament.uk Number 9280 Channel 4 - a change of ownership? Contributing Authors Maria Lalic Image Credits Channel 4 building by Tom Morris. Licensed by CC BY-SA 3.0 Disclaimer The Commons Library does not intend the information in our research publications and briefings to address the specific circumstances of any particular individual. We have published it to support the work of MPs. You should not rely upon it as legal or professional advice, or as a substitute for it. We do not accept any liability whatsoever for any errors, omissions or misstatements contained herein. You should consult a suitably qualified professional if you require specific advice or information. Read our briefing ‘Legal help: where to go and how to pay’ for further information about sources of legal advice and help. This information is provided subject to the conditions of the Open Parliament Licence. Feedback Every effort is made to ensure that the information contained in these publicly available briefings is correct at the time of publication. Readers should be aware however that briefings are not necessarily updated to reflect subsequent changes. If you have any comments on our briefings please email [email protected]. Please note that authors are not always able to engage in discussions with members of the public who express opinions about the content of our research, although we will carefully consider and correct any factual errors. You can read our feedback and complaints policy and our editorial policy at commonslibrary.parliament.uk.
    [Show full text]
  • Crossing the Line Between News and the Business of News: Exploring Journalists' Use of Twitter Jukes, Stephen
    www.ssoar.info Crossing the line between news and the business of news: exploring journalists' use of Twitter Jukes, Stephen Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Jukes, S. (2019). Crossing the line between news and the business of news: exploring journalists' use of Twitter. Media and Communication, 7(1), 248-258. https://doi.org/10.17645/mac.v7i1.1772 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de Media and Communication (ISSN: 2183–2439) 2019, Volume 7, Issue 1, Pages 248–258 DOI: 10.17645/mac.v7i1.1772 Article Crossing the Line between News and the Business of News: Exploring Journalists’ Use of Twitter Stephen Jukes Faculty of Media and Communication, Bournemouth University, Poole, BH12 5BB, UK; E-Mail: [email protected] Submitted: 7 September 2018 | Accepted: 4 January 2018 | Published: 21 March 2019 Abstract Anglo-American journalism has typically drawn a firm dividing line between those who report the news and those who run the business of news. This boundary, often referred to in the West as a ‘Chinese Wall’, is designed to uphold the inde- pendence of journalists from commercial interests or the whims of news proprietors. But does this separation still exist in today’s age of social media and at a time when news revenues are under unprecedented pressure? This article focuses on Twitter, now a widely used tool in the newsroom, analysing the Twitter output of 10 UK political correspondents during the busy party conference season.
    [Show full text]
  • Researching Digital on Screen Graphics Executive Sum M Ary
    Researching Digital On Screen Graphics Executive Sum m ary Background In Spring 2010, the BBC commissioned independent market research company, Ipsos MediaCT to conduct research into what the general public, across the UK thought of Digital On Screen Graphics (DOGs) – the channel logos that are often in the corner of the TV screen. The research was conducted between 5th and 11th March, with a representative sample of 1,031 adults aged 15+. The research was conducted by interviewers in-home, using the Ipsos MORI Omnibus. The key findings from the research can be found below. Key Findings Do viewers notice DOGs? As one of our first questions we split our sample into random halves and showed both halves a typical image that they would see on TV. One was a very busy image, with a DOG present in the top left corner, the other image had much less going on, again with the DOG in the top left corner. We asked respondents what the first thing they noticed was, and then we asked what they second thing they noticed was. It was clear from the results that the DOGs did not tend to stand out on screen, with only 12% of those presented with the ‘less busy’ screen picking out the DOG (and even fewer, 7%, amongst those who saw the busy screen). Even when we had pointed out DOGs and talked to respondents specifically about them, 59% agreed that they ‘tend not to notice the logos’, with females and viewers over 55, the least likely to notice them according to our survey.
