DOCSLIB.ORG

Notes and References

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NOTES AND REFERENCES PREFACE AND ACKNOWLEDGEMENTS I. Broadcasting (HMSO, 1978) (Cmnd. 7294). 2. Report oj the Committee pn the Future ojBroadcasting (HMSO, 1977) (Cmnd. 6753) para. 4.3. 3. Ibid. para. 13.46. 4. Broadcasting, p. 21. 5. Report oj the Committee on Broadcasting rg60 (HMSO) (Cmnd. 1753) para. 20g. 6. Lord Windlesham, Broadcasting in a Free Society (Basil Blackwell, 1980) pp. 71-2. 7. B. Paulu, British Broadcasting in Transition (Macmillan, 1961). 8. B. Paulu, British Broadcasting: Radio and Teleuision in the United Kingdom (University of Minneapolis Press, 1956). 9. P. Black, The Mirror in the Corner: People'S Tel,ujsion (Hutchinson, 1972). 10. N. Swallow, Factual Teleuision (Focal Press, 1966). II. J. Gable, The Tuppen'lY Punch and Judy Show (Michael Joseph, 1980). CHAPTER I: BEVERIDGE I. H. H. Wilson, Pressure Group (Seeker and Warburg, 1961) p. 23. 2. Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8116). 3. Ibid. pp. 201-10. CHAPTER 2: BEYOND BEVERIDGE I. A. Briggs, History oj Broadcasting in the United Kingdom Vol. IV Sound and Vision (Oxford University Press, 1979) P.424· CHAPTER 3: WHITE PAPER: 1952 I. Broadcasting: Memorandum on the Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8550) para. 7. 2. Ibid. para. 9. 3. House of Lords, Hansard, (HMSO) 23 and 26 May 1952. 4. House of Commons, Hansard, (HMSO) J I June 1952. 375 NOTES AND REFERENCES CHAPTER 4: INTERLUDE 195~/3 I. A. Seldon, Churchill's Indian Summer (Hodder and Stoughton, 1981). CHAPTER 5: WHITE PAPER: 1953 I. (HMIO) Cmd. 9005. CHAPTER 6: FIELD DAYS IN PARLIAMENT: 1953 I. H of L ~5 and ~6 November 1953. ~. Lord Simon ofWythenshawe, The BBCJrom Within (Victor Gollancz, 1953) p. ~83. 3. H ofC 14 and 15 December 1953. CHAPTER 7: THE TELEVISION BILL I. Briggs, History oj Broadcasting in the United Kingdom Vol. IV p. 937 et seq. ~. Letter to the author ~~ February 1979. See also P. Black, The Mirror in the Corner p. 46. 3. Briggs, History oj Broadcasting in the United Kingdom Vol. IV p. 933. 4. See A. Smith, British Broadcasting (David & Charles, 1974) pp. 19-~0. CHAPTER 8: PASSAGE OF THE BILL: 1954 I. H orc ~5 March 1954 Col. 1459. ~. Ibid. Col. 1475. 3. H of C 4 May 1954 Col. ~80. 4. H ofC II May 1954 Col. 1O~7. 5. Ibid. Col. 1107. 6. H ofL I July 1954 Col. 318. 7· H ofC ~9 March 1954 Col. 1736. B. Ibid. Col. 1747. 9. Ibid. Col. 1748. 10. H ofC ~o May 1954 Col. ~4~4. II. Ibid. Cols ~399/400. I~. H ofC ~7 May 1954 Cols 687 et sef/. 13. H ofC ~I June 1954 Cols 39 et sef/. 14. H ofC ~7 May 1954 Col. 693. 15. Ibid. Col. 6~5. 16. Ibid. Cols 713" sef/. 17. Ibid. Col. 733. 18. H ofC ~I June 1954 Col. 90. 19· H ofL 13 July 1954 Col. 967. ~o. Ibid. Col. 936. ~I. H ofC I June 1954 Col. 1111. ~2. H of L ~o July 1954 Cols 1~04-5. ~3. H of C ~7 July 1954 Col. 291. ~4' H ofC ~7 May 1954 Col. 65 1. ~5' H ofL 13July 1954 Cols 9~5 and 930 . NOTES AND REFERENCES 377 26. Ibid. Col. 926. 