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Annual Report 2012
NEWS CORP. ANNU AL REPO RT 2012 NEWSANNUAL REPORT 2012 1211 Avenue of the Americas New York, NY 10036 www.newscorp.com C O RP. 425667.COVER.CX.CS5.indd 1 8/29/12 5:21 PM OUR AIM IS TO UNLOCK MORE VALUE FOR OUR STOCKHOLDERS 425667.COVER.CS5.indd 2 8/31/12 9:58 AM WE HAVE NO INTENTION OF RESTING ON OUR LAURELS WE ARE ALWAYS INVESTING IN THE NEXT GENERATION 425667.TEXT.CS5.indd 2 8/28/12 5:10 PM 425667.TEXT.CS5.indd 3 8/27/12 8:44 PM The World’s LEADER IN QUALITY JOURNALISM 425667.TEXT.CS5.indd 4 8/28/12 5:11 PM A LETTER FROM Rupert Murdoch It takes no special genius to post good earnings in a booming economy. It’s the special company that delivers in a bad economic environment. At a time when the U.S. has been weighed down by its slowest recovery since the Great Depression, when Europe’s currency threatens its union and, I might add when our critics flood the field with stories that refuse to move beyond the misdeeds at two of our papers in Britain, I am delighted to report something about News Corporation you Rupert Murdoch, Chairman and Chief Executive Officer might not know from the headlines: News Corporation In 2012, for the second year in a row, we have brought our stockholders double-digit growth in total segment operating income. FOR THE SECOND We accomplished this because we do not consider ourselves a conventional YEAR IN A ROW, company. -
Trends in TV Production Ofcom, December 2015 Contents
Trends in TV Production Ofcom, December 2015 Contents 1. Summary 2. What were the original aims of intervention? 3. The UK production market 4. How many companies are active in the market? 5. How easy is it to enter? 6. Production sector revenue and flow of funds 7. Production sector consolidation 8. Quotas 9. Regionality 10. Historical context of the US market Summary – the questions asked This pack aims to confirm (or dispel) many of the widely held beliefs about the UK television production sector. Among the questions it seeks to answer are: • What is the intervention (regulation of the sector) meant to do? • How has commissioning developed over time? • How has the number of producers changed over time? • Is it harder to get into the market? • How do terms of trade work? • How has the sector grown? • What has consolidation looked like? • How do quotas work? • How does the sector operate regionally? 3 Summary – caveats This report was produced for Ofcom by Oliver & Ohlbaum Associates Ltd (“O&O”). The views expressed in this report are those of O&O and do not necessarily represent the views of Ofcom. While care has been taken to represent numbers in this report as accurately as possible based on available sources there may be inaccuracies and they may not correspond with Ofcom’s view of the market and cannot be taken as officially representative of Ofcom data. 4 Summary - data sources used • Oliver & Ohlbaum Producer Database, 2006-2015 ₋ BARB data supplied by Attentional and further coded by O&O to include production companies and their status as qualifying or no-qualifying producers, plus their respective turnover bands. -
The Role of Psbs in the UK TV Production Sector
Small Screen: Big Debate Consultation – Annex 7. The role of PSBs in the UK TV production sector A7. The role of PSBs in the UK TV production sector Overview The TV production sector is a UK success story. The skill base of UK TV production companies has attracted valuable inward investment and global sales of UK programmes have boosted the image of the UK. The UK TV production sector consists of a mixture of large and small independent producers which operate alongside production companies owned by UK broadcasters. This successful production sector has attracted significant inward investment, from foreign broadcasters and streaming services. The UK independent TV production sector is not a product of the market alone; it has been supported and nurtured by the rules and obligations placed on the PSBs over the years. Rules on external commissioning, IP rights and regional quotas have played a vital role in the emergence and development of the independent TV production sector in the UK. UK TV production industry A7.1 The UK TV production sector has changed dramatically over the last 20 years. In 2004, the Public Service Broadcasters (PSBs) accounted for around 87% of all UK commissions.1 The PSBs also dominated content production, accounting for over half (56%) of all UK production.2 A7.2 Fast forward to now, the sector is diverse, competitive, and internationally successful. It has almost doubled in size over this period with commissioning spend on UK productions estimated to range between £4.5bn and £5bn in 2018.3 A7.3 In 2018, UK producers were responsible for almost half of all peak-time shows in major international markets.4 Formats such as Love Island and Strictly Come Dancing/Dancing with the Stars and The Office originated in the UK and have gone on to be global hits. -
