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Laissez-Faire Regulation, the Public Spending Squeeze and the Drive to Digital Guy Starkey*
Cultural Trends, 2015 http://dx.doi.org/10.1080/09548963.2014.1000591 COMMENTARY 5 Cultural policy in the coalition years: Laissez-faire regulation, the public spending squeeze and the drive to digital Guy Starkey* 10 Centre for Research in Media & Cultural Studies, University of Sunderland, Sunderland, UK Introduction Radio, so often described by academics as the “invisible” (Lewis & Booth, 1989), “Cinder- ” – “ ” 15 ella (Halesworth, 1971, pp. 189 191) or even forgotten medium (Pease & Dennis, 1994), has enjoyed a relatively settled period under the coalition government. There has been no crisis of confidence over ethical and legal issues, as exposed in the press by Leveson and the police operations, Elveden, Tuleta and Weeting. There have been few head- line-grabbing (if difficult-to-evaluate) initiatives like local television, as exemplified by London Live or Made in Tyne & Wear, and no government-rocking conflicts of interest as 20 spectacular as that over the ownership of BSkyB. Nor indeed has there been any game-chan- ging reorganisation of public funding, similar to the Arts Council’s lists of winners and losers. Yet, as is so often the case, radio remains a significant, but largely, ignored medium. In terms of government policy, it has suffered mixed fortunes under the five years of the coalition. Official listening figures continue to confirm recent trends in radio’s fortunes. If radio grabs 25 little of the media limelight, it remains a medium with an enviable ubiquity. It may have been slow to win audiences among younger people as large as when it broke new music and pro- vided the kind of escapism sought by youth in the 1960s and 1970s. -
BBC Script Agreement for Television and Online March 2017
SCRIPT AGREEMENT FOR TELEVISION AND ONLINE Memorandum of an Agreement made on 21st March 2017. Between The British Broadcasting Corporation whose principal office is at Broadcasting House Portland Place London W1A 1AA (the “BBC”, which term shall where the context so permits include the BBC’s assignees and successors in title including without limitation BBC Studios or any successor to BBC Studios, other production entity or co-producer, distributor, licensee or broadcaster) and The Personal Managers’ Association Limited whose registered office is at Summit House, 170 Finchley Road, London NW3 6BP (Company number 00487049) (the “PMA”) and The Writers’ Guild of Great Britain of First Floor 134 Tooley Street London SE1 2TU (the “WGGB”) establishing the minimum terms which shall be offered by the BBC on commissioning a Writer to write a Script for a television or online programme. 1 CONTENTS 1. Application of Agreement 2. Commissioning 3. Rights 4. Format Rights and Characters 5. Extracts 6. Script Payment and Secondary Channel Use 7. Repeat Fees on Primary Channels 8. Commercial Exploitation 9. Collective Administration 10. Miscellaneous Uses 11. Disputes Procedure 12. Regulation 13. Forum 14. Accounting 15. Publicity 16. Rewrites and Acceptance 17. Moral Rights and Alterations 18. Turnaround 19. Long Running Series 20. Credit 21. Copy of Programme 22. Attendance and Expenses 23. Confidentiality 24. Warranties and Indemnity 25. BBC’s Licensees 26. Term and Termination 27. Notices 28. Assignment 29. No Agency Partnership Joint Venture or Employment 30. Variation 31. Value Added Tax 32. Severability 33. Headings 34. Proper Law 35. Nature of the Agreement SCHEDULES 1. -
Initial Draft Ltr V1.Docx
23 January 2014 STUART MCINTOSH Alex Towers Group Director, Competition BBC Trust 180 Great Portland Street London W1W 5QZ Dear Alex, BBC Trust Significance Test – iPlayer catch-up window extension In accordance with the Terms of Reference of 29 October 2013 and the Addition to the Memorandum of Understanding regarding Significance Tests1, this letter sets out Ofcom’s views on the potential impact on others (“others” being providers or potential providers of alternative products and services) of the BBC Executive’s proposed changes to the BBC iPlayer (‘the Proposals’). We provide our views in order to inform the Trust’s decision on the significance of the Proposals. All aspects of the Proposals (including impact on users) are being considered by the Trust Unit and it is the Trust’s decision as to whether the Proposals are considered significant for the purposes of Clause 25 of the BBC’s Framework Agreement. The Proposals include extending the TV and radio catch-up window from seven to 30 days and removing series stacking from TV. Specifically we understand the Proposals are: To extend the TV catch-up window to enable audiences to stream or download BBC programmes for 30 days after they have been first broadcast rather than seven days; To extend the radio catch-up window to enable audiences to stream or DRM download BBC programmes on the Internet for 30 days after they have been first broadcast rather than seven days; and To remove series stacking for TV (that is, the ability for audiences retrospectively to download or stream multiple episodes of TV programmes). -