27. HofL20July 1954 Col. 121 7. 28. H ofC 19 May 1954 Cols 2203 et seq. 29. H of L 12 July 1954 Col. 811. 30. H of C 27 July 1954 Col. 316. 31. H ofC 27 May 1954 Col. 726. 32. Ibid. Col. 713. CHAPTER 9: THE FIRST AUTHORITY I. Figure estimated by ITN, taking account OfUPITN Daily Satellite Service, Eurovision and Intervision (Ieller to author from Don Horobin oflTN, 22 December 1980). 2. Lord Clark, The Other Half (John Murray, 1977) pp. 137-8. CHAPTER 10: COMPETITION I. ITA Annual Report and Accounts 1954/5' 2. Financial Times 21 September 1955. 3· ITA Paper 39(55)· 4. ITA Minutes 10(54). 5· ITA Paper" (54)' 6. Sir Robert Fraser's papers held by IDA. CHAPTER II: THE NETWORK COMPANIES I. ITA Paper 39(55). 2. Ibid. 3· H ofC 3 November 1954 Col. 372. 4. H of C 23 November 1954 Cols 1131-88. 5. Royal Commission on the Press (UMSO) (Cmd. 7700) para. 615' 6. H ofC 23 November 1954 Col. "37, 7· Ibid. Col. 1147. B. Ibid. Col. "52. 9. Norman Collins' papers. 10. ITA Paper 39(55). II. Fraser to D. F. S. McClean on 8 November 1954 ITA File 7002/1. 12. H ofC 23 March 1954 Col. 1474. 13· Leller dated 5 November 1954 ITA File 7001/1. 14. Ibid. Leller to Fraser. 15. Ibid. 16. But not, it seems, to his Chairman. On page 143 of his book The Other Half Clark writes a personal account of Colston's resignation saying that he quite deliberately sought to involve the ITA in fund-raising for the Tory Party and had to be persuaded to resign by Lord De La Warr. 17· ITA Minutes 17(54)' 18. Enclosures to leller from Herbert Oppenheimer & Co., the solicitors acting on behalf of the group, dated 14 September 1954 ITA File 7/8. 19. Ibid. Letter dated 5 January 1955. 20. Ibid. Leiter dated 10 March 1955. NOTES AND REFERENCES 21. Ibid. 22. Letter to the Chairman of the ITA dated 2 September 1954 ITA File 7005/1. 23. H. Thomas, With an Independent Air (Weidenfeld and Nicolson, 1977) p. 143· 24. Ibid. p. 146. CHAPTER 12: BIRTH OF INDEPENDENT TELEVISION NEWS I. ITA Minutes 9(54) and ITA Minutes 13(54). 2. ITA/PCL/lSt Meeting. 3. H of C 23 November 1954 Col. 1186. 4. ITA File 7000. 5. Ibid. CHAPTER 13: THE PROGRAMME CONTRACTS I. ITA Paper 39(55)' 2. ITA Annual Report and Accounts 1957/8 pp. 8-10. CHAPTER 15: TELEVISION HOURS I. ITA Paper 33(55). CHAPTER 16: THE STATUTORY COMMITTEES I. ITA Annual Report and Accounts 1954/5 p. 8. 2. ITA Annual Report and Accounts 1955/6 pp. 20-1. 3. scc Minutes 6(55)· CHAPTER 17: 'PROPER PROPORTIONS' OF BRITISH MATERIAL I. The organisations were: the Association of Cinematograph and Allied Technicians, British Actors' Equity Association, Composers' Guild of Great Britain, Concert Artistes' Association, Electrical Trades Union, Film Artistes Association, Musicians' Union, National Association of Theatrical and Kine Employees, Society of Authors, League of Dramatists, Radio Writers' Association, Screen Writers' Association, Songwriters' Guild and the Variety Artistes' Association. CHAPTER 18: LABOUR RELATIONS I. BBC Staff Association Bulletin Vol. II No. 24 June 1950. 