RESEARCH to EXPLORE PUBLIC VIEWS ABOUT the BBC: APPENDICES for the Department for Culture, Media and Sport
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The Marie Curie Hospice, Cardiff and the Vale
Welcome to the Marie Curie Hospice, Cardiff and the Vale We’ve put together this folder with information about our hospice that you might find useful – such as the services we offer, how we can help and what you can expect from us. We want you to have a really comfortable stay with us, and get the most out of what we can offer. So just let us know if there’s anything that you need or something we can do for you, your family and your friends. You can always speak to your nurse if you have any questions or concerns about your care, or have any thoughts or suggestions about our hospice. We’re here to provide you, and those close to you, with our very best care and support. Paula Elson, Hospice Manager Marie Curie Hospice, Cardiff and the Vale Bridgeman Road, Penarth, Vale of Glamorgan CF64 3YR Reception: 02920 426 000 Ground floor ward: 02920 426 017 First floor ward: 02920 426 027 Email: [email protected] mariecurie.org.uk/cardiff Contents Your room 2 Food and drink 5 Medication 6 Information for your visitors 7 Preventing infections and how you can help 9 How to reduce your risk of falling 11 Our services and how we can help 12 Sources of information and other support for you 15 General information 16 How we keep your information safe and confidential 17 Let us know what you think 18 A little about Marie Curie 19 How you can support our work 21 List of TV channels and radio stations 22 Hospice information for in-patient care Page 1 Your room Your bed As your bed is adjustable, our nursing staff will explain to you how the bed’s control buttons work. -
Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
I Am Mediacityuk
Useful information Events Cycle Contacts I am MediaCityUK is easy to MediaCityUK is a new Commercial office space: reach by bike and there waterfront destination for 07436 839 969 are over 300 cycle bays Manchester with digital [email protected] dotted across our site. creativity, learning and The Studios: MediaCityUK leisure at its heart. We host 0161 886 5111 a wide range of exciting Eat and drink studiobookings@ events: mediacityuk.co.uk/ We have a wide selection of dock10.co.uk destination/whats-on more than 40 venues for you The Pie Factory: to choose from. To find out 0161 660 3600 Getting here more visit: mediacityuk.co.uk/ [email protected] destination/eat-and-drink Road and parking Apartments: Two minutes from the 0161 238 7404 Manchester motorway Shopping anita.jolley@ network via Junctions 2 The Lowry Outlet at mediacityuk.co.uk and 3 of the M602. We have MediaCityUK is home to Hotel: 6,000 secure car parking a range of designer, high 0845 250 8458 spaces at key locations street and individual brands reservations@ across MediaCityUK. Sat offering discounts of up to himediacityuk.co.uk nav reference: M50 2EQ. 70%. lowryoutlet.co.uk Serviced apartments: 0161 820 6868 Tram reservations@ There are tram stops at Studio audiences theheartapartments.co.uk MediaCityUK, Broadway The Studios, MediaCityUK, and Harbour City and it are operated by dock10. General: takes just 15 minutes to To find out more details 0161 886 5300 get to Manchester city on tickets for shows go to: [email protected] centre for all inter-city mediacityuk.co.uk/studios/ connections. -
Media: Industry Overview
MEDIA: INDUSTRY OVERVIEW 7 This document is published by Practical Law and can be found at: uk.practicallaw.com/w-022-5168 Get more information on Practical Law and request a free trial at: www.practicallaw.com This note provides an overview of the sub-sectors within the UK media industry. RESOURCE INFORMATION by Lisbeth Savill, Clare Hardwick, Rachael Astin and Emma Pianta, Latham & Watkins, LLP RESOURCE ID w-022-5168 CONTENTS RESOURCE TYPE • Scope of this note • Publishing and the press Sector note • Film • Podcasts and digital audiobooks CREATED ON – Production • Advertising 13 November 2019 – Financing and distribution • Recorded music JURISDICTION • Television • Video games United Kingdom – Production • Radio – Linear and catch-up television • Social media – Video on-demand and video-sharing services • Media sector litigation SCOPE OF THIS NOTE This note provides an overview of the sub-sectors within the UK media industry. Although the note is broken down by sub-sector, in practice, many of these areas overlap in the