On Demand Programme Services: Access Services Report 2016
On demand programme services: Access services report 2016 Publication date: 6 April 2017 On demand programme services: access services report 2016 About this document This report sets out the extent to which on demand programmes services (ODPS) carried subtitles, audio description or signing during the period from April 2015 to March 2016. It allows Ofcom, consumers, industry, and Government to measure progress in making ODPS accessible to people with hearing and/or visual impairments. On demand programme services: access services report 2016 Contents Section Page 1 Summary 1 2 Report on ODPS accessibility 3 3 Ofcom response and next steps 9 Annex 1 Information required 11 2 List of providers required to respond 12 3 Subtitling by service and outlet 13 4 Interactive table of accessibility by service and outlet 14 On demand programme services: access services report 2016 Section 1 1 Summary 1.1 Ofcom regulates a wide range of on demand programme services (“ODPS”), ranging from public service broadcasters’ catch-up services and film services to local TV archives and ‘adult’ websites. 1.2 There is currently no statutory requirement on providers of ODPS to make their services accessible to people with hearing and/or visual impairments. This differs from the situation with broadcast television services, where broadcasters must achieve specific accessibility targets. However, Ofcom does have a statutory duty to encourage providers of ODPS to ensure that their services are progressively made more accessible. Providers can do this by making their programmes available with subtitles, signing and/or audio-description1 (collectively, “access services”). 1.3 Ofcom believes that consumers with hearing and/or visual impairments should have increased access to on demand television, in common with the access they currently have to broadcast television. -
Culture, Media and Sport Committee
House of Commons Culture, Media and Sport Committee Future of the BBC Fourth Report of Session 2014–15 Report, together with formal minutes relating to the report Ordered by the House of Commons to be printed 10 February 2015 HC 315 INCORPORATING HC 949, SESSION 2013-14 Published on 26 February 2015 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Culture, Media and Sport Committee The Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration and policy of the Department for Culture, Media and Sport and its associated public bodies. Current membership Mr John Whittingdale MP (Conservative, Maldon) (Chair) Mr Ben Bradshaw MP (Labour, Exeter) Angie Bray MP (Conservative, Ealing Central and Acton) Conor Burns MP (Conservative, Bournemouth West) Tracey Crouch MP (Conservative, Chatham and Aylesford) Philip Davies MP (Conservative, Shipley) Paul Farrelly MP (Labour, Newcastle-under-Lyme) Mr John Leech MP (Liberal Democrat, Manchester, Withington) Steve Rotheram MP (Labour, Liverpool, Walton) Jim Sheridan MP (Labour, Paisley and Renfrewshire North) Mr Gerry Sutcliffe MP (Labour, Bradford South) The following Members were also a member of the Committee during the Parliament: David Cairns MP (Labour, Inverclyde) Dr Thérèse Coffey MP (Conservative, Suffolk Coastal) Damian Collins MP (Conservative, Folkestone and Hythe) Alan Keen MP (Labour Co-operative, Feltham and Heston) Louise Mensch MP (Conservative, Corby) Mr Adrian Sanders MP (Liberal Democrat, Torbay) Mr Tom Watson MP (Labour, West Bromwich East) Powers The Committee is one of the Departmental Select Committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. -
Annual Report 2015
ANNUAL REPORT 2015 AGM 24 May 2016, 6:00pm at the RTS, 3 Dorset Rise, London EC4Y 8EN ROYAL TELEVISION SOCIETY REPORT 2015 PATRONS PRINCIPAL PATRONS IBM BBC IMG Studios BSkyB ITN Channel 4 Television KPMG ITV McKinsey and Co S4C Sargent-Disc INTERNATIONAL PATRONS STV Group Discovery Networks UKTV Liberty Global Virgin Media NBCUniversal International YouView The Walt Disney Company Turner Broadcasting System Inc Viacom International Media RTS PATRONS Networks Autocue YouTube Digital Television Group ITV Anglia MAJOR PATRONS ITV Granada Accenture ITV London Amazon Video ITV Meridian Audio Network ITV Tyne Tees BT ITV Wales Channel 5 ITV West Deloitte ITV Yorkshire Enders Analysis Lumina Search EY PricewaterhouseCoopers FremantleMedia Quantel FTI Consulting Raidió Teilifís Éireann Fujitsu UTV Television Huawei Vinten Broadcast 2 CONTENTS Foreword by RTS Chair and CEO 4 Board of Trustees report to members 6 I Achievements and performance 6 1 National events 6 2 Centres events 34 II Governance and finance 46 1 Structure, governance and management 46 2 Objectives and activities 47 3 Financial review 47 4 Plans for future periods 48 5 Administrative details 48 Independent auditors’ report 50 Financial statements 51 Notes to the financial statements 55 Notice of AGM 2016 66 Agenda for AGM 2016 66 Form of proxy 67 Minutes of AGM 2015 68 Who’s who at the RTS 70 Picture credits 72 Cover: Coronation Street actor Sair Khan speaking from the audience at the RTS early-evening event ‘The secret of soaps: the story behind the stories’ 3 ROYAL TELEVISION SOCIETY REPORT 2015 FOREWORD his was a busy year for the Society. -