    [Show full text]
  • Television Journalism Awards
    T E L E V I S I O N J O U R N A L I S M A W A R D S Camera Operator of the Year Mehran Bozorgnia - Channel 4 News ITN for Channel 4 Darren Conway - BBC Ten O'clock News/BBC Six O'clock News BBC News for BBC One Arnold Temple - Africa Journal Reuters Television Current Affairs - Home The Drug Trial That Went Wrong - Dispatches In Focus Productions for Channel 4 Exposed - The Bail Hostel Scandal - Panorama BBC Current Affairs for BBC One Prescription for Danger - Tonight with Trevor McDonald ITV Productions for ITV1 Current Affairs - International Iraq - The Death Squads Quicksilver Media Productions for Channel 4 Iraq's Missing Billions - Dispatches Guardian Films for Channel 4 Killer's Paradise - This World BBC Current Affairs for BBC Two Innovation and Multimedia Live Court Stenography Sky News Justin Rowlatt - Newsnight's 'Ethical Man' BBC News for BBC Two War Torn - Stories of Separation - Dispatches David Modell Productions for Channel 4 Nations and Regions Current Affairs Award Facing The Past - Spotlight BBC Northern Ireland Parking - Inside Out (BBC North East and Cumbria) BBC Newcastle Stammer - Inside Out East BBC East Nations and Regions News Coverage Award Aberfan - BBC Wales Today BBC Wales The Morecambe Bay Cockling Tragedy - A Special Edition of Granada Reports ITV Granada Scotland Today STV News - Home Assisted Suicide - BBC Ten O'clock News BBC News for BBC One Drugs - BBC Six O'clock News BBC News for BBC One Selly Oak - A Soldier's Story - ITV Evening News ITN for ITV News News - International Afghanistan Patrol - BBC
    [Show full text]
  • Week 12 - Day 2
    Week 12 - Day 2 Gathering Together by Justin and Amber Paulk For where two or three gather in my name, there I am with them. Matthew 18:20 What a glorious promise from Christ! Come together and He will join you. Whether it’s a happy celebration or a mournful meeting (and certainly all the days in between), how comforting to know that whenever we gather together with others, Christ promises to come along, too. This is what we see in this verse: • God encourages us to gather with others and promises to come alongside our gatherings; • Whenever God is present, so also are His fruits of the spirit including: joy, peace, patience, kindness, goodness, faithfulness, gentleness, self-control, and love First dates can be extremely nerve wracking! “What should I wear?” “Does my hair look good?” “Did I put on deodorant?” “Brush my teeth?” “Is there something sticking out my nose?” All these questions and more fill our minds when we go on first dates—and with good reason—because sometimes our first dates leave a whole lot to be desired! This is one FOTP’s married couple’s account of their awkward first date: “Even though we have been married for 19 years, my wife still makes fun of what I wore on our first date. I had on a green Germany national team soccer jersey with purple jeans. Naturally, they were tight-rolled. (Google it!) In hindsight, I was literally repulsive to look at just based on my color combination! I took her to an Italian restaurant where she chose spaghetti as her main entrée.
    [Show full text]
  • Channel 4 Response to Ofcom's Consultation on 'Protecting Participants in TV and Radio Programmes'
    Channel 4 response to Ofcom’s consultation on ‘Protecting participants in TV and radio programmes’ Executive Summary • Channel 4 considers that treating contributors to programmes with due care is of paramount importance, separate to and including our responsibilities under the Ofcom Broadcasting Code (“the Code”).1 • Contributor care has for many years been, and continues to remain, a central priority for us. Working with our production partners we develop comprehensive, proactive and robust welfare protocols and processes which are regularly reviewed and updated. • We take a bespoke approach to contributor care, with the type of support given tailored to the individual nature of each situation. In our experience, what constitutes the proper exercise of our duty of care in each programme depends very much on the nature of the programme, and a ‘one size fits all’ or standard template approach is not appropriate. • As such, we welcome Ofcom’s recognition that “different types of participation may raise very different risks of harm to participants.” And that any proposed new rules “need to be flexible enough to work in a range of situations, and to take account of the fact that very different types and levels of care may be necessary.” • Channel 4 recognises that Ofcom, as the broadcast regulator, has an important role to play in ensuring consistent standards in contributor care across the industry and we believe our current approach is aligned with what Ofcom is seeking to deliver • Whilst we agree that it is vital that Ofcom should be able to provide guidance to the industry and to deal effectively with complaints by viewers and contributors, it must do so within the parameters of the authority granted to it by Parliament and with due regard to other rights and duties including the right to freedom of expression as expressed in Article 10 of the European Convention on Human Rights.
    [Show full text]
  • Channel 4 and British Film: an Assessment Of
    Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens.
    [Show full text]
  • Channel 4 DEA Review
    Annex 3: Evidence assessing C4C’s delivery of its media content duties (2010-2013) December 2014 Contents • Background Slide 2 • Evidence to assess C4C’s delivery of its media Slide 11 content duties 1 Background 2 Introduction • Section 198C of the Communications Act 2003 (the Act) requires Ofcom to review the extent to which Channel 4 Corporation (C4C) has delivered the media content duties set out in section 198A of the Act. These duties were introduced by the Digital Economy Act 2010 (the DEA). • This slide pack sets out C4C’s media content duties, and maps the evidence compiled to assess C4C’s delivery of each these requirements across its services comprised of: its TV channels, on-demand and online services, and Film4 Productions. 3 C4C’s media content duties under Section 198A of the Act *The public service objectives are: 4. In performing their duties under 1) to 1. C4C must participate in - (b) that cultural activity in the United Kingdom, and its diversity, are a) the making of a broad range of relevant 3) C4C must - reflected, supported and stimulated by the representation in those services media content of high quality that, taken as a) support the development of people (taken together) of drama, comedy and music, by the inclusion of feature a whole, appeals to the tastes and interests films in those services and by the treatment of other visual and performing with creative talent, in particular – arts; of a culturally diverse society, i. people at the beginning of b) the making of high quality films intended to (c) that those services (taken together) provide, to the extent that is their careers in relevant media appropriate for facilitating civic understanding and fair and well-informed be shown to the general public at the content or films, and debate on news and current affairs, a comprehensive and authoritative cinema in the United Kingdom, and coverage of news and current affairs in, and in the different parts of, the c) the broadcasting and distribution of such ii.