2. P. Seglow, Trade Unionism in Television (Saxon House, 1978) p. 30. 3· Ibid. pp. 97-9· CHAPTER 19: THE AUTHORITY AND THE PROGRAMMES I. ITA Paper 47(55). 2. Ibid. NOTES AND REFERENCES 379 3. Ibid. 4. ITA Minutes 26(55)' 5. Pilkington Report Vol. 1/ Appendix E (Cmnd. 1819-1) p. 1113· 6. Lord Clark, The Otlter lIa{fp. 147. CHAPTER 20: GETTING READY I. 'presented pursuant to Section 15(3) and (4) of the Television Act, 1954' pp. 1-2. 2. Thomas, With an Indepetldent Air p. 157. 3'. Letter dated 6 December 1954 ITA File 7001/1. 4. rear One (Granada) p. 3· 5. Thomas, With a" Indepetldent Air p. 161. 6. R. Day, DIY' ~ Day (William Kimber Ltd, 1975) pp. 171-g1. CHAPTER 21: PUBLICATIONS I. ITA Paper 31(55) . 2. Ibid. 3. Fusion (A-R'S House Magazine) 19June 1961. CHAPTER 22: CURTAIN UP I. ITA Minutes 37(55)' 2. A. Briggs, Governi"g Ihe BBC (British Broadcasting Corporation, 1979) p. 104. 3. TPC Minutes X8/55. 4. History ojBroadcasting in Ihe U"iled Kingdom Vol. IV pp. 1000-8. Briggs seems to have taken the opportunity to register that a History of Broadcasting is not synonymous with a History of the BBC. 5. White Paper on Broadcasting: Further Memorandum on the Report of the Committee on Broadcasting Ig60 (Cmnd. 1893) para. 14. CHAPTER 23: THE LONDON AUDIENCE I. TCPA/X 10/55' 2. A. Sampson, Anatomy of Britain Today (Hodder and Stoughton, 1965) p. 657. 3· pp. 138-g. 4. A. Boyle, OnlY the Wind Will Lislen (Hutchinson, 1972) p. 229, quoting M. A. Hamilton, Remembering My Old Friends (jonathan Cape, 1944) p. 28. CHAPTER 24: PROBLEMS OF BALANCE I. ITA Paper 52(55). 2. Letter dated 12 December 1955 ITA File 580. CHAPTER 25: CRISIS AT ITN I. This reference and subsequent references in this chapter are, unless otherwise stated, to be found passim in ITA File 7000. NOTES AND REFERENCES II. ITA Minutes 411(55). 3· ITA Minutes 43(55). 4. A set OflTN Minutes for this period, which had no reference number, is in ITA File 505/11. 5. R. Day, Day by Dtry, pp. 178-811. 6. Ibid. pp. 180-1. 7. The Board of A-a had announced that in their opinion the Authority should assume responsibility for the affain of ITN. The idea that the Authority itself should be responsible for news had been canvassed during debates on the Bill. One of the most effective speeches against such a proposal had been made by Lord Layton (H ofL I II July 1954 Col. 79 1). CHAPTER 116: FINANCIAL AFFAIRS I. Pilkington Report Vol. I Appendix E (Cmnd. 1819) pp. 4115-7' II. ITA Paper 43(56). 3. Sir Edwin Herbert, later Lord Tangley, was a member of the board of A-a and became Deputy Chairman in 19611. He was senior partner in the firm of Sydney Morse, Solicitors, and a member of the Council of the Law Society. He was also Deputy Chairman of Broadcast Relay Service Ltd (Rediffusion Ltd).
Recommended publications
  • “Rule Number Two Is Doctors Can't Change Rule Numb-1 REFORMAT

