Jimmy Grant & the Saturday Club
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Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Radiotimes-July1967.Pdf
msmm THE POST Up-to-the-Minute Comment IT is good to know that Twenty. Four Hours is to have regular viewing time. We shall know when to brew the coffee and to settle down, as with Panorama, to up-to- the-minute comment on current affairs. Both programmes do a magnifi- cent job of work, whisking us to all parts of the world and bringing to the studio, at what often seems like a moment's notice, speakers of all shades of opinion to be inter- viewed without fear or favour. A Memorable Occasion One admires the grasp which MANYthanks for the excellent and members of the team have of their timely relay of Die Frau ohne subjects, sombre or gay, and the Schatten from Covent Garden, and impartial, objective, and determined how strange it seems that this examination of controversial, and opera, which surely contains often delicate, matters: with always Strauss's s most glorious music. a glint of humour in the right should be performed there for the place, as with Cliff Michelmore's first time. urbane and pithy postscripts. Also, the clear synopsis by Alan A word of appreciation, too, for Jefferson helped to illuminate the the reporters who do uncomfort- beauty of the story and therefore able things in uncomfortable places the great beauty of the music. in the best tradition of news ser- An occasion to remember for a Whitstabl*. � vice.-J. Wesley Clark, long time. Clive Anderson, Aughton Park. Another Pet Hate Indian Music REFERRING to correspondence on THE Third Programme recital by the irritating bits of business in TV Subbulakshmi prompts me to write, plays, my pet hate is those typists with thanks, and congratulate the in offices and at home who never BBC on its superb broadcasts of use a backing sheet or take a car- Indian music, which I have been bon copy. -
Report on the Singing Detective25th Anniversary Symposium, University
JOSC 4 (3) pp. 335–343 Intellect Limited 2013 Journal of Screenwriting Volume 4 Number 3 © 2013 Intellect Ltd Conference Report. English language. doi: 10.1386/josc.4.3.335_7 Conference Report David Rolinson University of Stirling Report on The Singing Detective 25th Anniversary Symposium, University of London, 10 December 2011 [I]n keeping with the modernist sensibility and self-reflexivity of Hide and Seek and Only Make Believe, the decision to root a view of the past in the experiences and imagination of a writer protagonist, emphasises the fact that, far from being an objective assessment, any perspective on history can only ever be subjective. (Cook 1998: 217) This one-day symposium, organized by the Department of Media Arts at Royal Holloway, University of London, celebrated the 25th anniversary of Dennis Potter’s The Singing Detective (tx. BBC1, 16 November 1986–21 December 1986). As the notes for the event explained, it sought to pay trib- ute to the BBC serial’s ‘narrative complexity, generic hybridity and formal experimentation’ and to bring scholars and practitioners together ‘to assess its subsequent influence upon television drama and the cinema’. This combination of academic and practitioner perspectives has been a welcome 335 JOSC_4.3_Conference Report_335-343.indd 335 7/19/13 9:56:44 PM David Rolinson 1. Although not feature of British television conferences in recent years, facilitating a reward- discussed on the day, biographical-auteurist ing exchange of ideas. This piece is, therefore, partly a report of the day’s approaches reward but proceedings but also a response to some of the many ideas that were raised by also imprison critics the interviews and presentations. -
Dennis Potter: an Unconventional Dramatist
Dennis Potter: An Unconventional Dramatist Dennis Potter (1935–1994), graduate of New College, was one of the most innovative and influential television dramatists of the twentieth century, known for works such as single plays Son of Man (1969), Brimstone and Treacle (1976) and Blue Remembered Hills (1979), and serials Pennies from Heaven (1978), The Singing Detective (1986) and Blackeyes (1989). Often controversial, he pioneered non-naturalistic techniques of drama presentation and explored themes which were to recur throughout his work. I. Early Life and Background He was born Dennis Christopher George Potter in Berry Hill in the Forest of Dean, Gloucestershire on 17 May 1935, the son of a coal miner. He would later describe the area as quite