converged media landscape. For more detailed notes on media industry sub-sectors, see: • Sector note, Recorded music industry overview. • Sector note, TV and fi lm industry overview. • Practice note, Video games industry overview. FILM Production Total UK spend on feature fi lms in 2017 was £2 billion (up 17% on 2016) (see British Film Institute (BFI): Statistical Yearbook 2018). Film production activity in the UK is driven by various factors, including infrastructure, facilities, availability of skills and creative talent and the incentive of fi lm tax relief (for further information, see Practice note, Film tax relief). UK-produced fi lms can broadly be sub-divided into independent fi lms, UK studio-backed fi lms and non-UK fi lms made in the UK. -
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. -
BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Scotland's Digital Media Company
Annual Report and Accounts 2010 Annual Report and Accounts Scotland’s digital media company 2010 STV Group plc STV Group plc In producing this report we have chosen production Pacific Quay methods which aim to minimise the impact on our Glasgow G51 1PQ environment. The papers chosen – Revive 50:50 Gloss and Revive 100 Uncoated contain 50% and 100% recycled Tel: 0141 300 3000 fibre respectively and are certified in accordance with the www.stv.tv FSC (Forest stewardship Council). Both the paper mill and printer involved in this production are environmentally Company Registration Number SC203873 accredited with ISO 14001. Directors’ Report Business Review 02 Highlights of 2010 04 Chairman’s Statement 06 A conversation with Rob Woodward by journalist and media commentator Ray Snoddy 09 Chief Executive’s Review – Scotland’s Digital Media Company 10 – Broadcasting 14 – Content 18 – Ventures 22 KPIs 2010-2012 24 Performance Review 27 Principal Risks and Uncertainties 29 Corporate Social Responsibility Corporate Governance 34 Board of Directors 36 Corporate Governance Report 44 Remuneration Committee Report Accounts 56 STV Group plc Consolidated Financial Statements – Independent Auditors’ Report 58 Consolidated Income Statement 58 Consolidated Statement of Comprehensive Income 59 Consolidated Balance Sheet 60 Consolidated Statement of Changes in Equity 61 Consolidated Statement of Cash Flows 62 Notes to the Financial Statements 90 STV Group plc Company Financial Statements – Independent Auditors’ Report 92 Company Balance Sheet 93 Statement -
BBC Radio 2 Beatles BBC Radio 2 Beatles
RADIO MUSIC BBC Radio 2 Beatles BBC Radio 2 Beatles Last September BBC Radio 2 produced a spin off four-day Beatles Pop-Up DAB service marking the 50th anniversary of the release of the iconic Abbey Road album, broadcast from Abbey Road Studios, and celebrating the Fab Four as a group, as individual artists, and as songwriters, with a mix of live shows, simulcasts (with the parent network), and classic content from the extensive R2 & Apple Records archive. This was a partnership between R2 and Apple/Universal Music, and because of the place the band hold in the hearts of the public, it was an opportunity to invite talent from right across BBC Radio (Scott Mills, Lauren Laverne, Zoe Ball, Nicky Campbell and Greg James), and the music and entertainment industries (Dave Grohl, Gary Barlow, Grace Dent, Jack Savoretti, Paul Merton, John Bishop, Katie Melua and Guy Garvey), to share their love of the band, and their music catalogue. By utilising these names, alongside radio brands like Desert Island Discs, Mastertapes & Sunday Love Songs, we could not only target the band’s evergreen fans, but also a new younger 25-44 demographic. We also weaved complimentary simulcasts into the schedule, kicking off with the UK’s most popular radio programme, the Ken Bruce Show, live from Abbey Road, and then a special live concert from Studio 1, featuring presenter Guy Garvey (who also performed), the BBC Concert Orchestra, Rick Astley, Mark King from Level 42, Ruby Turner and Cerys Matthews, all interpreting classic Beatles songs in front of a small audience of competition winners. -
General Terms for BBC World Service Radio Programme