Filmed Entertainment Television Dire Sate Cable Network Programming
AsNews of June 30, 2011 Corporation News Corporation is a diversified global media company, which principally consists of the following: Cable Network Taiwan Fox 2000 Pictures KTXH Houston, TX Asia Australia Programming STAR Chinese Channel Fox Searchlight Pictures KSAZ Phoenix, AZ Tata Sky Limited 30% Almost 150 national, metropolitan, STAR Chinese Movies Fox Music KUTP Phoenix, AZ suburban, regional and Sunday titles, United States Channel [V] Taiwan Twentieth Century Fox Home WTVT Tampa B ay, FL Australia and New Zealand including the following: FOX News Channel Entertainment KMSP Minneapolis, MN FOXTEL 25% The Australian FOX Business Network China Twentieth Century Fox Licensing WFTC Minneapolis, MN Sky Network Television The Weekend Australian Fox Cable Networks Xing Kong 47% and Merchandising WRBW Orlando, FL Limited 44% The Daily Telegraph FX Channel [V] China 47% Blue Sky Studios WOFL Orlando, FL The Sunday Telegraph Fox Movie Channel Twentieth Century Fox Television WUTB Baltimore, MD Publishing Herald Sun Fox Regional Sports Networks Other Asian Interests Fox Television Studios WHBQ Memphis, TN Sunday Herald Sun Fox Soccer Channel ESPN STAR Sports 50% Twentieth Television KTBC Austin, TX United States The Courier-Mail SPEED Phoenix Satellite Television 18% WOGX Gainesville, FL Dow Jones & Company, Inc. Sunday Mail (Brisbane) FUEL TV United States, Europe, Australia, The Wall Street Journal The Advertiser FSN Middle East & Africa New Zealand Australia and New Zealand Barron’s Sunday Mail (Adelaide) Fox College Sports Rotana 15% -
Tbivision.Com October/November 2018
Formats TBIvision.com October/November 2018 MIPCOM Stand No: P3.C10 @all3media_int all3mediainternational.com FormatspOFC OctNov18.indd 1 01/10/2018 20:27 The original and best adventure reality format Produced in more than 40 countries 37 seasons in the US Production hubs available FormatspIFC Banijay Survivor OctNov18.indd 1 02/10/2018 10:42 CONTENTS INSIDE THIS ISSUE 6 8 14 This issue 6 Beat the Internet with Vice 14 TV’s love affair Kaltrina Bylykbashi visits the set for Vice Studios and UKTV’s Beat the ITV Studios Global Creative Network MD, Mike Beale, speaks to TBI Internet, a new play-along game show about Love Island’s international success 8 Hot picks Regulars TBI looks at some of the hottest upcoming unscripted titles. From Evil 4. People A round up of the latest movers and shakers in international TV Monkeys to finding The Greatest Dancer, there’s something for everyone 16. Last Word: Endemol Shine Group’s Lisa Perrin in our top list Editor Manori Ravindran • [email protected] • manori_r Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug and Oct) by Informa Telecoms Media, Maple House, 149 Tottenham Court Road, London, W1T 7AD, United Managing editor Kaltrina Bylykbashi • [email protected] • @bylkbashi Kingdom. The 2006 US Institutional subscription price is $255. Airfreight and mailing in the USA by Sales manager Michael Callan • [email protected] Agent named Air Business, C/O Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Periodical postage paid at Jamaica NY 11431. -
Heat and Lust on ITV TIMELESS STORIES UNFORGETTABLE MUSIC
June 2019 Heat and lust on ITV TIMELESS STORIES UNFORGETTABLE MUSIC OUR APPROACH TO THE CLASSICS IS UNIQUE We’ve arranged, recorded and mixed the key repertoire specifically for your editing needs, using the biggest and best orchestras, choirs and soloists, recorded at Abbey Road Studios. AVAILABLE FOR LICENSE AT AUDIONETWORK.COM/DISCOVER/CLASSICAL-COLLECTION FIND OUT MORE: Rebecca Hodges [email protected] (0)207 566 1441 1012-RTS ADVERTS-V1.indd 5 22/05/2019 16:24 Journal of The Royal Television Society June 2019 l Volume 56/6 From the CEO A sultry period drama Returning to the 21st century, Shilpa Recently, I was privileged to be the set in the shimmering Ganatra has written a timely feature guest of the RTS’s Isle of Man Centre. heat of 18th-century on how TV coverage of women’s sport Every year, the island welcomes India is our June cover is gaining a higher profile. I, for one, around 15,000 motor cycles and story. ITV’s new Sun- am enjoying BBC One’s coverage of 40,000 visitors for the annual TT day night treat, Bee- the Women’s World Cup and hope the Races, broadcast by ITV4. cham House, looks likely Lionesses can raise their game fol- I was told that it takes up to three to be the perfect antidote to our own lowing their hard-won victory over weeks to transport everyone and their – so far – less than scorching summer. Scotland. bikes to the Isle of Man. Two intrepid In Steve Clarke’s interview with the Elsewhere in this issue, I would like travellers made it all the way from series’s director and co-creator, to highlight a new regular column, Argentina. -
Annual Report 2013
