Channel 4 – Written Evidence (DAD0055)
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How the TV Debates Were Organised in #GE2015 and Their Impact: the Full Story
How the TV debates were organised in #GE2015 and their impact: the full story blogs.lse.ac.uk/polis/2017/04/19/how-were-the-tv-debates-organised-in-ge2015-and-what-was-their-impact- the-full-story/ 2017-4-19 I wrote the chapter on broadcasting for the Cowley/Kavanagh Election 2015 book. Here is the section on the negotiations that led to the TV ‘debates’ and their impact – for the full chapter and the authoritative record of all aspects of that campaign, get the book here! By Charlie Beckett, Professor in the Department of Media and Communications, LSE and director of Polis, the LSE’s journalism think-tank. @CharlieBeckett In this election broadcasting tried to reflect a changing political landscape. Television in particular was challenged to adjust to the impact of the smaller parties such as the Greens, UKIP and the SNP. Editorially, broadcasters had to cover a diverse range of issues of varying degrees of scale, importance and relevance to different audiences. All journalists, but most obviously broadcasters, found themselves limited in scope by the unprecedented levels of party stage-management. There were the usual concerns about delivering impartiality and information but perhaps the hardest task for the broadcast journalists was to fulfil their key democratic functions at election time: to engage the public and to hold politicians to account. The strategic reluctance of the main parties to conduct more open campaigns meant that the desire for dramatic broadcasting to match the significance of the stakes was frustrated. Like all journalists, broadcasters were also misled by erroneous polling to construct a false narrative around the relative success of the two main parties. -
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. -
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. -
Background Scottish Screen Is the National Government
Background Scottish Screen is the national government-backed agency responsible for developing all aspects of screen industry and culture across Scotland, focusing on the following five priority objectives: 1. Education – to ensure that people of all ages and backgrounds are inspired and equipped to analyse, appreciate, explore, create and share screen media; 2. Enterprise and Skills - to ensure that there are appropriate levels of skilled individuals and viable companies to sustain all aspects of the screen industries across Scotland; 3. Inward Investment - to promote Scotland as a dynamic, competitive and successful screen production hub; 4. Market Development - to ensure that the widest range of screen product reaches and is appreciated by a diversity of audiences; 5. Talent and Creativity - to identify nurture, develop, support and progress Scotland’s screen talent and screen production companies. Scottish Screen welcomes this opportunity to comment upon Phase One of Ofcom’s second Public Service Broadcasting (PSB) Review. We agree with Ofcom that PSB in Scotland faces some distinctive challenges and welcome its recognition that ‘one size does not fit all’ in relation to PSB in the Nations and regions. Our response is organised around answering the consultation questions which we believe to be most relevant to PSB in Scotland (see below). However, we also wish to signal up front the importance of one issue which is not specifically raised as a question by Ofcom, namely the close relationship between the PSB Review and the Digital Dividend Review. Ofcom’s recommendations regarding access to High Definition services by the current PSBs and its adoption of a purely market led approach to the release of new spectrum are two examples of the way in which the Digital Dividend Review methodology and timetable run a real risk of precluding an innovative approach to PSB in Scotland. -
ABSTRACT Title of Dissertation: ROYAL SUBJECTS
ABSTRACT Title of dissertation: ROYAL SUBJECTS, IMPERIAL CITIZENS: THE MAKING OF BRITISH IMPERIAL CULTURE, 1860- 1901 Charles Vincent Reed, Doctor of Philosophy, 2010 Dissertation directed by: Professor Richard Price Department of History ABSTRACT: The dissertation explores the development of global identities in the nineteenth-century British Empire through one particular device of colonial rule – the royal tour. Colonial officials and administrators sought to encourage loyalty and obedience on part of Queen Victoria’s subjects around the world through imperial spectacle and personal interaction with the queen’s children and grandchildren. The royal tour, I argue, created cultural spaces that both settlers of European descent and colonial people of color used to claim the rights and responsibilities of imperial citizenship. The dissertation, then, examines how the royal tours were imagined and used by different historical actors in Britain, southern Africa, New Zealand, and South Asia. My work builds on a growing historical literature about “imperial networks” and the cultures of empire. In particular, it aims to understand the British world as a complex field of cultural encounters, exchanges, and borrowings rather than a collection of unitary paths between Great Britain and its colonies. ROYAL SUBJECTS, IMPERIAL CITIZENS: THE MAKING OF BRITISH IMPERIAL CULTURE, 1860-1901 by Charles Vincent Reed Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2010 Advisory Committee: Professor Richard Price, Chair Professor Paul Landau Professor Dane Kennedy Professor Julie Greene Professor Ralph Bauer © Copyright by Charles Vincent Reed 2010 DEDICATION To Jude ii ACKNOWLEGEMENTS Writing a dissertation is both a profoundly collective project and an intensely individual one. -
Edit Winter 2013/14
