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BBC Trust Public Consultation: PVT II
BBC Trust Public Consultation: PVT II August – September 2015 A report by ICM on behalf of the BBC Trust Creston House, 10 Great Pulteney Street, London W1F 9NB [email protected] | www.icmunlimited.com | +44 020 7845 8300 (UK) | +1 212 886 2234 (US) ICM Research Ltd. Registered in England No. 2571387. Registered Address: Creston House, 10 Great Pulteney Street, London W1F 9NB A part of Creston Unlimited Confidential. All work in accordance with ISO 27001 and 20252 Table of contents 1. Background and Methodology ....................................................................................... 3 1.1 About the PVT and Public Consultations ..................................................................... 3 1.2 About the methodology ................................................................................................ 4 1.3 Collecting responses ................................................................................................... 4 2. Executive Summary ........................................................................................................ 6 3. Consultation Findings .................................................................................................. 10 3.1 BBC Three Proposal Summary .................................................................................. 10 3.2 BBC One + 1 Proposal Summary .............................................................................. 19 3.3 BBC iPlayer Proposal Summary ............................................................................... -
Proposed Changes to the BBC Iplayer Response to Ofcom’S Call for Evidence 1 Executive Summary
Proposed Changes to the BBC iPlayer Response to Ofcom’s Call for Evidence 1 Executive summary Ofcom’s BBC Competition Assessment (“BCA”) of the changes proposed to the BBC’s iPlayer is a significant undertaking, and the first major review of the BBC’s public service activities under the new regulatory framework overseen by Ofcom. It is therefore essential that Ofcom follows its procedures and conducts a robust and comprehensive assessment of the BBC’s proposals and procedures to demonstrate to all interested parties the effectiveness of the regime. Ofcom’s announcement that it intends to complete this BCA in half the ‘standard’ time does not give stakeholders confidence that its assessment will be sufficiently robust or comprehensive. A 10-day period for responses to this call for evidence has exacerbated that view. This is particularly the case when the BBC’s Public Interest Test (“PIT”) process was fundamentally flawed by its failure to consult appropriately with interested parties, as it is required to do, as a result of its refusal to adequately define the proposed changes to the iPlayer. The BBC continues to obfuscate by making ‘indicative’ proposals, and asking Ofcom to approve unrestricted, and unregulated future growth in the service as part of a ‘level playing field’ for the Licence Fee funded BBC. Ofcom’s first task must be to define the scope of the changes being assessed. Having done so, Sky is relying on it to consult further with stakeholders to obtain views on their impact on the market or send the proposals back to the BBC to re-take the PIT and allow the BBC to consult with industry. -
UNESCO Kalinga Prize Winner – 1981 Sir David Attenborough
Glossary on Kalinga Prize Laureates UNESCO Kalinga Prize Winner – 1981 Sir David Attenborough A British Legend of Science Serials, Britain’s Best Known Natural History Film Maker & Arguably the World’s Foremost Television Naturalist [Born: May 8, 1926 in London, England …………] Mankind has Probably done more damage to the earth in the 20th Century than in all of Previous human history. ... David Attenborough “If we [humans] disappeared over right, the world would Probably be better off.” The Daily Telegraph, London, 12, November, 2005 … David Atenborough “It seems to me that natural world is the greatest source of excitement, the greatest source of visual beauty; the greatest source of intellectual interest . It is the greatest source of so much in life that makes life worth living.” … David Attenborough. 1 Glossary on Kalinga Prize Laureates David Attenborough : A Biographical Profile World’s Best Known Broadcasters, Humanists and Naturalists Born : May 8, 1926 London, England Residence : Richmond, London Nationality : British Field : Naturalist Alma mater : Clare College, Cambridge (Natural Sciences) Notable Prizes : Order of Merit, Order of the Companions of Honour, Royal Victorian Order, Order of the British Empire, Fellow of the Royal Society Sir David Frederick Attenborough, OM, CH, CVO, series is in production. He is also a former senior CBE, FRS (born on May 8, 1926 in London, England) manager at the BBC, having served as controller of is one of the world’s best known broadcasters and BBC2 and director of programming for BBC naturalists. Widely considered one of the pioneers Television in the 1960s and 1970s. of the nature documentary, his career as the He is the younger brother of director and actor respected face and voice of British natural history Richard Attenborough. -
