The Value Generated by Five's Investment in Children's Programming
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Diapositiva 1
The business of Zinkia Entertainment is not limited to audiovisual production - Zinkia creates and comercializes entertainment brands through the production and development of audiovisual content targeted at family audiences worldwide. Zinkia is a publicly listed company (Spanish MAB) whose business consists of: Developing a diversified and multiplatform catalogue of audiovisual and interactive products in order to create Brand Concepts. Assure the best and widest possible exposure of our brands in as many countries and platforms as possible : Free TV, PayTV, Internet, VoD, Smartphones, Movie Theatres, Videogame Consoles… Find the best partners in the licensing and merchandising business in each country, starting with Toys, Books and DVD’s as key drivers of the brand. Market the Brand: Off and On line actions, Point of Sale, PR & Promotion… Zinkia’s revenues come primarily from two sources: Income from audiovisual content (Television, VoD, internet and mobile platforms). Income from the management of the brand (licensing royalties: Zinkia charge a royalty rate on each product sold under the licensed brand, usually between 8%- 12% of the selling price depending on the product category and country). The design, manufacture, delivery and sales of all licensed products is handled by the licensees. Zinkia is responsible for all product approval and quality control. Each licensee commits to a minimum royalty amount that works as a cash advance against the projected business plan. AUDIOVISUAL PRODUCTIONS: Series & Movies INTERACTIVE PRODUCTION -
MINUTES of the BBC TRUST MEETING Held on Wednesday 21
MINUTES OF THE BBC TRUST MEETING Held on Wednesday 21 March 2012 in the BBC Trust boardroom, Great Portland Street, London Present: Lord Patten Chairman Diane Coyle Vice Chairman Richard Ayre Trust member Anthony Fry Trust member Alison Hastings Trust member for England Rotha Johnston Trust member for Northern Ireland David Liddiment Trust member Bill Matthews Trust member for Scotland Mehmuda Mian Trust member Elan Closs Stephens Trust member for Wales Lord Williams Trust member Apologies: Suzanna Taverne Trust member In attendance from the Trust Unit: Nicholas Kroll Director, BBC Trust Alex Towers Deputy Director Phil Harrold Head of Governance Fran O’Brien Head of Editorial Standards Mark Devane Head of Communications Christine Mulryne Business and Events Co-ordinator Items 35 – 41 and 43 Alison Gold Head of Public Services Strategy Items 35 – 41, 44 and 45 Gareth Tuck Chief Financial Adviser Items 35 – 41 and 46 Georgina Hodges Chief Research and Audiences Adviser Item 38 Wendy Bryant Research Manager Items 39 and 43 Stephen Callow Senior Strategy Adviser Item 43 Ann Bastow Adviser, Strategy Items 44 and 45 John Balcombe Finance Analyst Item 46 Natalie Rose Senior Editorial Strategy Adviser Item 46 Kate Hawkins Research Manager From the Executive: Items 42 – 47 Mark Thompson Director-General Items 42 – 47 Caroline Thomson Chief Operating Officer Items 42 – 47 Zarin Patel Chief Financial Officer Items 42 – 47 Jessica Cecil Head of the Director-General's Office Items 42 – 43 Helen Boaden Director, News Group Item 43 David Holdsworth -
Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
Shooting Script
Episode 19 – MOVING ON The Story of Tracy Beaker V SHOOTING SCRIPT This episode is set over two days. These days are referred to as DAY 25 (NIGHT 25) and DAY 26 (NIGHT 26) in the scene headers. SCENE 1. INT. DG LOUNGE. DAY 25. 4:00PM [TRACY, CRASH, CAM, JUSTINE, JACKIE] CRASH, JACKIE AND JUSTINE ARE PREPARING FOR LOL’S LEAVING DO. THEY ARE BLOWING UP BALLOONS, HAVING BALLOON FIGHTS AS THEY DO SO. TRACY: Bored, bored, bored... WE SEE TRACY ON THE SOFA. SHE’S LYING UPSIDE DOWN, WITH HER FEET STICKING UP OVER THE BACK AND HER HEAD HANGING DOWN OVER THE SEAT. JUSTINE HITS HER OVER THE HEAD WITH A BALLOON. JUSTINE: [SARCASTIC] I’m sure Lol will be really pleased to know you’re so excited about his party. TRACY: It’s not that – it’s just that this is the millionth leaving party I’ve been to, and they’re all the same. Elaine will make some boring speech and I’ll eat too much cake and go to bed feeling sick. CRASH: Come on Tracy, it’s not all doom and gloom. TRACY ROLLS OFF THE SOFA AND GOES OVER TO CRASH, JACKIE AND JUSTINE. TRACY: If you say so. [BEAT] All close your eyes. JACKIE: Why? TRACY: I want to make a wish, and there’s more chance of it working if we all have our eyes shut. Page: 1 Episode 19 – MOVING ON The Story of Tracy Beaker V SHOOTING SCRIPT FOR A QUIET LIFE CRASH, JACKIE AND JUSTINE DO SO. -
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 -
Anticipated Acquisition by ITV Plc of SDN Limited
