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Aid to Channel 4 Linked to Digital Switchover Invitation to Submit Comments Pursuant to Article 88(2) of the EC Treaty
C 137/16EN Official Journal of the European Union 4.6.2008 STATE AID — UNITED KINGDOM State aid C 13/08 (ex N 589/07) — Aid to Channel 4 linked to digital switchover Invitation to submit comments pursuant to Article 88(2) of the EC Treaty (Text with EEA relevance) (2008/C 137/10) By means of the letter dated 2 April 2008 reproduced in the authentic language on the pages following this summary, the Commission notified the United Kingdom of its decision to initiate the procedure laid down in Article 88(2) of the EC Treaty concerning the proposed financial support to Channel 4 to enable it to meet the costs of digital switchover. Interested parties may submit their comments on the measure in respect of which the Commission is initi- ating the procedure within one month of the date of publication of this summary and the following letter, to: European Commission Directorate-General for Competition State Aid Registry SPA 3 6/5 B-1049 Brussels Fax (32-2) 296 12 42 These comments will be communicated to the United Kingdom. Confidential treatment of the identity of the interested party submitting the comments may be requested in writing, stating the reasons for the request. TEXT OF SUMMARY The UK authorities accept that the notified measure constitutes an aid within the meaning of Article 87(1) of the Treaty. They argue however that the measure is compatible with the Treaty by virtue of Article 86(2), having regard to the Commission's 1 PROCEDURE Communication ( ) on the application of the State aid rules in relation to public service broadcasting (‘the Communication’) and the three particular criteria according to which the compati- The measures on which the Commission has opened the proce- bility of aid of this nature falls to be judged, namely, definition, dure laid down in Article 88(2) was brought to the Commis- entrustment and proportionality. -
The BBC's Use of Spectrum
The BBC’s Efficient and Effective use of Spectrum Review by Deloitte & Touche LLP commissioned by the BBC Trust’s Finance and Strategy Committee BBC’s Trust Response to the Deloitte & Touche LLPValue for Money study It is the responsibility of the BBC Trust,under the As the report acknowledges the BBC’s focus since Royal Charter,to ensure that Value for Money is the launch of Freeview on maximising the reach achieved by the BBC through its spending of the of the service, the robustness of the signal and licence fee. the picture quality has supported the development In order to fulfil this responsibility,the Trust and success of the digital terrestrial television commissions and publishes a series of independent (DTT) platform. Freeview is now established as the Value for Money reviews each year after discussing most popular digital TV platform. its programme with the Comptroller and Auditor This has led to increased demand for capacity General – the head of the National Audit Office as the BBC and other broadcasters develop (NAO).The reviews are undertaken by the NAO aspirations for new services such as high definition or other external agencies. television. Since capacity on the platform is finite, This study,commissioned by the Trust’s Finance the opportunity costs of spectrum use are high. and Strategy Committee on behalf of the Trust and The BBC must now change its focus from building undertaken by Deloitte & Touche LLP (“Deloitte”), the DTT platform to ensuring that it uses its looks at how efficiently and effectively the BBC spectrum capacity as efficiently as possible and uses the spectrum available to it, and provides provides maximum Value for Money to licence insight into the future challenges and opportunities payers.The BBC Executive affirms this position facing the BBC in the use of the spectrum. -
Channel Four Television Corporation Report and Financial Statements 2008 Channel Four Television Corporation Report and Financial Statements 2008