    “Rule Number Two Is Doctors Can't Change Rule Numb-1 REFORMAT

    Britain’s Television Act of 1954: One Medium’s Effect on a Society Joshua Altman Professor Dane Kennedy 20 th Century Britain May 5, 2008 Joshua Altman Britain’s Television Act of 1954 May 5, 2008 INTRODUCTION When television came to the British masses it signaled the beginnings of a metamorphosis that was beyond suppression. Decades of a BBC monopoly provided a culturally unifying factor in both television and radio, but the Television Act of 1954 ended that monopoly, thus ending the unifying force 1. While debating the Act in Parliament, Ian Harvey MP said “Television is an instrument of communication and I am amongst those who believe that an instrument of such power of communication should not be vested in one single authority 2” The nature of British television changed with the Television Act of 1954. For the first time British broadcasting was open to competition and entities other than the BBC were able to produce content to air on channels other than the BBC 3. One condition of open broadcasting was that content had to be monitored, as it was no longer all created by the government. Created by the Television Act of 1954, the Independent Television Authority [ITA] took television one step further away from government regulation by functioning as an oversight body for Independent Television [ITV]. The ITA was responsible for licensing stations [franchises] and providing closer monitoring of content to ensure that it was appropriate for broadcast. Primarily, Members of Parliament concerned themselves with two major questions, the first being how television programming would be supported financially.
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland

    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland

    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
  • Around the World with Mr

    Around the World with Mr

    Around The World With Mr. Punch The Online Journal of the worldwide friends of punch and judy Volume 7 No 1 April 2003 Mr. Punch, Neil Gaiman And The Fantastical Gig by Diane Rains (alias "Professor Freshwater") by a tall, fourteenish young man, all dressed in black. Also in this "No," he continued, in a conspiratorial issue tone. "You'll have to go to a specialty store." And he told us exactly where to find one, then disappeared amongst the red nosed shelves (somewhere in the Mystery miscellany section, I believe.) may fayre video The next sound heard was a loud thud as our jaws hit the floor, followed by a deafening swish as we picked them up archive film again and grinned like twin Cheshire news cats. "Awwright!" I cheered. "Mr. Punch is cool in middle school!!" Brownie points for Neil Gaiman. punch in oz Six months later, I finally held my own copy of the Gaiman/McKean Punch victorian book (which Vicky had given me for my Published by VG (London1994) punch in the uk isdn 0 575 05141 8 birthday). I read the first six pages, marveling at the clean, dreamlike prose and usa I had been a working Punch professor for and moody, off-kilter artwork, and my eight years when, late in 1995, I learned of first thought was "This is spooky good the recent publication of The Tragical fun." Then I read page seven: A show Comedy Or Comical Tragedy Of Mr. Punch: collectabilia was in progress, and Punch threw the A Romance, written by Neil Gaiman and Baby.
  • Crimestoppers Offer Reward for Info, on Sex Offender

    Crimestoppers Offer Reward for Info, on Sex Offender

    VOLUME 30-NUMBER 46 SCOTCH PLAINS-FANWGOD, N.J. NOVEMBER *19, 1987 30 CENTS in flOFVTiKi'-i I-;,^TO-7, y^r-.m? it'tiSn /.V.W'^i'. ^Xs i /C^T- V . \> {'-I L.1& WANTED Crimestoppers offer reward for info, on sex offender Crimestoppers reward Hotline (654-TIPS) with forced his way in when she or call the Crimestoppers money is waiting for the information leading to ar- answered the doorbell, number without giving tipster who can provide in- rest and indictment in police said. your name," the detective formation in the case of a serious crime cases. Detective Howard said, adding that all infor- Fanwood woman who was Fanwood Police are in- Drewes, releasing a com- mation received will be sexually assaulted inside vestigating the Oct. 16 in- posite photo of the suspect handled on a strictly con- her home last month. cident, which occurred today, said the rapist was fidential basis. Law enforcement of- around 8 p.m. when a described as a black male, Detective Drewes said it ficials are hoping to enlist 31-year-old woman was about 45 years old, six- is very possible that there the aid of concerned attacked inside her living feet two inches tall, about may be similar cases which citizens, who can qualify room. The victim had just 180 lbs., clean shaven with have gone unreported. He for up to $5,000 in reward returned home from shop- grey specks in his hair and is urging women to report money by calling the ping and was sexually brown eyes with a yellow- any such attacks and re- 24-hour Crimestoppers assaulted by a man who ed condition consistent main anonymous if they with jaundice or hepatitis.
  • Shepperton Studios Has Submitted Plans Fo