Annual report 2013 435216_Cover.Cs6.indd 1 Untitled-1 3 8/29/138/28/13 7:05 7:57 PM AM 435216_Cover.Cs6.inddUntitled-1 4 2 8/29/13 7:05 PM 8/29/13 2:38 PM Looking forward to the future 435216_PAGE 01.Cs6.indd 1 8/28/13 8:29 PM Dear Fellow Stockholder, move ahead of our peers. This unique culture allows us to attract and keep the best leaders and talent because it provides opportunities to grow and take on new challenges. That spirit will remain a cornerstone for us, to the benefit of our viewers, colleagues and investors. Shareholders of 21st Century Fox will see value driven by a commitment to bring consumers across the globe the very best stories in film and television, the greatest moments in sports, unrivaled TV news coverage, and an array of satellite products and services that deliver the world like never before. Our potential to expand our Rupert Murdoch, Chairman & Chief Executive Officer, 21st Century Fox franchises outside the U.S. is limitless, and, with many international markets still in their infancy, largely untapped. This past June, 21st Century Fox came into It is through this lens – dynamic content, global being as a separate public company, launching reach and entrepreneurial culture – that we view both a new era for a group of entertainment and the foundation and future of 21st Century Fox. While news entities that have time and again proven I’m not one to look back, the past 12 months have made to be among the most creative, innovative and me especially proud. -
1 MASTERCHEF (The “Programme”)
MASTERCHEF (the “Programme”) APPLICATION TERMS & CONDITIONS By submitting this application form you hereby agree: 1. that (a) you are aged eighteen (18) years or over as at 1 September 2020; (b) must have the legal right to live and work in the United Kingdom (including the Channel Islands or the Isle of Man) (“UK”) and that you have a valid passport; and (c) that neither you or anyone in your household or immediate family are employed by Shine TV or the BBC. Should your application be taken further you may be required to provide proof that you are a British National or of your legal right to reside in the UK; 2. that you (a) do not have any NVQ or other professional careering qualifications obtained in the last 10 years; (b) have never worked full time as a chef in a restaurant or run any type of food or catering business; and (c) have never obtained your main source of income from preparing and/or cooking fresh food in a professional environment (e.g. hotel, restaurant, café); 3. that you are able to commit to all filming days required. Selected contestants are required to commit to filming in London for up to 30 days between September 2020 and January 2021 and FOR ALL DAYS throughout December 2020 until otherwise advised; 4. that, due to the anticipated high volume of applications, unsuccessful applicants will not be contacted. Submitting an application form or receiving communication from Shine TV in relation to this application does not constitute an offer to participate in the Programme; 5. -
Shine Group Acquires Metronome for SEK 719 Million
28th April 09 Shine Group Acquires Metronome for SEK 719 Million Shine Group Further Expands By Acquiring Nordic Region’s Leading Production Companies Stockholm/London - Shine Group today announced the acquisition of the Nordic region’s largest production group Metronome Film & Television AB from parent company Schibsted ASA; increasing Shine Group’s footprint to twenty three companies, across nine territories in three continents and further confirming its status as a major global TV production force. The deal, for SEK 719 million, covers all fifteen production companies under the Metronome umbrella. In 2008 Shine Group companies were responsible for over 1000 hours of scheduled programming, a number set to significantly grow in 2009 as a result of this deal and with further expansion still planned into new territories. With companies in Sweden, Denmark, Norway, Finland and the US, Metronome Film & Television AB is the Nordic region’s pre-eminent production group, responsible for a string of hit programmes from both home-grown and international formats. Their addition, alongside an ongoing international expansion programme including recent announcements in Germany and Australia, and last year’s acquisition of Reveille, places Shine Group as leaders of the global television production and sales industry. Shine Group CEO and Chairman, Elisabeth Murdoch said: "This is a landmark deal for Shine Group. The Metronome companies are peerless in their home territories. It has always been my intention to expand the existing Shine Group companies with the finest creative and entrepreneurial minds from the key markets we have identified, and each Metronome company more than meets this criteria. -
James-Moriarty CV