The Value of Public Service Media
The Value of Public Service Media T he worth of public service media is under increasing scrutiny in the 21st century as governments consider whether the institution is a good investment and a fair player in media markets. Mandated to provide universally accessible services and to cater for groups that are not commercially attractive, the institution often con- fronts conflicting demands. It must evidence its economic value, a concept defined by commercial logic, while delivering social value in fulfilling its largely not-for-profit public service mission and functions. Dual expectations create significant complex- The Value of ity for measuring PSM’s overall ‘public value’, a controversial policy concept that provided the theme for the RIPE@2012 conference, which took place in Sydney, Australia. This book, the sixth in the series of RIPE Readers on PSM published by NORDI- Public Service Media COM, is the culmination of robust discourse during that event and the distillation of its scholarly outcomes. Chapters are based on top tier contributions that have been revised, expanded and subject to peer review (double-blind). The collection investi- gates diverse conceptions of public service value in media, keyed to distinctions in Gregory Ferrell Lowe & Fiona Martin (eds.) the values and ideals that legitimate the public service enterprise in media in many countries. Fiona Martin (eds.) Gregory Ferrell Lowe & RIPE 2013 University of Gothenburg Box 713, SE 405 30 Göteborg, Sweden Telephone +46 31 786 00 00 (op.) Fax +46 31 786 46 55 E-mail: -
The BBC's Distribution Arrangements for Its UK Public Services
The BBC’s distribution arrangements for its UK Public Services A report by Mediatique presented to the BBC Trust Finance Committee November 2013 BRITISH BROADCASTING CORPORATION The BBC’s distribution arrangements for its UK Public Services A report by Mediatique presented to the BBC Trust Finance Committee November 2013 Presented to Parliament by the Secretary of State for Culture, Media and Sport by Command of Her Majesty February 2014 © BBC 2013 The text of this document may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought BBC Trust response to Mediatique’s value for money study: the BBC’s distribution arrangements for its UK Public Services Introduction The BBC exists to educate, inform and entertain through a broad range of high quality programmes and services on TV, Radio and Online. It is also tasked with distributing this content to audiences across the country in ways that are convenient to them. In 2012-13 the cost of these distribution arrangements was £233million or 6.5 percent of the licence fee. The BBC Trust exists to maximise the value audiences receive in return for the licence fee. To help it do this, the Trust commissioned Mediatique to carry out a value for money review of the BBC’s distribution arrangements in the UK. This is one of a number of value for money reports received by the Trust from various organisations, including the NAO, all of which help the Trust to identify ways to improve the way the BBC is run. -
Creative Destruction Organisations That Fail to Embrace Breakthrough Innovation Run the Risk of Losing out to Competitors
Creative Destruction Organisations that fail to embrace breakthrough innovation run the risk of losing out to competitors. Bal Samra, Commercial Director at the BBC, talks to Criticaleye about how leaders can inspire individuals to generate groundbreaking ideas ncremental innovation alone will not innovation delivers something better. Ibe enough for an organisation to gain a Share the new story in a way that is competitive edge. As technology changes Leaders have authentic and will inspire people and the business landscape, senior executives “ enable them to embrace that change. need to be brave about promoting a to be able to Innovation won’t occur unless people culture whereby traditional thinking do things differently so helping people about operating models and routes to articulate how manage through change and actually market are challenged. the consumer is define the change is paramount to encouraging innovation in a business. This is something that Bal Samra, driving demand BBC Commercial Director and ” Many businesses need to be much more Managing Director of BBC Television, in tune with the consumer – the power is is familiar with, having played his part Is this an issue you are currently shifting from the companies to consumers. in leading innovations such as BBC dealing with? Leaders have to be able to articulate how Online, the iPlayer and the creation the consumer is driving demand, why the of BBC Store, an online commercial In my world, we’ve been working on organisation has to respond, evolve and archive service for audiences to buy developing a commercial, paid-for innovate. And why we will fail if we don’t and keep BBC programmes. -