    Shepperton Studios Has Submitted Plans Fo

    PRESS RELEASE SHEPPERTON STUDIOS SUBMITS PLANS FOR EXPANSION London, 21st August 2018: Shepperton Studios has submitted plans for the redevelopment and expansion of the world-renowned site in Surrey, England, which will deliver a world class studio with a certain future. A planning application has been lodged with Spelthorne Borough Council seeking consent for the £500 million private sector development project which will deliver an increase in stage space of around 465,000 sq ft and associated support facilities. The development will bring the studio up to the scale and standard of its sister Pinewood Studios and make it a truly world-class facility. The scheme is of national importance and follows on from the Government’s ambition to double the scale of film and high-end television production revenue to £4bn by 2025. Shepperton and Pinewood Studios will be vital facilities if the UK is to achieve this target. The expansion will secure the future of more than 1,500 direct jobs currently based in Spelthorne and maintain the current contribution to the local economy of £181 million Gross Value Added (GVA). Over the construction period 837 jobs per year will be created, including potential for more than 200 jobs in the borough. On completion, Shepperton Studios is expected to boost productivity within the local economy to a total of £322 million (GVA) and will create and sustain a total of 2,796 jobs. Andrew M. Smith, Director, Shepperton Studios said: “The UK is currently missing out on a significant number of international films because of a shortage of sound stages.
  • (2020). Pinewood Studios, the Independent Frame, and Innovation

    (2020). Pinewood Studios, the Independent Frame, and Innovation

    Street, S. (2020). Pinewood Studios, the Independent Frame, and Innovation. In B. R. Jacobson (Ed.), In the Studio: Visual Creation and Its Material Environments (1 ed., pp. 103-121). University of California Press. Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available via University of California Press at https://www.ucpress.edu/book/9780520297609/in-the-studio . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Pinewood Studios, the Independent Frame, and Innovation Sarah Street, University of Bristol British director Darrel Catling reported to the British trade press in February 1948 on the Independent Frame (IF), a new system of film production that had been launched at Pinewood Studios. Catling had recently used it to make Under the Frozen Falls, a short children’s film that had benefited from the IF’s aim to “rationalize that which is largely irrational in film making.”1 He described how his film had been very carefully pre-planned in terms of script, storyboards, and technical plans. Several scenes were pre-staged and filmed without the main cast who were later incorporated into scenes by means of rear projection. Special effects were of paramount importance in reducing the number of sets that needed to be built.
  • Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell

    Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell

    Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)
  • The Production of Religious Broadcasting: the Case of The

    The Production of Religious Broadcasting: the Case of The

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output.
  • The History of the Development of British Satellite Broadcasting Policy, 1977-1992

    The History of the Development of British Satellite Broadcasting Policy, 1977-1992

    THE HISTORY OF THE DEVELOPMENT OF BRITISH SATELLITE BROADCASTING POLICY, 1977-1992 Windsor John Holden —......., Submitted in accordance with the requirements for the degree of PhD University of Leeds, Institute of Communications Studies July, 1998 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others ABSTRACT This thesis traces the development of British satellite broadcasting policy, from the early proposals drawn up by the Home Office following the UK's allocation of five direct broadcast by satellite (DBS) frequencies at the 1977 World Administrative Radio Conference (WARC), through the successive, abortive DBS initiatives of the BBC and the "Club of 21", to the short-lived service provided by British Satellite Broadcasting (BSB). It also details at length the history of Sky Television, an organisation that operated beyond the parameters of existing legislation, which successfully competed (and merged) with BSB, and which shaped the way in which policy was developed. It contends that throughout the 1980s satellite broadcasting policy ceased to drive and became driven, and that the failure of policy-making in this time can be ascribed to conflict on ideological, governmental and organisational levels. Finally, it considers the impact that satellite broadcasting has had upon the British broadcasting structure as a whole. 1 TABLE OF CONTENTS Abstract i Contents ii Acknowledgements 1 INTRODUCTION 3 British broadcasting policy - a brief history
  • Ted Heath (Bandleader) from Wikipedia, the Free Encyclopedia