James Moriarty Avid Editor As an Avid editor with over ten years’ experience working in the television industry, James has worked on a wide and varied range of projects, for a number of clients, including Channel 4, ITV, BBC, Sky, CBS, Disney UK, and more. He is happy working on both fast turnaround edits, and long-term projects, and is creative, hard-working, and conscientious. Credits “Ready To Mingle” 2 episodes. The dating game show following a single girl in her search for a perfect partner, as 12 male suitors compete for her affections and the opportunity to win a cash prize. 12 Yard for ITV2 “Too Hot to Handle” 2 x 42min. A group of determined singles visit paradise to meet, mingle, and remain celibate for their chance to win $100,000. Fremantle for Netflix “The Cabins” Story-cutting for 2 x 60min. Reality series which challenges singletons to the most revealing first date of their lives. Based on the ITV Studios format Let Love Rule, this cast of singles throw out the rule book and delete their dating apps as they attempt to find true love. 12 Yard for ITV “Eating With My Ex” 1 x 28min. Ex-couples reunite for dinner with awkward questions and confrontations. Will they settle the score or rekindle the flame? Thames for BBC Three “Angels of the North” 2 x 15min. Follow the colourful action on and off the salon floor at Longlox hair extension salon on Tyneside, and out of hours in the girls' own hectic lives. Twenty Six 03 Entertainment for BBC Three “Race Across the World” 1 x 60min. -
Murdoch's News Corp. Buying Daughter's Company 21 February 2011
Murdoch's News Corp. buying daughter's company 21 February 2011 News Corp. announced Monday it has agreed to The Shine Group was founded by Elisabeth buy Shine Group, a television production company Murdoch in 2001 and reported revenue of around owned by News Corp. chief executive Rupert $400 million in 2009. Murdoch's daughter Elisabeth, for £415 million ($672 million). Its companies include Dragonfly, Kudos, Princess Productions, Shine TV, Reveille and Metronome News Corp. said Elisabeth Murdoch, 42, the Film & Television. chairman and chief executive of London-based Shine Group, will join the News Corp. board of News Corp. properties include newspapers in directors upon the completion of the transaction. Australia, Britain and the United States, the 20th Century Fox movie studio and Fox television "Shine has an outstanding creative team that has networks. built a significant independent production company in major markets in very few years, and I look (c) 2011 AFP forward to them becoming an important part of our varied and large content creation activities," Rupert Murdoch said in a statement. "This is a unique and exciting opportunity for us," said News Corp. president and chief operating officer Chase Carey. "Shine is a leader in the global television production business with a proven track record of developing hit shows and new formats worldwide. "We have every confidence that Shine will be an important part of the expansion strategy for our worldwide TV operations," Carey said. News Corp. said the Shine Group will report to Carey when the purchase, which involves a stock purchase agreement, is finalized. -
1 Contemporary Medical Television and Crisis in the NHS
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository CST 11.2 | HAMAD | 1 Contemporary Medical Television and Crisis in the NHS Hannah Hamad University of East Anglia, UK Abstract This article maps the terrain of contemporary UK medical television, paying particular attention to Call the Midwife as its centrepiece, and situating it in contextual relation to the current crisis in the NHS. It provides a historical overview of UK and US medical television, illustrating how medical television today has been shaped by noteworthy antecedents. It argues that crisis rhetoric surrounding healthcare leading up to the passing of the Health and Social Care Act 2012 has been accompanied by a renaissance in medical television. And that issues, strands and clusters have emerged in forms, registers and modes with noticeable regularity, especially around the value of affective labour, the cultural politics of nostalgia and the neoliberalisation of healthcare. Keywords medical television; NHS; nurses; affective labour; nostalgia In a 2015 press release, the BBC announced, several weeks before the fifth series began in January 2016, that nursing and medical drama Call the Midwife [CTM] (2012-) would return for a sixth series in 2017 (BBC Media Centre 2015). This confidence was not misplaced. Since it began in 2012, CTM has regularly reached audiences of 10 million plus (BBC Media Centre 2015). While prestige medical television like CTM continues to draw huge audiences, junior doctors in the United CST 11.2 | HAMAD | 2 Kingdom are intermittently staging strikes in protest against new contracts being forced on them by the Tory government Health Secretary Jeremy Hunt that will change the terms and conditions of their employment within the National Health Service (NHS).