Creating and Measuring Dynamic Public Value at the BBC a Scoping Report
Creating and measuring dynamic public value at the BBC A scoping report By Mariana Mazzucato, Rowan Conway, Eleonora Maria Mazzoli, Eva Knoll and Sarah Albala December 2020 Creating and measuring dynamic public value at the BBC December 2020 Written by Mariana Mazzucato, Rowan Conway, Eleonora Maria Mazzoli, Eva Knoll and Sarah Albala Published by UCL Institute for Innovation and Public Purpose (IIPP) 11 Montague Street London, WC1B 5BP ucl.ac.uk/iipp This report can be referenced as follows: Mazzucato, M., Conway, R., Mazzoli, E., Knoll, E and Albala, S. (2020). Creating and measuring dynamic public value at the BBC. UCL Institute for Innovation and Public Purpose, Policy Report, (IIPP WP 2020-23). Institute for Innovation and Public Purpose The mission of the UCL Institute for Innovation and Public Purpose (IIPP) is to change how public value is imagined, practised and evaluated to tackle societal challenges — delivering economic growth that is innovation-led, sustainable and inclusive. Growth has not only a rate but also a direction: IIPP confronts this directionality head on. Finding solutions to global challenges requires purposeful organisations to collaborate in fundamentally new ways — across the state, businesses and civil society. Together, they can help reshape markets to produce growth that delivers public value. Building symbiotic eco-systems requires new tools and new forms of collaboration. IIPP rethinks the role of the state in these collaborations. Rather than just a market fixer, it can be an active co-creator of value. A mission-oriented approach can be used to set inspirational goals, with dynamic tools — from procurement to prize schemes — to nurture bottom-up experimentation and exploration across different sectors. -
European High-End Fiction Series. State of Play and Trends
European high-end fiction series: State of play and trends This report was prepared with the support of the Creative Europe programme of the European Union. If you wish to reproduce tables or graphs contained in this publication, please contact the European Audiovisual Observatory for prior approval. The analysis presented in this publication cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members or the Council of Europe. The European Commission support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. European high-end fiction series: State of play and trends Gilles Fontaine Marta Jiménez Pumares Table of contents Executive summary .................................................................................................. 1 Scope and methodology .......................................................................................... 5 1. Setting the scene in figures ............................................................................. 8 1.1. The production of high-end fiction series in the European Union .................................................................... 8 1.1.1. The UK is the primary producer of high-end series in Europe ................................................... 10 1.1.2. International co-productions: small but growing .......................................................................... -
Changes to BBC Iplayer: Competition Assessment
CHANGES TO BBC IPLAYER Competition assessment April 2019 Clive Kenny [email protected] Frontier Economics Ltd is a member of the Frontier Economics network, which consists of two separate companies based in Europe (Frontier Economics Ltd) and Australia (Frontier Economics Pty Ltd). Both companies are independently owned, and legal commitments entered into by one company do not impose any obligations on the other company in the network. All views expressed in this document are the views of Frontier Economics Ltd. CHANGES TO BBC IPLAYER CONTENTS Executive Summary 5 1 Introduction 18 1.1 Structure of this report 18 2 Framework for assessing the impact of the BBC iPlayer changes on competition 20 2.1 Introduction 20 2.2 Regulatory framework to assess changes to the BBC’s services 20 2.3 Analytical framework for the assessment of crowding out 24 2.4 Analytical framework for the assessment of scope for harm to competition elsewhere in the supply chain 28 3 The competitive context for the proposed changes to BBC iPlayer 30 3.1 The audio-visual sector is characterised by constant innovation 30 3.2 VoD competes with linear broadcasters, as well as newer audio-visual suppliers 31 3.3 Technological advances have led to convergence between different forms of content 33 3.4 Entrant broadcasters have put pressure on broadcasters to compete and innovate 33 3.5 Conclusion on sector wide trends 35 4 Suppliers affected by the changes to BBC iPlayer 37 4.1 Introduction 37 4.2 The BBC iPlayer’s role in the TV value chain 37 4.3 Identifying -