    Ted Heath (Bandleader) from Wikipedia, the Free Encyclopedia

    Ted Heath (bandleader) From Wikipedia, the free encyclopedia Background information Birth name George Edward Heath Also known as Ted Born 30 March 1902 Wandsworth, South London, England Died 18 November 1969 (aged 67) Virginia Water, Surrey, England Genres Big Band, jazz Occupation(s) Bandleader, composer Instruments Trombone Years active 1916–1969 Labels Decca, London George Edward "Ted" Heath (30 March 1902 – 18 November 1969) was a British musician and big band leader. He led Britain's greatest post-war big band recording more than 100 albums which sold over 20 million copies. Considered the most successful band in Britain during the 1950s, it remained in existence as a ghost band long after Heath died, surviving in such a form until 2000. Musical beginnings After playing tenor horn at the age of six, encouraged by his father, the leader of the Wandsworth Town Brass Band, Heath later switched to trombone. Earning a living for his family in the post-war years he, and his brother Harold with three other musicians, formed a band that played to commuters outside London Bridge Station before winding their way along the streets in London to a location outside the Queen’s Hall Gardens venue. It was here that Heath’s professional career began as he was spotted on the street and asked to play with the Jack Hylton Band who had a residence there. He did not last long, not having the experience required, but it gave him the ambition to pursue a career as a professional musician. 1920s His first real band gig was with an American band on tour in Europe – the Southern Syncopation Orchestra – which had an engagement in Vienna, Austria and needed a trombone player.
  • Independent Television Producers in England

    Independent Television Producers in England

    Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed.
  • Appendix A: Non-Executive Directors of Channel 4 1981–92

    Appendix A: Non-Executive Directors of Channel 4 1981–92

    Appendix A: Non-Executive Directors of Channel 4 1981–92 The Rt. Hon. Edmund Dell (Chairman 1981–87) Sir Richard Attenborough (Deputy Chairman 1981–86) (Director 1987) (Chairman 1988–91) George Russell (Deputy Chairman 1 Jan 1987–88) Sir Brian Bailey (1 July 1985–89) (Deputy Chairman 1990) Sir Michael Bishop CBE (Deputy Chairman 1991) (Chairman 1992–) David Plowright (Deputy Chairman 1992–) Lord Blake (1 Sept 1983–87) William Brown (1981–85) Carmen Callil (1 July 1985–90) Jennifer d’Abo (1 April 1986–87) Richard Dunn (1 Jan 1989–90) Greg Dyke (11 April 1988–90) Paul Fox (1 July 1985–87) James Gatward (1 July 1984–89) John Gau (1 July 1984–88) Roger Graef (1981–85) Bert Hardy (1992–) Dr Glyn Tegai Hughes (1983–86) Eleri Wynne Jones (22 Jan 1987–90) Anne Lapping (1 Jan 1989–) Mary McAleese (1992–) David McCall (1981–85) John McGrath (1990–) The Hon. Mrs Sara Morrison (1983–85) Sir David Nicholas CBE (1992–) Anthony Pragnell (1 July 1983–88) Usha Prashar (1991–) Peter Rogers (1982–91) Michael Scott (1 July 1984–87) Anthony Smith (1981–84) Anne Sofer (1981–84) Brian Tesler (1981–85) Professor David Vines (1 Jan 1987–91) Joy Whitby (1981–84) 435 Appendix B: Channel 4 Major Programme Awards 1983–92 British Academy of Film and Television Arts (BAFTA) 1983: The Snowman – Best Children’s Programme – Drama 1984: Another Audience With Dame Edna – Best Light Entertainment 1987: Channel 4 News – Best News or Outside Broadcast Coverage 1987: The Lowest of the Low – Special Award for Foreign Documentary 1987: Network 7 – Special Award for Originality