Channel Four Television Corporation Report and Financial Statements 2008 Channel Four Television Corporation Report and Financial Statements 2008 Broadcasting Act 1990 Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 Contents Introduction Scale and impact Chairman’s introduction 04 Viewer impact 60 Chief Executive’s introduction 06 Top tens 64 Output and spend 66 Channel 4’s public impact 08 Creative economy impact 68 Talent ladder 70 Nurture Partnerships 71 Awards 72 Film4 Productions and Slumdog Millionaire 12 Comedy Lab 14 Final comments on public impact report 76 The Devil’s Whore 16 Assurance statement 77 City of Vice 18 Key measures 20 Finance Challenge Operating and financial review 80 Report of the members 84 Saving Africa’s Witch Children 24 Report of the auditors 86 Dispatches and Unreported World 26 Consolidated income statement 88 Channel 4 News 28 Balance sheets 89 The Family 30 Cashflow statements 90 Key measures 32 Significant accounting policies 91 Notes to the financial statements 95 Champion Corporate governance 121 Members 127 Islam Unveiled 36 Report on members’ remuneration 128 Big Brother 38 Programmes and the licence 132 Hunger 40 Historical record 134 Disarming Britain 42 Key measures 44 Inspire Secret Millionaire 48 Embarrassing Bodies and The Sex Education Show 50 Big Food Fight 52 Battlefront 54 Key measures 56 Chairman’s introduction Luke Johnson Chairman The media establishment is undergoing its most violent In recent months, Channel 4 has demonstrated its creative upheaval since Channel 4 was founded 26 years ago. The credentials in spades. With Slumdog Millionaire, Film4 won digital revolution, combined with a severe economic downturn, a spectacular array of Oscars and BAFTAs, and enjoyed a true means all commercial broadcasters are under significant international box office smash. -
Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations. -
Impact Budgets Classic Engagement Activity Evaluation Toolbox
INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING 1.0 2.0 3.0 4.0 5.0 INTRODUCTION PLANNING IMPACT IMPACT EVALUATING IN ACTION DISTRIBUTION Welcome Why vision & strategy matter Equipping for impact What is impact distribution? We love evaluation The power of film Defining your vision The role of film teams How commercial are impact films? What makes great evaluation Analysing the story environment Developing your strategy Meet the impact producer Types of distribution deals Embracing complexity How change happens Map the issue Consider your subjects Review distribution pathways Making your evaluation plan The challenge for filmmakers The 4 impact dynamics Writing impact budgets Classic engagement activity Evaluation toolbox Know thyself Draft your strategic plan Finding impact funders Impact distribution at work New tools for impact documentary Making impact partners Sign on the dotted line Wrapping up INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING PDF • CL LE ICK AB A K BL IC E L P C Use the top D F • and side • F tabs to navigate D P C through! L E I L C B K A A K B C L I E L C P D F • Please don’t print me! IMPACTGUIDE.ORG Get the printable version INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING A set of tools and guides designed to help all of us who are working with film make even greater impact than we do already. Brought to you by: Made possible by: britdoc.org fordfoundation.org | berthafoundation.org | sundance.org | knightfoundation.org -
Competition Issues in the UK TV Advertising Trading Mechanism
Redacted version for publication Competition issues in the UK TV advertising trading mechanism ITV plc response to Ofcom Consultation of 10 June 2011 REDACTED VERSION FOR PUBLICATION REDACTIONS ARE MARKED BY A [] SYMBOL 3 August 2011 508948521 CONTENTS EXECUTIVE SUMMARY 1 1. Introduction 1 2. Industry Background 1 3. No reasonable grounds for reference 2 4. Discretion not to refer 6 PART A - NO REASONABLE GROUNDS FOR SUSPECTING COMPETITIVE HARM 9 5. The market for TV advertising cannot be viewed in isolation 9 6. The TV advertising market is highly competitive 18 7. No evidence of harm to advertisers 21 8. No evidence of harm to consumers – as viewers 25 9. No evidence of harm to consumers – as purchasers of advertised goods 28 10. The current trading model 30 11. International comparison 40 PART B - OFCOM SHOULD IN ANY EVENT EXERCISE DISCRETION NOT TO REFER 46 12. Ofcom discretion 46 13. Scale of the problem 47 14. No reasonable chance that remedies will be available 48 15. Prolonged uncertainty 52 16. Disproportionate impact on advertising funded broadcasters 53 17. Timing is wholly inappropriate – market is changing anyway 56 18. Conclusions 61 Annex A – Cross reference table to responses to Ofcom questions 63 Annex B – The Growth of Digital Marketing 65 1. Introduction 65 2. Technological changes 66 3. Key features of consumer usage of online and mobile technology and information services 70 4. Key implications of these changes 76 Annex C – The Markets for Viewers and Content 84 1. The UK market for viewers is highly competitive 84 2. Viewers particularly value original UK TV content 85 3. -