Special Terms
DATED day of 2020 BBC IP COMMISSIONING AGREEMENT BETWEEN (1) THE BRITISH BROADCASTING CORPORATION (2) LIMITED __________________ [PROGRAMME TITLE] __________________ THIS PROGRAMME PRODUCTION AGREEMENT FOR A BBC-OWNED FORMAT/PROGRAMME Dated day of 2020 IS MADE BETWEEN: (1) THE BRITISH BROADCASTING CORPORATION of Broadcasting House, London W1A 1AA (“the BBC”) and (2) [ ] LIMITED of [ ] Company Registration Number [ ] (“the Producer”) AGREEMENT BETWEEN THE PARTIES: 1. The Producer shall produce and deliver to the BBC a radio programme or series of programmes, the detail of which is set out in Schedule 2 (“the Programme”) and the BBC shall pay the Licence Fee, in accordance with (i) the terms contained in the Special Terms set out in Schedule 1 to this Agreement (“Special Terms”), (ii) the BBC’s General Terms for the Production of Radio Programmes by Independent Producers (2015), a copy of which has been provided to the Producer and which is also published on http://downloads.bbc.co.uk/commissioning/site/radio-general-terms-2015.pdf (“the General Terms”) and (iii) the other Schedules to this Agreement. 2. Words and expressions defined in General Term 1 of the General Terms shall have the same meanings where used elsewhere in this Agreement. 3. This Agreement shall take effect from the date of commencement of production on the Programme by the Producer or the date of execution of this Agreement whichever is the earlier. 4. In the event of any conflict or inconsistency between the Special Terms and the General Terms, the former shall prevail. This Agreement is entered into on the date written above. -
Rapport Smad DGMIC De NPA Conseil 28-07-15
Le coût, la valorisation et l'évolution des usages de l'offre gratuite des SMADs des éditeurs de services de télévision Juin 2015 1 Sommaire I. Les nouveaux visages de la télévision de rattrapage. Des enjeux stratégiques pour les éditeurs de services de télévision ...................................................................................... 8 A. La TVR, un enjeu d’adaptation des chaînes au nouvel environnement numérique ............................... 8 B. De la télévision de rattrapage à la télévision en ligne. La TVR point de départ vers des SMAD plus ambitieux ................................................................................................................................................... 10 1. Des nouvelles plates-formes de consommation et d’interaction globales ........................................... 11 a. La synchronisation entre les écrans ................................................................................................ 11 b. Des services de plus en plus innovants ........................................................................................... 11 2. Des nouveaux contenus pour les SMAD gratuits. Des stratégies différentes en fonction des groupes 13 a. Des usages encore traditionnels de la TVR en France ..................................................................... 13 b. L’exemple britannique : le BBC iPlayer au-delà du rattrapage ........................................................ 15 c. TF1 développe un catalogue vidéo abondant ................................................................................ -
Routledge Handbook of Sport and New Media
ROUTLEDGE HANDBOOK OF SPORT AND NEW MEDIA New media technologies have become a central part of the sports media landscape. Sports fans use new media to watch games, discuss sports transactions, form fan-based communities, and secure minutiae about their favorite players and teams. Never before have fans known so much about athletes, whether that happens via Twitter feeds, fan sites, or blogs, and never before have the lines between producer, consumer, enactor, fan and athlete been more blurred.The internet has made virtually everything available for sports media consumption; it has also made under- standing sports media substantially more complex. The Routledge Handbook of Sport and New Media is the most comprehensive and in-depth study of the impact of new media in sport ever published. Adopting a broad interdisciplinary approach, the book explores new media in sport as a cultural, social, commercial, economic, and technological phenomenon, examining the profound impact of digital technologies on that the way that sport is produced, consumed and understood.There is no aspect of social life or commercial activity in general that is not being radically influenced by the rise of new media forms, and by offering a “state of the field” survey of work in this area, the Routledge Handbook of Sport and New Media is important reading for any advanced student, researcher or practitioner with an interest in sports studies, media studies or communication studies. Andrew C. Billings is the Ronald Reagan Chair of Broadcasting and Director of the Alabama Program in Sports Communication at the University of Alabama, USA. He has published eight books and over 80 journal articles and book chapters, with the majority focusing on the inter- section of sports media and identity.