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Lasa Journal 8 Pp.36- 43) to Set up a Working Group with Us
laSa• International Association of Sound and Audiovisual Archives Association Internationale d' Archives Sonoreset Audiovisuelles Internationale Vereinigung der Schall- und Audiovisuellen Archive laSa• journal (formerly Phonographic Bulletin) no. 9 May 1997 IASA JOURNAL Journal of the International Association of Sound and Audiovisual Archives IASA Organie de l'Association Internationale d'Archives Sonores et Audiovisuelle IASA Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark, The British Library National Sound Archive, 29 Exhibition Road, London SW7 2AS, UK. Fax 441714127413, e-mail [email protected] Reviews and Recent Publications Editor: Pekka Gronow, Finnish Broadcasting Company, PO Box 10, SF-00241, Helsinki, Finland. Fax 358014802089 The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and 100GBP for institutional members. Back copies of the IASA Journal from -1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP. Le IASA Journal est publie deux fois I'an et distribue a tous les membres. Veuilliez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations anuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionelles. Les numeros precedeentes (a partir de 1971) du IASA Journal sont disponibles sure demande. Ceux qui ne sont pas membres de I' Assoociation puevent obtenir un abonnement du IASA Journal pour I'annee courante au cout de 35GBP. -
Drama Co- Productions at the BBC and the Trade Relationship with America from the 1970S to the 1990S
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output ’Running a brothel from inside a monastery’: drama co- productions at the BBC and the trade relationship with America from the 1970s to the 1990s http://bbktheses.da.ulcc.ac.uk/56/ Version: Full Version Citation: Das Neves, Sheron Helena Martins (2013) ’Running a brothel from inside a monastery’: drama co-productions at the BBC and the trade relationship with America from the 1970s to the 1990s. MPhil thesis, Birkbeck, University of Lon- don. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email BIRKBECK, UNIVERSITY OF LONDON SCHOOL OF ARTS DEPARTMENT OF HISTORY OF ART AND SCREEN MEDIA MPHIL VISUAL ARTS AND MEDIA ‘RUNNING A BROTHEL FROM INSIDE A MONASTERY’: DRAMA CO-PRODUCTIONS AT THE BBC AND THE TRADE RELATIONSHIP WITH AMERICA FROM THE 1970s TO THE 1990s SHERON HELENA MARTINS DAS NEVES I hereby declare that this is my own original work. August 2013 ABSTRACT From the late 1970s on, as competition intensified, British broadcasters searched for new ways to cover the escalating budgets for top-end drama. A common industry practice, overseas co-productions seems the fitting answer for most broadcasters; for the BBC, however, creating programmes that appeal to both national and international markets could mean being in conflict with its public service ethos. Paradoxes will always be at the heart of an institution that, while pressured to be profitable, also carries a deep-rooted disapproval of commercialism. -
BBC Radio International Pop Docs Catalogue Contents
BBC Radio International Pop Docs Catalogue BBC Radio International brings you innovative music documentaries covering rock, pop, jazz, country, classical and much more. With access to both new and established artists and performers we provide your listeners with a special insight into their favourite artists' lives. Here you will find profiles of new bands, exclusive in-depth interviews with the biggest stars, unique material from the largest music archive in the world, plus original unreleased music and exclusive concert recordings as we celebrate music as a living and developing art form. You can easily search the BBC music documentaries by genre. Take a look through the options available and select from hundreds of hours of content spanning from present day back through the last twenty years. Most programmes are one hour in duration and you can pick and choose any titles that suit your listeners, including selecting individual episodes from a series. The catalogue is updated on a quarterly basis so look out for new and exciting programmes and feel free to get in touch with the team to find out more. All rights are cleared by the BBC and all relevant royalties and payaways will be originated by the BBC. The licensee only reports music to a relevant local collection society. Have a question or want to know more about a specific genre or programme? Contact: Larissa Abid, Ana Bastos or Laura Lawrence for more details. Contents Classic Pop and Rock ...............................................................................................................................................2 -