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. -
Kenilworth Christmas Lights 2017 the Future of Our Lights
HEWLETT-PACKARD Kenilworth Christmas Lights 2017 The future of our lights Written by Cllrs Marilyn Bates and Richard Hales June 2017 BACKGROUND Kenilworth Christmas Lights Committee (KCLC) was formed in order to manage the infrastructure and accounting of the lights each year. The management of it is complex which is why it was deemed better to be run outside of Kenilworth Town Council (KTC) although its members are made up of Town Councillors, business people from the town and a representative from Warwick District Council (WDC). The Chairman is usually a member of KTC. The Committee is responsible for requesting donations from businesses around the town, which in 2016, amounted to £16,034.00: £12,500 of which went to WDC for managing the event and the installation of the lights using their company choice of ‘Highlight’. Up until mid 2016 the Town Centre Manager ran the meetings and liaised with WDC but when this role was withdrawn from Kenilworth the Chairman took over the meetings. THE COMMITTEE Cllr. Richard Hales (Chairman) Cllr. Marilyn Bates John Bausor Jonathan Holland Sue Powell (Treasurer) Morris Bond James Deville (WDC representative for 2017) LIGHT SWITCH-ON EVENTS There are historically two switch-on events, one in Warwick Road and one a week later in High Street. The atmosphere and events themselves are very different with Warwick Road being judged as a family event and High Street as a more sociable, mature event. The lights in High Street are not in need of change and are very in-keeping with the area, however the same cannot be said of Warwick Road. -
Hallett Arendt Rajar Topline Results - Wave 1 2020/Last Published Data
HALLETT ARENDT RAJAR TOPLINE RESULTS - WAVE 1 2020/LAST PUBLISHED DATA Population 15+ Change Weekly Reach 000's Change Weekly Reach % Total Hours 000's Change Average Hours Market Share STATION/GROUP Last Pub W1 2020 000's % Last Pub W1 2020 000's % Last Pub W1 2020 Last Pub W1 2020 000's % Last Pub W1 2020 Last Pub W1 2020 Bauer Radio - Total 55032 55032 0 0% 18160 17986 -174 -1% 33% 33% 155537 154249 -1288 -1% 8.6 8.6 15.9% 15.7% Absolute Radio Network 55032 55032 0 0% 4908 4716 -192 -4% 9% 9% 34837 33647 -1190 -3% 7.1 7.1 3.6% 3.4% Absolute Radio 55032 55032 0 0% 2309 2416 107 5% 4% 4% 16739 18365 1626 10% 7.3 7.6 1.7% 1.9% Absolute Radio (London) 12260 12260 0 0% 715 743 28 4% 6% 6% 5344 5586 242 5% 7.5 7.5 2.7% 2.8% Absolute Radio 60s 55032 55032 0 0% 136 119 -17 -13% *% *% 359 345 -14 -4% 2.6 2.9 *% *% Absolute Radio 70s 55032 55032 0 0% 212 230 18 8% *% *% 804 867 63 8% 3.8 3.8 0.1% 0.1% Absolute 80s 55032 55032 0 0% 1420 1459 39 3% 3% 3% 7020 7088 68 1% 4.9 4.9 0.7% 0.7% Absolute Radio 90s 55032 55032 0 0% 851 837 -14 -2% 2% 2% 3518 3593 75 2% 4.1 4.3 0.4% 0.4% Absolute Radio 00s 55032 55032 0 0% 217 186 -31 -14% *% *% 584 540 -44 -8% 2.7 2.9 0.1% 0.1% Absolute Radio Classic Rock 55032 55032 0 0% 740 813 73 10% 1% 1% 4028 4209 181 4% 5.4 5.2 0.4% 0.4% Hits Radio Brand 55032 55032 0 0% 6657 6619 -38 -1% 12% 12% 52607 52863 256 0% 7.9 8.0 5.4% 5.4% Greatest Hits Network 55032 55032 0 0% 1264 1295 31 2% 2% 2% 9347 10538 1191 13% 7.4 8.1 1.0% 1.1% Greatest Hits Radio 55032 55032 0 0% 845 892 47 6% 2% 2% 6449 7146 697 11% 7.6 8.0 0.7% -
Bskyb / ITV Inquiry
ACQUISITION BY BRITISH SKY BROADCASTING GROUP PLC OF 17.9 PER CENT OF THE SHARES IN ITV PLC Report sent to Secretary of State (BERR) 14 December 2007 © Competition Commission 2007 Website: www.competition-commission.org.uk Members of the Competition Commission who conducted this inquiry Peter Freeman (Chairman of the Group) Christopher Bright Christopher Smallwood Professor Stephen Wilks Chief Executive and Secretary of the Competition Commission Martin Stanley The Department for Business, Enterprise and Regulatory Reform (BERR) has excluded from this published version of the report information which it considers should be excluded having regard to the three considerations set out in section 244 of the Enterprise Act 2002 (specified information: considerations relevant to disclosure). The omissions are indicated by . The versions of this report published on the BERR website on 20 December 2007, and reproduced on the CC website, gave the name of the company acquiring the 17.9 per cent stake in ITV plc as British Sky Broadcasting plc. The correct, full title of the acquiring company is British Sky Broadcasting Group plc. This corrected version of the report, with the full company name given on the title pages, paragraph 1 of the summary and in footnote 160, was posted on the BERR and CC websites on 11 January 2008. Acquisition by British Sky Broadcasting Group plc of 17.9 per cent of the shares in ITV plc Contents Page Summary............................................................................................................................... -