Creating and Measuring Dynamic Public Value at the BBC a Scoping Report
Creating and measuring dynamic public value at the BBC A scoping report By Mariana Mazzucato, Rowan Conway, Eleonora Maria Mazzoli, Eva Knoll and Sarah Albala December 2020 Creating and measuring dynamic public value at the BBC December 2020 Written by Mariana Mazzucato, Rowan Conway, Eleonora Maria Mazzoli, Eva Knoll and Sarah Albala Published by UCL Institute for Innovation and Public Purpose (IIPP) 11 Montague Street London, WC1B 5BP ucl.ac.uk/iipp This report can be referenced as follows: Mazzucato, M., Conway, R., Mazzoli, E., Knoll, E and Albala, S. (2020). Creating and measuring dynamic public value at the BBC. UCL Institute for Innovation and Public Purpose, Policy Report, (IIPP WP 2020-19). Institute for Innovation and Public Purpose The mission of the UCL Institute for Innovation and Public Purpose (IIPP) is to change how public value is imagined, practised and evaluated to tackle societal challenges — delivering economic growth that is innovation-led, sustainable and inclusive. Growth has not only a rate but also a direction: IIPP confronts this directionality head on. Finding solutions to global challenges requires purposeful organisations to collaborate in fundamentally new ways — across the state, businesses and civil society. Together, they can help reshape markets to produce growth that delivers public value. Building symbiotic eco-systems requires new tools and new forms of collaboration. IIPP rethinks the role of the state in these collaborations. Rather than just a market fixer, it can be an active co-creator of value. A mission-oriented approach can be used to set inspirational goals, with dynamic tools — from procurement to prize schemes — to nurture bottom-up experimentation and exploration across different sectors. -
BBC Annual Report and Accounts 2017/18
Annual Report and Accounts 2017/18 BBC Annual Report and Accounts 2017/18 Presented to Parliament by the Secretary of State for Digital, Culture, Media and Sport by Command of Her Majesty © BBC Copyright 2018 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Photographs are used ©BBC or used under the terms of the PACT agreement except where otherwise identified. Permission from copyright holders must be sought before any photographs are reproduced. You can download this publication from bbc.co.uk/annualreport Designed by Emperor emperor.works Prepared pursuant to the BBC Royal Charter 2016 (Article 37) ABOUT THE BBC Contents Nations’ data packs p.150 Performance and market context p.02 p.59 p.168 About the BBC Detailed financial The year at a glance, award-winning statements content and how we’re structured p.08 Forewords from the Chairman and Director-General Performance against public commitments p.240 p.125 Equality Information Report Governance p.88 p.66 Finance and Delivering our creative remit operations How we’ve met the requirements of our public purposes p.18 About the BBC Governance Financial statements 02 The year at a glance 90 BBC Board 169 Certificate and Report of the Comptroller 92 Governance Report and Auditor General Strategic report 93 Remuneration -
Departmental Overview 2019-20 the BBC Group
Departmental Overview 2019-20 The BBC Group October 2020 This overview summarises the work of the BBC Group including what it does, how much it costs, recent and planned changes and what to look out for across its main business areas and services. We are the UK’s independent public spending watchdog If you are reading this document with a screen reader you may wish to use the bookmarks option to navigate through the parts. If you require any of the graphics in another format, we can provide this on request. Please email us at www.nao.org.uk/contact-us 2 Departmental Overview 2019-20 The BBC group Contents Overview Part One People 10 About the BBC – key facts 3 Part Two The BBC's audiences 13 The BBC's public service and commercial arms 5 Part Three New markets 18 The BBC's income 6 Part Four COVID-19 20 How the BBC spends its money 7 Part Five Issues to look out for 22 Overview of the BBC's accounts 2019-20 8 Part Six Our value-for-money work 2019-20 23 Major programmes and key developments 2019-20 9 Bookmarks New Markets Overview Part Four About the BBC – key facts COVID-19 The BBC's public service and commercial arms Part Five The BBC's income Issues to look out for How the BBC spends its money Part Six Overview of the BBC's accounts 2019-20 Our value for money work on BBC Studios in 2019-20 Major programmes and key developments 2019-20 Part One People Part Two The BBC's audiences Part Three The National Audit Office (NAO) scrutinises public spending for Parliament and If you would like to know more about the NAO’s work on the BBC, If you are interested in the NAO’s is independent of government and the civil service. -
April 2020 Issue No