isolated from everywhere else (‘even Wales’).1 As a child he was an unusually bright pupil at the village primary school (which actually features as a location in ‘Pennies From Heaven’) as well as a strict attender of the local chapel (‘Up the hill . usually on a Sunday, sometimes three times to Salem Chapel . .’).2 Even at a young age he was writing: I knew that the words were chariots in some way. I didn’t know where it was going … but it was so inevitable … I cannot think of the time really when I wasn’t [a writer].3 The language of the Bible, the images it created, resonated with him; he described how the local area ‘became’ places from the Bible: Cannop Ponds by the pit where Dad worked, I knew that was where Jesus walked on the water … the Valley of the Shadow of Death was that lane where the overhanging trees were.4 I always fall back into biblical language, but that’s … part of my heritage, which I in a sense am grateful for.5 He was also a ‘physically cowardly’6 and ‘cripplingly shy’7 child who felt different from the other children at school, a feeling heightened by his being academically more advanced. -
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 ................................................................................. -
BBC Annual Report and Accounts 2012
PART 2 THE BBC EXECUTIVE’S REVIEW AND ASSESSMENT Drama Sherlock, starring Benedict Cumberbatch and Martin Freeman, returned for a second series in January 2012. CONTENTS AND SUBJECT INDEX Part 2 BBC Executive contents Managing the business Overview 2-28 Chief Operating Officer’s review 2-1 Director-General’s introduction 2-29 Working together 2-2 Understanding the BBC’s finances Governance 2-4 Performance by service 2-40 Executive Board 2-8 Television 2-42 Risks and opportunities 2-9 Radio 2-44 Governance report 2-10 News 2-47 Remuneration report 2-11 Future Media 2-52 Audit Committee report 2-12 Nations & Regions 2-55 Fair trading report Delivering our strategy Managing our finances 2-14 Distinctiveness and quality 2-58 Chief Financial Officer’s review 2-15 The best journalism in the world 2-59 Summary financial performance 2-16 Inspiring knowledge, music 2-60 Financial overview and culture 2-68 Collecting the licence fee 2-17 Ambitious drama and comedy 2-69 Looking forward with confidence 2-20 Outstanding children’s content 2-70 Auditor’s report 2-21 Content that brings the nation 2-71 Glossary and communities together 2-72 Contact us/More information 2-22 Value for money 2-23 Serving all audiences 2-26 Openness and transparency Subject Index Part 1 Part 2 Board remuneration 1-9/1-32 2-48 Commercial strategy 1-8 2-36 Complaints 1-3/1-19 2-55 Delivering Quality First 1-4/1-6 2-14 Digital switchover – 2-25 Distribution 1-17 2-25 Editorial priorities – 2-14 Editorial standards 1-3/1-18 2-38 Efficiency 1-6 2-59/2-61 Equality and diversity -
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 -
An Analysis of John Peel's Radio Talk and Career At
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2008 The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC Richard P. Winham University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Communication Commons Recommended Citation Winham, Richard P., "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC. " PhD diss., University of Tennessee, 2008. https://trace.tennessee.edu/utk_graddiss/440 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Richard P. Winham entitled "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Communication and Information. Paul Ashdown, Major Professor We have read this dissertation and recommend its acceptance: Barbara Moore, Naeemah Clark, Michael Keene Accepted for the Council: -
Dennis Potter: an Unconventional Dramatist
Dennis Potter: An Unconventional Dramatist Dennis Potter (1935–1994), graduate of New College, was one of the most innovative and influential television dramatists of the twentieth century, known for works such as single plays Son of Man (1969), Brimstone and Treacle (1976) and Blue Remembered Hills (1979), and serials Pennies from Heaven (1978), The Singing Detective (1986) and Blackeyes (1989). Often controversial, he pioneered non-naturalistic techniques of drama presentation and explored themes which were to recur throughout his work. I. Early Life and Background He was born Dennis Christopher George Potter in Berry Hill in the Forest of Dean, Gloucestershire on 17 May 1935, the son of a coal miner. He would later describe the area as quite isolated from everywhere