Commissioning Brief No.: 20217 BBC Radio 2'S Golden Hour Talent
RADIO COMMISSIONING FRAMEWORK Commissioning Brief Commissioning Brief No.: 20217 BBC Radio 2’s Golden Hour Talent: Tony Blackburn From November/December 2020 BBC Radio Popular Music Network - CONFIDENTIAL CONTENTS SECTION A: EDITORIAL OPPORTUNITY ...................................................................................... 3 1. The Opportunity ........................................................................................................................ 4 2. Editorial Strategy ...................................................................................................................... 4 3. Editorial Objectives .................................................................................................................. 5 4. Music Policy .............................................................................................................................. 5 5. Key Deliverables ....................................................................................................................... 5 6. Success Measures ................................................................................................................... 5 7. Social Media / Digital / Extra deliverables ............................................................................ 5 8. Risk Management .................................................................................................................... 6 9. Additional Information / Requirements ................................................................................. -
Communications Market Report
Communications Market Report Research Document Publication date: 19 August 2010 Introduction This is Ofcom’s seventh annual Communications Market report. Its objective is to act as a reference source covering the UK communications sectors, aimed at industry, policy makers, analysts and consumers. The report also provides context for the work that Ofcom conducts in furthering the interests of consumers and citizens in the markets we regulate. The report contains data and analysis on broadcast television and radio, broadband and fixed/mobile telephony. It also offers insights into how people are using the internet and converged devices to access audio-visual and audio content. Take-up of several digital devices and services passed new thresholds in 2009/10. Over seven in ten people (71%) now have access to a broadband connection at home; over nine in ten (92%) have digital television installed on their main set in the home. And more than a quarter (26%) of mobile users now have a smartphone, offering consumers access to much more than just voice telephony. Growing levels of device take-up are reflected in the new ways in which people relate to communications services and media content. Broadcast television viewing and radio listening have remained comparatively stable year on year. But people are also using the internet to access audio and audio-visual content. Nearly four in ten people claim to watch television services online, while 14% listen to radio over the web. Moreover, a fifth (23%) of mobile handset owners now use it to access data-related services such as the internet. This is just a snapshot of the findings emerging from this year’s report. -
Public Service Broadcasting Now and in the Future - Audience Attitudes
Public Service Broadcasting Now and in the Future - Audience Attitudes A report plus research appendix by Human Capital June 2008 Public service broadcasting now and in the future– audience attitudes: A report by Human Capital, June 2008 Contents 1 Key messages from the report ...................................................................... 3 2 Executive summary ....................................................................................... 5 3 Introduction .................................................................................................. 19 4 Attitudes to public service broadcasting...................................................... 23 5 Delivery of public service broadcasting ....................................................... 36 6 Attitudes to plurality ..................................................................................... 43 7 Attitudes to sources of funding .................................................................... 58 8 Concluding points ........................................................................................ 67 Appendix 1: Deliberative sample............................................................................ 68 Appendix 2: Deliberative workshop discussion guide ............................................ 69 Appendix 3: Deliberative workshop stimulus.......................................................... 98 Appendix 4: Quantitative survey questionnaire.................................................... 107 Appendix 5: Quantitative survey showcards -