The Rattigan The Newsletter of The Terence Rattigan Society April 2020 Issue No. 32 Version I reckon that, of all the initiatives the society has founded, Adventure Story, too, has the kind of large cast and meaty the French Award supporting student productions is the roles that make it an ideal student piece. I was thinking - most worthwhile. Not just in encouraging productions of though - what fun such casts could have with Follow my Terry’s plays but also in offering opportunities for lesser Leader and whether the best way to give that another run known work to have an outing. out would to pay a group of students to take it on with I hope I’m not doing the LAMDA students a disservice the simple instruction - do your worst! when I say that, although they might have heard of All three of the productions so far have made me Terence Rattigan and, say, Browning or Winslow before reassess things in quite a profound way - yes even Flare this February, I bet it’s a certainty that French Without Path - because they have the shock of the new for the Tears would be unknown to them. My own sole exposure players who pass it on to us in the way only the young to a performance is the, for me underwhelming, BBC Box can. Delight in a new discovery. Set version so I went along as much out of a sense of duty Long may that continue. as anything else. I came away dazzled by this farcical romp as much as Naturally at the moment all Society theatre goers in the thirties must have done - even more events are in limbo. -
Handbook 1939
BBC HANDBOOK 1939 THE BRITISH BROADCASTING CORPORATION BROADCASTING HOUSE LONDON, W.1 NOTTINGHAM U i "' LIBRARES L,1iÁNCH. G2I,3.87 12365. /5/31, I ----- No. 14.07 MADE AND PRINTED IN GREAT BRITAIN BY JARROLD & SONS, LTD., NORWICH & LONDON C(ZiJ v 1_25 449 3 CONTENTS Notes of the Year page 9 Broadcasting and the Crisis 31 Television in 1938 36 The BBC's Post Bag 42 Broadcasting in Wales 46 Broadcasting Links with the New World 51 `Listener Research' in 1938 55 Meeting Scottish Listeners 6o The Radio Commentator 64 Catering for the Music Lover 68 Broadcasting and Education 74 The Wavelength Problem 81 Reference Section 86 Some BBC Statistics 86 What is the BBC? 88 How the BBC began and grew 88 How the BBC gets its Money 90 How the BBC spends its Money / 92 Who controls the BBC and how is it organized? 94 Engineering Division 96 Programme Division 98 Public Relations Division 102 Administration Division 102 The Regions 103 The BBC's Advisers 105 How the BBC Programmes are distributed 106 The Empire Service 115 [5i Reference Section (contd.) The Foreign Language Services page 118 The Television Service 121 How to get good Reception 125 Writing to the BBC 128 Licence Figures 129 The Time Signal Service 130 Weather Forecasts, Gale Warnings, etc. 131 Market Bulletins, etc. 134 SOS and Police Messages 135 Appeals 136 Public Rediffusion of BBC Programmes 137 Staff Recruitment 138 How to submit Scripts and Scores 139 Auditions 141 Visits to BBC Premises 144 BBC Publications 146 Official Reports and Papers 148 BBC Addresses 149 Appendix 152 Balance Sheet 152 Revenue Account 154 Distribution of Wireless Licences 156 ' The Week's Good Cause' 159 Membership of the BBC's Advisory Councils and Committees 162 Index 173 [6] LIST OF ILLUSTRATIONS Between pp. -
ICT Tools for Searching, Annotation and Analysis of Audiovisual Media
ICT Tools for Searching, Annotation and Analysis of Audiovisual Media Alan Marsden*, Harriet Nock², Adrian Mackenzie*, Adam Lindsay*, John Coleman², and Greg Kochanski² * Lancaster Institute for the ² Phonetics Laboratory, Contemporary Arts, and University of Oxford Institute for Cultural Research, Lancaster University AHRC ICT Strategy Project report October 2006 ICT Tools for Searching, Annotation and Analysis of Audiovisual Media 2 Executive Summary 1. This report concerns the use of ICT tools in research in the arts and humanities using speech, mu- sic, video and film in digital form, hereafter referred to as AV (audio-visual material). 2. The quantity of AV available to researchers is now massive and rapidly expanding, far exceeding the quantity of available print material in sheer number of bytes. 3. The main problem for researchers is no longer a paucity of AV but how to locate the material of in- terest in the vast quantity available, and how to organise material once collected. 4. Metadata and tagging continue to be important to facilitate search. Standards for metadata for AV do exist but are not yet widely adopted. 5. Content-based search is becoming possible for speech, but is still beyond the horizon for music, and even more distant for video and film. Mixed speech, music and noise is very hard to search. 6. Copyright protection hampers research with AV, and digital rights management systems (DRM) threaten to prevent research altogether. 7. Once AV has been located and accessed, much research proceeds by annotation, for which many tools exist. Systems for reuse and sharing of annotations are in their infancy, however.