THE BBC’S GENERAL TERMS FOR THE PRODUCTION OF WORLD SERVICE RADIO PROGRAMMES BY INDEPENDENT PRODUCERS (2011) Index Page 1. Definitions 1 2. Interpretation 10 3. The BBC Representatives 11 4. Contractual Pre-Conditions 11 5. Production 11 6. Production/Talent Contracts 12 7. Finance 16 8. Insurance 18 9. Editorial Process 19 10. Credits and Copyright Notice 21 11. Delivery 21 12. Rights Granted to the BBC 21 13. Publicity/Promotion/Marketing/Trails 26 14. Licence Period 27 15. Pre-Paid Uses and Payment for Further Uses 28 16. Distribution/Exploitation 30 17. Warranties and Indemnities 35 18. Takeover 37 19. Abandonment of Production 39 20. Termination 39 21. Force Majeure 40 22. Recommissioning Right 41 23. Confidentiality 41 24. Notices 42 - 1 - 25. General 42 26. Post-Licence Provisions 45 Schedule 5 Trade Mark Schedule 46 Schedule 6 Excerpt from Charter 53 - 2 - The BBC’s General Terms for the Production of World Service Radio Programmes by Independent Producers (2011) 1. DEFINITIONS In this Agreement unless the context otherwise requires the following expressions shall have the following meanings: “Additional Licence Fee” – the sum payable to the Producer by the BBC under General Term 14 as an advance against the payment due to the Producer for 1 package of further uses under General Term 15.2; “Advances” – as defined in General Term 7.2.1; “Agreement” - the Programme production agreement between the BBC and the Producer which includes all schedules hereto (including Schedules 1 to 4); “Audio Publishing Rights” - the right to adapt, -
Annual Report on the BBC 2019/20
Ofcom’s Annual Report on the BBC 2019/20 Published 25 November 2020 Raising awarenessWelsh translation available: Adroddiad Blynyddol Ofcom ar y BBC of online harms Contents Overview .................................................................................................................................... 2 The ongoing impact of Covid-19 ............................................................................................... 6 Looking ahead .......................................................................................................................... 11 Performance assessment ......................................................................................................... 16 Public Purpose 1: News and current affairs ........................................................................ 24 Public Purpose 2: Supporting learning for people of all ages ............................................ 37 Public Purpose 3: Creative, high quality and distinctive output and services .................... 47 Public Purpose 4: Reflecting, representing and serving the UK’s diverse communities .... 60 The BBC’s impact on competition ............................................................................................ 83 The BBC’s content standards ................................................................................................... 89 Overview of our duties ............................................................................................................ 96 1 Overview This is our third -
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. -
Owner's Guide
English Deutsch Owner’s Guide v1.0 Français Italiano TECHNICAL SUPPORT WARRANTY Should you encounter problems using this product, please refer to the Revo Technologies Ltd warrants to the end user that this product will troubleshooting section on page 38 of this owner’s guide. be free from defects in materials and workmanship in the course of Alternatively, call Revo technical support on : normal use for a period of one year from the date of purchase. This guarantee covers breakdowns due to manufacturing faults and UK 01555 666161 does not apply in cases such as accidental damage, general wear From outside the UK + 44 1555 666161 and tear, user negligence, modifi cation or repair not authorised by Revo Technologies Ltd. Alternatively, e-mail [email protected] or visit the troubleshooting To register your purchase please visit www.revo.co.uk/register section of our website at: www.revo.co.uk/support ENVIRONMENTAL INFO COPYRIGHTS AND ACKNOWLEDGEMENTS PRODUCT DISPOSAL INSTRUCTIONS (WEEE DIRECTIVE) Copyright 2013 Revo Technologies Ltd. All rights reserved. The symbol shown here and on the product means that it is classed as Electrical or Electronic Equipment and should not be disposed with No part of this publication may be copied, distributed, transmitted or other household or commercial waste at the end of its working life. transcribed without the permission of Revo Technologies Limited. The Waste of Electrical and Electronic Equipment (WEEE) Directive REVO and SUPERCONNECT and are trademarks or registered (2002/96/EC) has been put in place to recycle products using best trademarks of Revo Technologies Ltd.