Digital Terrestrial Radio for Australia
Parliament of Australia Department of Parliamentary Services Parliamentary Library Information, analysis and advice for the Parliament RESEARCH PAPER www.aph.gov.au/library 19 December, no. 18, 2008–09, ISSN 1834-9854 Going digital—digital terrestrial radio for Australia Dr Rhonda Jolly Social Policy Section Executive summary th • Since the early 20 century radio has been an important source of information and entertainment for people of various ages and backgrounds. • Almost every Australian home and car has at least one radio and most Australians listen to radio regularly. • The introduction of new radio technology—digital terrestrial radio—which can deliver a better listening experience for audiences, therefore has the potential to influence people’s lives significantly. • Digital radio in a variety of technological formats has been established in a number of countries for some years, but it is expected only to become a reality in Australia sometime in 2009. • Unlike the idea of digital television however, digital radio has not fully captured the imagination of audiences and in some markets there are suggestions that it is no longer relevant. • This paper provides a simple explanation of the major digital radio standards and a brief history of their development. It particularly examines the standard chosen for Australia, the Eureka 147 standard (known also as Digital Audio Broadcasting or DAB). • The paper also traces the development of digital radio policy in Australia and considers issues which may affect the future of the technology. Contents Introduction ................................................................................................................................. 1 Radio basics: AM and FM radio ................................................................................................. 3 How do AM and FM work? ................................................................................................... 3 How AM radio works ....................................................................................................... -
The Communications Market 2008
The Communications Market 2008 4 4 Radio 233 Contents 4.1 Key market developments in radio 235 4.1.1 UK radio industry key metrics 235 4.1.2 Introduction 235 4.1.3 Commercial radio revenue grows despite audience decline… 235 4.1.4 …although listening to national commercial stations rises 3.2% 236 4.1.5 Younger listeners lead a fall in listening hours 236 4.1.6 The Hits becomes the first digital station to enter the top ten by reach... 237 4.1.7 …helped by a rise in digital listening to 18% of the total 238 4.1.8 Digital Radio Working Group publishes interim report on digital plan 241 4.1.9 RAJAR to review listening survey methodology 242 4.2 The radio industry 243 4.2.1 Radio licences 243 4.2.2 Industry revenues and expenditure 248 4.2.3 Commercial groups’ performance 251 4.2.4 Overview of the major radio operators in 2008 254 4.2.5 DAB availability and station choice 270 4.2.6 Restricted service licences 274 4.3 The radio listener 277 4.3.1 Radio reach 277 4.3.2 Listening hours 278 4.3.3 Radio ownership and listening trends 282 4.3.4 Digital listening 285 4.3.5 Listening patterns and satisfaction with radio 288 234 4.1 Key market developments in radio 4.1.1 UK radio industry key metrics UK radio industry 2002 2003 2004 2005 2006 2007 Weekly reach of radio (% of population) 90.5% 90.5% 90.3% 90.0% 89.8% 89.8% Average weekly hours per head 21.8 22.1 21.9 21.6 21.2 20.6 BBC share of listening 52.6% 52.8% 55.5% 54.5% 54.7% 55.0% Total industry revenue (£m) 1,083 1,128 1,158 1,156 1,149 1,179 Commercial revenue (£m) 509 543 551 530 512 522 BBC expenditure (£m) 574 585 607 626 637 657 Radio share of advertising spend 3.4% 3.6% 3.5% 3.3% 3.0% 2.9% Number of stations (analogue and DAB) 345 357 364 372 389 397 DAB digital radio take-up (households) 1% 2% 5% 10% 16% 22% Source: Ofcom, RAJAR (all individuals age 15+), BBC, WARC, radio operators 2007 4.1.2 Introduction Radio has maintained its audience reach in 2007 but average hours of listening have fallen.