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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. -
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 -
Radio's War Lifeline News New Creative Radio Formats
1940s Radio’s War With the television service closed for the duration, it was radio’s war and the BBC nearly lost it in the opening skirmishes. Listeners wrote in to complain about the new Home Service, which had replaced the National and Regional programme services. There was criticism of too many organ recitals and public announcements. But the BBC had some secret weapons waiting in the wings. Colonel (‘I don’t mind if I do’) Chinstrap and Mrs (‘Can I do yer now, sir?’) Mopp were just of the two famous characters in Tommy Handley’s It’s That Man Again (ITMA) team. The comedian attracted 16 million listeners each week to the programme. This, and other popular comedy shows like Hi, Gang!, boosted morale during the war. Vera Lynn’s programme Sincerely Yours (dismissed by the BBC Board of Governors with the words: "Popularity noted, but deplored.") won her the title of "Forces’ Sweetheart”. In 1940 the Forces programme was launched for the troops assembling in France. The lighter touch of this new programme was a great success with both the Forces and audiences at home. After the war it was replaced by the Light Programme which was modelled on the Forces Programme. Distinguished correspondents, including Richard Dimbleby, Frank Gillard, Godfrey Talbot and Wynford Vaughan- Thomas, helped to attract millions of listeners every night with War Report, which was heard at the end of the main evening news. We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets…we shall never surrender. -
BBC Local Radio Service Licence
BBC Local Radio Service Licence. Issued May 2013 BBC Local Radio This service licence describes the most important characteristics of BBC Local Radio, including how it contributes to the BBC’s public purposes. Service Licences are the core of the BBC’s governance system. They aim to provide certainty for audiences and stakeholders about what each BBC service should provide. The Trust uses service licences as the basis for its performance assessment and as the basis for its consideration of any proposals for change to the UK public services from the BBC Executive. A service may not change in a way that breaches its service licence without Trust approval. The Trust presumes that any proposed change to a stated Key Characteristic of a licence will require it to undertake a Public Value Test. Should it decide not to carry out a Public Value Test before approving any such change, then it must publish its reasons in full. This Service Licence covers all BBC Local Radio stations in England. Each of the 39 stations is described in Annex II of this licence Part I: Key characteristics of the service 1. Remit The remit of BBC Local Radio is to provide a primarily speech-based service of news, information and debate to local communities across England. Speech output should be complemented by music. The target audience should be listeners aged 50 and over, who are not well-served elsewhere, although the service may appeal to all those interested in local issues. There should be a strong emphasis on interactivity and audience involvement. -
TV & Radio Channels Astra 2 UK Spot Beam
UK SALES Tel: 0345 2600 621 SatFi Email: [email protected] Web: www.satfi.co.uk satellite fidelity Freesat FTA (Free-to-Air) TV & Radio Channels Astra 2 UK Spot Beam 4Music BBC Radio Foyle Film 4 UK +1 ITV Westcountry West 4Seven BBC Radio London Food Network UK ITV Westcountry West +1 5 Star BBC Radio Nan Gàidheal Food Network UK +1 ITV Westcountry West HD 5 Star +1 BBC Radio Scotland France 24 English ITV Yorkshire East 5 USA BBC Radio Ulster FreeSports ITV Yorkshire East +1 5 USA +1 BBC Radio Wales Gems TV ITV Yorkshire West ARY World +1 BBC Red Button 1 High Street TV 2 ITV Yorkshire West HD Babestation BBC Two England Home Kerrang! Babestation Blue BBC Two HD Horror Channel UK Kiss TV (UK) Babestation Daytime Xtra BBC Two Northern Ireland Horror Channel UK +1 Magic TV (UK) BBC 1Xtra BBC Two Scotland ITV 2 More 4 UK BBC 6 Music BBC Two Wales ITV 2 +1 More 4 UK +1 BBC Alba BBC World Service UK ITV 3 My 5 BBC Asian Network Box Hits ITV 3 +1 PBS America BBC Four (19-04) Box Upfront ITV 4 Pop BBC Four (19-04) HD CBBC (07-21) ITV 4 +1 Pop +1 BBC News CBBC (07-21) HD ITV Anglia East Pop Max BBC News HD CBeebies UK (06-19) ITV Anglia East +1 Pop Max +1 BBC One Cambridge CBeebies UK (06-19) HD ITV Anglia East HD Psychic Today BBC One Channel Islands CBS Action UK ITV Anglia West Quest BBC One East East CBS Drama UK ITV Be Quest Red BBC One East Midlands CBS Reality UK ITV Be +1 Really Ireland BBC One East Yorkshire & Lincolnshire CBS Reality UK +1 ITV Border England Really UK BBC One HD Channel 4 London ITV Border England HD S4C BBC One London -
A Short History of the BBC
A short history of the BBC A Birth of the BBC At 6 p.m. on 14 November 1922, Arthur Burrows read a news bulletin. It included a report of a train robbery and an important political meeting, some sports results, and a weather forecast. This was the first ever broadcast by the British Broadcasting Corporation, or BBC. It had a staff of just four, and its mission was to ‘educate, inform and entertain’. B Entertainment for the ears By 1930, half the homes in Britain had a radio. They could listen not only to the news, but also to dramas, classical music concerts, chat shows, children’s programmes and live sports coverage. When the Second World War started in 1939, BBC radio was a very important source of news, and of entertainment to cheer people up in difficult times. C Going global The BBC World Service began in 1932, mostly for the British people who lived in Africa and Asia. During the Second World War, it broadcast in many different languages and had large numbers of European listeners. Today it broadcasts by radio, internet and satellite in twenty-seven languages. 188 million people listen every week. D From radio to TV Television broadcasting had begun in 1936, but stopped during the Second World War. When it returned in 1946, viewers could enjoy anything from Disney’s Mickey Mouse cartoons to coverage of the Olympic Games. In 1953, 20 million people crowded round the country’s 3 million TV screens to watch Queen Elizabeth II’s coronation. After that, the popularity of TV grew fast. -
Editorial Processes – How Bbc News Works