August 2021 • Issue 4 PROSPERO
The newspaper for retired BBC Pension Scheme members • August 2021 • Issue 4 PROSPERO THE QUEEN PENSION IN COLOUR SCHEME PAGE 7 | BACK AT THE BBC RICHARD SHARP, THE NEW BBC CHAIRMAN Richard Sharp was appointed Chairman of the BBC in February, replacing Sir David Clementi when he stepped down. s Chairman of the Board for the next four Richard has had a 40-year career in finance working years, Richard is responsible for upholding with a number of financial institutions. Most notably Aand protecting the independence of the BBC. he worked at JP Morgan and was for 23 years a He is responsible for ensuring that the BBC fulfils partner at Goldman Sachs. Subsequently Richard its mission to inform, educate and entertain and served for two terms on the Bank of England’s promotes its public purposes. The Chairman ensures Financial Policy Committee, charged with protecting that the Board’s decision-making is in the public the UK’s financial stability. Richard has served on the interest, informed by the best interests of the boards of public and private companies in the UK, audience and with appropriate regard to the impact Germany, Denmark and the United States. Wire DCMS/PA of decisions on the wider media market in the UK. Throughout his career Richard has supported and The fees for non-executive directors of the BBC Board The Board, under the Chairman, also must ensure held governance roles in a number of non-profit are set by the Secretary of State for Culture, Media that the BBC maintains the highest standards of organisations including, amongst others, the Royal and Sport. -
Building Public Value: Renewing the BBC for a Digital World
DP1153 BPV Frontcover.qxd 6/25/04 2:52 PM Page 1 Building public value Renewing the BBC for a digital world CONTENTS Chairman’s prologue 3 Overview and summary 5 PART I: The BBC’s purpose, role and vision 1 Why the BBC matters 25 2 Changing media in a changing society 48 3 Building public value in the future 60 4 Demonstrating public value 83 5 The breadth of BBC services 89 6 Renewing the BBC 98 7 Paying for BBC services 112 PART II: Governing the BBC 123 Conclusion 135 1 2 Chairman’s prologue The BBC does not have a monopoly on wisdom about its own future. This is a contribution to the debate over Charter renewal, not the last word. I look to a vigorous and informed public debate to produce the consensus about the future size, shape and mission of the BBC. This document is itself a consensus, arrived at after a vigorous debate inside the BBC, and represents the considered views of Governors and management. Part II – our proposals on governance – is, of course, entirely the responsibility of the Governors. At the heart of Building public value is a vision of a BBC that maintains the ideals of its founders, but a BBC renewed to deliver those ideals in a digital world. That world contains the potential for limitless individual consumer choice. But it also contains the possibility of broadcasting reduced to just another commodity, with profitability the sole measure of worth. A renewed BBC, placing the public interest before all else, will counterbalance that market-driven drift towards programme-making as a commodity. -
Radio's Vernacular Modernism
Radio's vernacular modernism: the schedule as modernist text Article (Accepted Version) Lacey, Kate (2018) Radio’s vernacular modernism: the schedule as modernist text. Media History, 24 (2). pp. 166-179. ISSN 1368-8804 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/74686/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Radio’s Vernacular Modernism: The Schedule as Modernist Text © Kate Lacey School of Media, Film and Music University of Sussex Accepted pre-print, peer-reviewed version of an article to be published in a 2018 special issue of Media History on ‘Radio Modernisms’, ed. -
Rannual Report 2017