    [Show full text]
  • Digital-Born and Legacy News Media on Twitter During the UK General Election
    FACTSHEET November 2017 Digital-Born and Legacy News Media on Twitter during the UK General Election Authors: Sílvia Majó-Vázquez, Jun Zhao, Jason R. C. Nurse, and Rasmus Kleis Nielsen Key Findings In this RISJ factsheet we analyse a sample of 4.26 million played a more important role around the conventional news-related tweets from a larger dataset of 28 million political process. tweets collected during the 2017 UK General Election Tweeting frequently and having a high number of to examine the role of digital-born and legacy news • followers are not necessarily related to high levels media1 in online political discussions. To do this, we have of engagement from audiences. Some prominent mapped Twitter discussions around a range of keywords broadcasters (BBC News and Sky News), and national and hashtags tied to the election as well as the activity newspapers (The Independent, The Guardian, and the of 129 British media outlets, including 105 legacy media Daily Telegraph), saw very high levels of engagement, and 24 digital-born outlets. which is consistent with their high level of posting We find that: activity and their audience reach. Interestingly though, some like The Economist and the Financial Times, as Legacy media, including most broadcasters – BBC • well as digital-born sites (including US-based brand News, Channel 4 News, and Sky News – as well as Breitbart, politically-focused ones like The Canary, The Economist and the Financial Times and a few pure Conservative Home and Guido Fawkes/Order-Order digital-players figured very prominently in the political but also the more entertainment-oriented Lad Bible), discussion on Twitter.
    [Show full text]
  • Annual Report 2018
    Channel Four Television Corporation Report and Financial Statements 2018 Incorporating the Statement of Media Content Policy Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 Channel 4 Annual Report 2018 Contents OVERVIEW FINANCIAL REPORT AND STATEMENTS Chair’s Statement 4 Strategic Report Chief Executive’s Statement 8 Financial review and highlights 156 The heart of what we do 13 Our principal activities 159 Remit 38 Key performance indicators 160 At a glance 40 People and corporate annualreport.channel4.com social responsibility 162 STATEMENT OF MEDIA CONTENT POLICY Risk management 164 Strategic and financial outlook 2018 programme highlights 42 and Viability statement 167 4 All the UK 46 Please contact us via our website (channel4.com/corporate) if you’d like this in an alternative Governance format such as Braille, large print or audio. Remit performance The Channel 4 Board 168 Investing in content 48 © Channel Four Television Corporation copyright 2019 Printed in the UK by CPI Colour on Report of the Members 172 Innovation 56 FSC® certified paper. CPI Colour’s Corporate governance 174 The text of this document may be reproduced free environmental management Young people 64 of charge in any format or medium provided that it is Audit Committee Report 179 system is certified to ISO 14001, reproduced accurately and not in a misleading context. Inclusion and diversity 70 and is accredited to FSC® chain of Members’ Remuneration Report 183 The material must be acknowledged as Channel Four custody scheme. CPI Colour is a Supporting creative businesses 78 ® Television Corporation copyright and the document certified CarbonNeutral company Talent 84 Consolidated financial statements title specified.
    [Show full text]
  • Observers of First Dates Can Predict Outcome, Study Shows 30 January 2009
    Observers of first dates can predict outcome, study shows 30 January 2009 When it comes to assessing the romantic playing brief one-on-one conversations. Each participant field -- who might be interested in whom -- men observed 24 videos, all with different men and and women were shown to be equally good at women, and after each rated whether the man gauging men's interest during an Indiana seemed interested in the woman and the woman in University study involving speed dating -- and the man. equally bad at judging women's interest. The speed dating sessions were all conducted in Researchers expected women to have a leg up in Germany while the observer ratings were all made judging romantic interest, because theoretically by students in Indiana. Despite the language they have more to lose from a bad relationship, but difference, observers were still able to judge men's no such edge was found. romantic interest accurately using body language, tone of voice, eye contact, how often each dater "The hardest-to-read women were being spoke and other non-verbal cues. misperceived at a much higher rate than the hardest-to-read men. Those women were being "How people talk might convey more than what flirtatious, but it turned out they weren't interested they say," Place said. at all," said lead author Skyler Place, a doctoral student in IU's Department of Psychological and Observers did not have to see much of this non- Brain Sciences working with cognitive science verbal behavior. They were just as good at Professor Peter Todd.
    [Show full text]