WINTER 2013|14 THE ALUMNI MAGAZINE + BILLET & GENERAL COUNCIL PAPERS LAUGHING MATTERS SKY HEAD OF COMEDY LUCY LUMSDEN ON THE FUNNY BUSINESS ROAD TO REFERENDUM HOW OUR EXPERTS ARE SHAPING THE DEBATE ALSO INSIDE AWARD-WINNING FILM'S STUNNING STORY | MEADOWS MEMORIES | ALUMNI WEEKEND PHOTOGRAPHS WINTER 2013|14 CONTENTS FOREWORD CONTENTS elcome to the Winter issue of Edit. The turn 12 26 W of 2014 heralds an exciting year for our staff, students and alumni, and indeed for Scotland. Our experts are part of history as they inform the debate on SAVE THE DATE the referendum (p10), while in a very different arena the 19 - 21 June 2014 University will play a major role in the Commonwealth Toronto, Canada Games in Glasgow (p5). In a nationwide public engagement project our researchers are exploring the 30 10 impact on Scotland of the First World War throughout the four years of its centenary (p17), and on p16 we look back at the heroism of an Edinburgh alumna during the conflict. If you are seeking light relief, you may have to thank Lucy Lumsden. She has commissioned some of 18 Britain's most successful television comedies of recent years, and in our interview (p8) she talks about the importance of making people laugh. We report on an exceptional string of successes, from Professor Peter Higgs's Nobel Prize (p5), to BAFTAs, including one for a documentary whose story is told by a remarkable 04 Update 18 What You Did Next Edinburgh graduate on pages 12-15. Find your friends in photos of our alumni weekend (p22) and, if you couldn't 08 The Interview 20 Edinburgh Experience Lucy Lumsden, make it, we hope to see you at the next one in 2015. -
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 -
Has TV Eaten Itself? RTS STUDENT TELEVISION AWARDS 2014 5 JUNE 1:00Pm BFI Southbank, London SE1 8XT
May 2015 Has TV eaten itself? RTS STUDENT TELEVISION AWARDS 2014 5 JUNE 1:00pm BFI Southbank, London SE1 8XT Hosted by Romesh Ranganathan. Nominated films and highlights of the awards ceremony will be broadcast by Sky www.rts.org.uk Journal of The Royal Television Society May 2015 l Volume 52/5 From the CEO The general election are 16-18 September. I am very proud I’d like to thank everyone who has dominated the to say that we have assembled a made the recent, sold-out RTS Futures national news agenda world-class line-up of speakers. evening, “I made it in… digital”, such a for much of the year. They include: Michael Lombardo, success. A full report starts on page 23. This month, the RTS President of Programming at HBO; Are you a fan of Episodes, Googlebox hosts a debate in Sharon White, CEO of Ofcom; David or W1A? Well, who isn’t? This month’s which two of televi- Abraham, CEO at Channel 4; Viacom cover story by Stefan Stern takes a sion’s most experienced anchor men President and CEO Philippe Dauman; perceptive look at how television give an insider’s view of what really Josh Sapan, President and CEO of can’t stop making TV about TV. It’s happened in the political arena. AMC Networks; and David Zaslav, a must-read. Jeremy Paxman and Alastair Stew- President and CEO of Discovery So, too, is Richard Sambrook’s TV art are in conversation with Steve Communications. Diary, which provides some incisive Hewlett at a not-to-be missed Leg- Next month sees the 20th RTS and timely analysis of the election ends’ Lunch on 19 May. -
Would I Lie to You?
74th Edition, Autumn 2020 Would I Lie to You? Des explores some ways in which communication can help either to establish or diminish Trust n 1981 Kirsty MacColl sang about all persuasive communication is built3. deceit, plaintively reproaching her His views are now supported by sweetheart: “I can't help feeling modern research which reconfirms Desmond Harney that, somehow, you don't mean that successfully appealing to Ethos I 11 anything you say at all.” She mirrors (establishing you can be trusted and how we all judge other people’s levels relied upon) is an essential of (dis)honesty - by their words and prerequisite for effective persuasion4. actions. Centuries earlier the first Poet Laureate, John Dryden, claimed ‘Truth Other aspects of communication also is the foundation of all knowledge, and help develop an audience’s trust. the cement of all societies’1. These include the words you choose, the way you say them, how you look when you say them, and whether these things all consistently match your other words and actions - and people’s overall perceptions of your character. Can we really believe you will deliver? Truthfulness is essential for establishing long-term Trust. We Kirsty MacColl’s debut hit single featured mislead people in the short-term at lying ‘Chip Shop Elvis’11 our peril. If we’re not thoroughly believed, persuading others to think or But, if it’s difficult to believe anything act our way will be difficult, regardless a liar says, what should we make of of our carefully reasoned arguments. research which suggests most of us lie We also need to genuinely believe in at least once or twice a day – though our own words and ideas. -
BBC 4 Listings for 15 – 21 December 2018 Page 1 of 4
BBC 4 Listings for 15 – 21 December 2018 Page 1 of 4 SATURDAY 15 DECEMBER 2018 This film examines the latest scientific and archaeological imagination of Victorian Britain. Santa Claus, Christmas cards evidence to reveal a compelling new narrative, one that sees the and crackers were invented around the same time, but it was SAT 19:00 Britain's Lost Waterlands: Escape to Swallows famous statues as only part of a complex culture that thrived in Dickens's book that boosted the craze for Christmas, above all and Amazons Country (b07k18jf) isolation. Cooper finds a path between competing theories promoting the idea that Christmas is best celebrated with the Documentary which follows presenters Dick Strawbridge and about what happened to Easter Island to make us see this unique family. Alice Roberts as they explore the spectacular British landscapes place in a fresh light. that inspired children's author Arthur Ransome to write his Interviewees include former on-screen Scrooge, Patrick series Swallows and Amazons. Stewart, and writer Lucinda Hawksley, great-great-great- SAT 23:50 Top of the Pops (m0001jgn) granddaughter of Charles Dickens himself. The landscapes he depicted are based on three iconic British Peter Powell and Steve Wright present the pop chart waterlands. The beauty and drama of the Lake District shaped programme, first broadcast on 6 November 1986. Featuring by ancient glaciers and rich in wildlife and natural resources, Bon Jovi, Peter Gabriel and Kate Bush, Red Box, Swing out SUN 22:00 A Christmas Carol (m0001kwg) the shallow man-made waterways of the Norfolk broads so Sister, Duran Duran, Berlin and The Pretenders. -
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. -
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.