else (‘even Wales’).1 As a child he was an unusually bright pupil at the village primary school (which actually features as a location in ‘Pennies From Heaven’) as well as a strict attender of the local chapel (‘Up the hill . usually on a Sunday, sometimes three times to Salem Chapel . .’).2 Even at a young age he was writing: I knew that the words were chariots in some way. I didn’t know where it was going … but it was so inevitable … I cannot think of the time really when I wasn’t [a writer].3 The language of the Bible, the images it created, resonated with him; he described how the local area ‘became’ places from the Bible: Cannop Ponds by the pit where Dad worked, I knew that was where Jesus walked on the water … the Valley of the Shadow of Death was that lane where the overhanging trees were.4 I always fall back into biblical language, but that’s … part of my heritage, which I in a sense am grateful for.5 He was also a ‘physically cowardly’6 and ‘cripplingly shy’7 child who felt different from the other children at school, a feeling heightened by his being academically more advanced. -
The Pirates and Pop Music Radio
SELLING THE SIXTIES Was pirate radio in the sixties a non-stop psychedelic party – an offshore discothèque that never closed? Or was there more to it than hip radicalism and floating jukeboxes? From the mavericks in the Kings Road and the clubs ofSohotothemultinationaladvertisers andbigbusiness boardrooms Selling the Sixties examines the boom of pirate broadcasting in Britain. Using two contrasting models of unauthorized broadcasting, Radios Caroline and London, Robert Chapman situates offshore radio in its social and political context. In doing so, he challenges many of the myths which have grown up around the phenomenon. The pirates’ own story is framed within an examination of commercial precedents in Europe and America, the BBC’s initial reluctance to embrace pop culture, and the Corporation’s eventual assimilation of pirate programming into its own pop service, Radio One. Selling the Sixties utilizes previously unseen evidence from the pirates’ own archives, revealing interviews with those directly involved, and rare audio material from the period. This fascinating look at the relationship between unauthorized broadcasting and the growth of pop culture will appeal not only to students of communications, mass media, and cultural studies but to all those with an enthusiasm for radio history, pop, and the sixties. Robert Chapman’s broadcasting experience includes BBC local radio in Bristol and Northampton. He has also contributed archive material to Radios One and Four. He is currently Lecturer and Researcher in the Department of Performing Arts and Media Studies at Salford College of Technology. Selling the Sixties THE PIRATES AND POP MUSIC RADIO ROBERT CHAPMAN London and New York First published 1992 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. -
Complaints and Appeals Board Bulletin
Complaints and Appeals Board Findings Appeals to the Trust considered by the Complaints and Appeals Board February 2017, issued March 2017 Contents Remit of the Complaints and Appeals Board 2 Summary of finding 4 New Statesman book review 27 May 2016 4 Appeal Finding 6 New Statesman book review 27 May 2016 6 Appeals against the decision of BBC Audience Services not to correspond further with the complainant 13 Decision of BBC Audience Services not to respond further to a complaint about the submission of a screenplay and how it was handled 14 Decision of BBC Audience Services not to respond further to a complaint about the complaints process, complaint handling and lack of BBC news coverage of the case of a disabled man living in the United States who was kidnapped and tortured 17 Admissibility decisions 20 Handling of complaint about BBC’s decision not to cover a story regarding the Lyme Disease Survey 20 Decision of BBC Audience Services not to respond further to a complaint about casting 22 Decision of BBC Audience Services not to respond further to a complaint about sound quality in BBC One drama Taboo 24 Decision of BBC Audience Services not to respond further to a complaint about Good Morning Scotland, BBC Radio Scotland, 12 December 2016, 08.40 27 Decision of BBC Audience Services not to respond further to complaints about the replacement of Brian Matthew on Sounds of the 60s, BBC Radio 2 29 Decision of BBC Audience Services not to respond further to a complaint about lack of BBC News coverage of human rights crime against Western