EDITORIAL PROCESSES – HOW BBC NEWS WORKS This document sets out the way that editorial decisions are taken in BBC News. At one level, the process is straightforward; the final decision about what to broadcast is taken by the editor of each area of output – whether it be a programme, a strand on a continuous news network or an online section. As the Neil Review of BBC Journalism reaffirmed in 2004, the editors are the “gatekeepers”. But BBC editors take the decisions they do in the context of the core BBC values that should drive all our journalism – truth and accuracy; serving the public interest; impartiality and diversity of opinion; independence; and accountability. They operate within an overarching framework of direction, guidance, policy and strategy which is set by senior management and approved and monitored by the BBC Trust (and formerly the Governors). Decision-making is a process of delegated editorial responsibility, with considerable checks and balances. Helen Boaden Director, BBC News (22nd January, 2007) The scale of BBC News The sheer scale of BBC News has a decisive impact on the way we are organized. It is like a big newspaper conglomerate with numerous titles – but publishing in different formats (radio, television and online) and catering for a range of different audiences. As of September 2006, BBC News employed just under 3,500 journalists producing 619 hours of news and weather per week on domestic radio and television, and 400 new stories a day on the website, with thousands of updates. BBC News also produces programming for BBC World and BBC World Service Radio which is commissioned by the Global Division. -
The BBC's Distribution Arrangements for Its UK Public Services
The BBC’s distribution arrangements for its UK Public Services A report by Mediatique presented to the BBC Trust Finance Committee November 2013 BRITISH BROADCASTING CORPORATION The BBC’s distribution arrangements for its UK Public Services A report by Mediatique presented to the BBC Trust Finance Committee November 2013 Presented to Parliament by the Secretary of State for Culture, Media and Sport by Command of Her Majesty February 2014 © BBC 2013 The text of this document may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought BBC Trust response to Mediatique’s value for money study: the BBC’s distribution arrangements for its UK Public Services Introduction The BBC exists to educate, inform and entertain through a broad range of high quality programmes and services on TV, Radio and Online. It is also tasked with distributing this content to audiences across the country in ways that are convenient to them. In 2012-13 the cost of these distribution arrangements was £233million or 6.5 percent of the licence fee. The BBC Trust exists to maximise the value audiences receive in return for the licence fee. To help it do this, the Trust commissioned Mediatique to carry out a value for money review of the BBC’s distribution arrangements in the UK. This is one of a number of value for money reports received by the Trust from various organisations, including the NAO, all of which help the Trust to identify ways to improve the way the BBC is run. -
Media Nations 2020 UK Report
Media Nations 2020 UK report Published 5 August 2020 Contents Section Overview 3 1. Covid-19 media trends: consumer behaviour 6 2. Covid-19 media trends: industry impact and response 44 3. Production trends 78 4. Advertising trends 90 2 Media Nations 2020 Overview This is Ofcom’s third annual Media Nations, a research report for industry, policy makers, academics and consumers. It reviews key trends in the TV and online video sectors, as well as radio and other audio sectors. Accompanying this report is an interactive report that includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. This year’s publication comes during a particularly eventful and challenging period for the UK media industry. The Covid-19 pandemic and the ensuing lockdown period has changed consumer behaviour significantly and caused disruption across broadcasting, production, advertising and other related sectors. Our report focuses in large part on these recent developments and their implications for the future. It sets them against the backdrop of longer-term trends, as laid out in our five-year review of public service broadcasting (PSB) published in February, part of our Small Screen: Big Debate review of public service media. Media Nations provides further evidence to inform this, as well as assessing the broader industry landscape. We have therefore dedicated two chapters of this report to analysis of Covid-19 media trends, and two chapters to wider market dynamics in key areas that are shaping the industry: • The consumer behaviour chapter examines the impact of the Covid-19 pandemic on media consumption trends across television and online video, and radio and online audio. -
RESEARCH to EXPLORE PUBLIC VIEWS ABOUT the BBC: APPENDICES for the Department for Culture, Media and Sport
RESEARCH TO EXPLORE PUBLIC VIEWS ABOUT THE BBC: APPENDICES For the Department for Culture, Media and Sport Prepared by: GfK Social Research Appendices: contents Qualitative Discussion Guide and Stimulus ........................................................................... 3 Objective area 1 discussion guide and stimulus: group discussions ......................... 3 Objective area 1 discussion guide and stimulus: telephone depth interviews ....... 13 Objective area 2 discussion guide and stimulus: group discussions ....................... 18 Objective area 3 discussion guide and stimulus ............................................................. 30 Quantitative questionnaires ...................................................................................................... 44 First survey ................................................................................................................................ 44 Second survey .......................................................................................................................... 50 Qualitative Discussion Guide and Stimulus There were three strands of qualitative research, reflecting three strands of objectives: Objective Area 1: gathering views of the BBC amongst underserved audiences. Objective Area 2: exploring the Charter Review consultation themes amongst the general public. Objective Area 3: investigating attitudes towards willingness to pay for BBC services, and reaction to funding models amongst the general public. Separate discussion guides