T T ANNUAL REPORT RR2017 SS PATRONS PRINCIPAL PATRONS BBC ITV Channel 4 Sky INTERNATIONAL PATRONS A+E Networks International NBCUniversal International Akamai The Walt Disney Company CGTN Turner Broadcasting System Inc Discovery Networks Viacom International Media Networks Facebook YouTube Liberty Global MAJOR PATRONS Accenture ITN Amazon Video KPMG Atos McKinsey and Co Audio Network OC&C Boston Consulting Group Pinewood Studios BT S4C Channel 5 Sargent-Disc Deloitte Sony Endemol Shine STV Group Enders Analysis TalkTalk Entertainment One UKTV Finecast Vice FremantleMedia Virgin Media IBM YouView IMG Studios RTS PATRONS Alvarez & Marsal LLP Raidió Teilifís Éireann Autocue Snell Advanced Media Digital Television Group UTV Television Lumina Search Vinten Broadcast PricewaterhouseCoopers 2 CONTENTS Foreword by RTS Chair and CEO 4 Board of Trustees report to members 6 I Achievements and performance 6 1 Education and skills 8 2 Engaging with the public 16 3 Promoting thought leadership 26 4 Awards and recognition 32 5 The nations and regions 38 6 Membership and volunteers 42 7 Financial support 44 8 Summary of national events 46 9 Centre reports 48 II Governance and finance 58 1 Structure, governance and management 58 2 Objectives and activities 60 3 Financial review 60 4 Plans for future periods 61 5 Administrative details 61 Independent auditor’s report 64 Financial statements 66 Notes to the financial statements 70 Notice of AGM 2018 81 Agenda for AGM 2018 82 Form of proxy 83 Minutes of AGM 2017 84 Who’s who at the RTS 86 3 FOREWORD n 2017, we celebrated our 90th anniversary. It Our bursaries are designed to help improve social was a year marked by a rise in membership, mobility. -
Assessment of the Market Impact of the BBC's New Digital TV And
Assessment of the Market Impact of the BBC’s New Digital TV and Radio Services An analysis by Ofcom, conducted as an input into the independent reviews of the BBC’s new digital TV and radio services 13 October 2004 Assessment of the market impact of the BBC’s new digital TV and radio services Contents 1. Introduction - 3 - 2. Summary of market impact - 4 - 3. Market overview - 8 - 4. Our approach - 19 - 5. The benefits of digital broadcasting - 27 - 6. Risks to competition in certain niche markets - 33 - 7. Conclusions - 48 - A Analysis of O&O’s market impact assessment - 50 - - 2 - Assessment of the market impact of the BBC’s new digital TV and radio services 1. Introduction 1.1 In the last licence fee settlement in February 2000 Chris Smith, the then Secretary of State for Culture, Media and Sport (‘Secretary of State’) said the BBC should “provide a strong and distinctive schedule of benchmark quality programmes on all its services and should drive the take-up of new digital and on-line services”. 1.2 By the end of 2002, the BBC had, as part of its response, launched five new digital radio services (the radio stations 1Xtra, BBC 6, BBC 7, BBC Asian Network and Five Live Sports Extra) and four new digital TV services (the channels BBC 3, BBC 4, CBeebies and CBBC). 1.3 In April 2004, the Secretary of State commissioned two independent reviews – one of the BBC's digital TV services (led by Professor Patrick Barwise) and the other of the BBC’s digital radio services (led by Tim Gardam). -
Statement of Operational Separation
Statement of Operational Separation Introduction In accordance with Ofcom’s trading and separation rules, this document updates the previous Statement of Operational Separation published in July 2019, and sets out the arrangements the BBC implemented to comply with Ofcom’s operational separation requirements A.1 to A.5 inclusive (“Ofcom’s operational separation requirements”) during the 2019/2020 financial year. Effectiveness of the BBC’s measures, controls and processes during 2018/2019 financial year The BBC’s measures, controls and processes were implemented and operated effectively throughout 2018/19, ensuring compliance with Ofcom’s operational separation requirements. There were no reported areas of non-compliance during this period. Examples of effective implementation and operation by the BBC during 2018/19 included:1 - Ensuring that members and invited guests left Board meetings for any agenda items where it would have been inappropriate for the members/guests to be present, and that minutes reflected this; - Providing clear advice in relation to BritBox around operational separation to ensure negotiating teams in Commercial Rights and Business Affairs (CRBA) are kept separate and do not discuss or otherwise disclose information relating to the BBC’s stake in BritBox, content supply deal with BBC Studios, or the BBC’s new programme release policy; and - Providing ad hoc advice across the BBC Group on a number of issues regarding operational separation throughout the year, including advising on: o safeguards to put in place for commercial subsidiaries to access BBC systems (e.g. technical walls, terms of use); o the criteria under which BBC Studios staff may access BBC archives, other systems, and production libraries; o sharing transmission information with BBC Studios’ Distribution division; and o the extent to which learnings from a BBC co-production could be shared with BBC Studios (only top-line information that would be published or easily deducible).