Anticipated acquisition by ITV plc of SDN Limited The OFT’s decision on reference under section 22(1) given on 15 August 2005. Full text of decision published 24 August 2005. PARTIES 1. ITV plc (ITV) is a vertically integrated broadcaster active in the acquisition and production of broadcasting content, the packaging of that content into channels (ITV1, ITV2, ITV3, ITV News, and Men and Motors) and the distribution of those channels on analogue and the Digital Terrestrial Television (DTT) platform. It has 48.5 per cent share ownership on Digital 3and4 limited, which holds the licence for Multiplex 2.1 2. SDN Limited (SDN) holds the licence for and operates Multiplex A, part of the DTT transmission system. It was jointly controlled by S4C, United Business Media and NTL. In the year ending 31 December 2003 it had a turnover of £7.76 million in the UK. TRANSACTION 3. On 27 April ITV acquired the entire shareholding in SDN, following the shareholders’ triggering of a buy out option. 4. The statutory deadline is 26 August. The administrative deadline has expired. JURISDICTION 5. As a result of this transaction ITV and SDN have ceased to be distinct. The parties overlap in the ownership of DTT multiplex licences and in the supply of multiplex capacity for pay-TV and commercial TV. The share of supply test in section 23 of the Enterprise Act 2002 (the Act) is met as they have 33 per cent of multiplex licences and at least 25 per cent of capacity available for both pay-TV and commercial TV in the UK. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
My-Mum-Tracy-Beaker-Tracy-Pack.Pdf
THE TRACY PACK: REUNION PARTY! It’s been 27 years since we first met the legend that is Tracy Beaker – and now, after almost three decades, Jacqueline Wilson has brought us all back together with her new novel MY MUM TRACY BEAKER! In this new book, Tracy Beaker is a mum now (yep – where did that bloomin’ time go?!) to young Jess – and together, they are the perfect team! Tracy is still fun and daring, but she also works hard to give Jess the family home she desperately wanted when growing up in the Dumping Ground. But when Sean Godfrey – Tracy’s SUPER rich new boyfriend – comes onto the scene, Jess is worried things are going to change . This fantastic story has reunited us all with a dear old friend, through the perfect mix of Wilson’s wonderful, whimsical words and Nick Sharratt’s one-of-a-kind illustrations – it’s like a big old reunion, isn’t it? And if you ask us, a reunion such as this needs to be celebrated with a good old nostalgic, reunion party! In this pack, you’ll fi nd fi ve fab ideas to help you throw one EPIC Tracy Beaker bash. Get ready for some serious #throwbacks. Check out Tracy’s top party tips, too! They’re scattered throughout this pack. THE TRUE FAN TEST Fancy yourself a TRUE Tracy Beaker fan, eh? Kick off your party with this quiz to get the banter started. Answer individually or get into teams, depending on the size of your party. 1. When is Tracy’s birthday? (1 point) 2. -
Annie Dibling Cv
ANNIE DIBLING Assistant Director Tel: 07989 386445 [email protected] Profile: Hard working, friendly and enthusiastic. Over 15 years experience. A good working knowledge of the industry and the responsibilities involved in working as an Assistant Director. A capable, focused and supportive team player. Looking for a challenge, job satisfaction and the opportunity to build on existing experience. Career History: Television: Programme Company Director Position Egyptian Vice Wild Dream Films Rick Lopez 2ndA.D. Stella Series 4 – Episodes 7 - 10 Tidy Productions Ashley Way 3rdA.D. Simon Delaney Trollied Series 4 Roughcut Television Paul Harrison 3rdA.D. Cara Fi Touchpaper Television Ltd Andy Newbery 3rd A.D. Casualty Series 28 – Episode 41 & 42 BBC Wales Jon Sen 3rd A.D. Casualty Series 28 – Episode 35 BBC Wales Steve Hughes 3rd A.D. A Poet In New York Modern Television Ltd Aisling Walsh 3rd A.D. Made In Wales: Series 5 – Films 4 – 8 It’s My Shout Productions Mared Swain 1st A.D. Geraint Havard Jones Paul Mallison Lawrence Fowler Andrew Pring Indian Doctor Series 3 Rondo Media/ Avatar Films Lee Haven Jones 3rd A.D. Team Panache (Pilot) Firehouse Productions Ltd Steve Lawson 2nd A.D. Alys Series 2 Apollo Television Paul Jones 2nd A.D. Gwaith Cartref Series 2 Fiction Factory Andy Newbery 2nd A.D. Indian Doctor Series 2 Rondo Media/Avatar Films Lee Haven Jones 3rd A.D. Gwennan Sage Indian Doctor Series 1 Rondo Media/Avatar Films Tim Whitby 3rd A.D. Deep Sehgal Pen Talar Series 1 – Episode 9 Fiction Factory Ed Thomas 2nd A.D. -
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. -
Broadcasting in Transition
House of Commons Culture, Media and Sport Committee Broadcasting in transition Third Report of Session 2003–04 Report, together with formal minutes, oral and written evidence Ordered by The House of Commons to be printed 24 February 2004 HC 380 [incorporating HC101-i and HC132-i] Published on 4 March 2004 by authority of the House of Commons London: The Stationery Office Limited £15.50 The Culture, Media and Sport Committee The Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration, and policy of the Department for Culture, Media and Sport and its associated public bodies. Current membership Mr Gerald Kaufman MP (Labour, Manchester Gorton) (Chairman) Mr Chris Bryant MP (Labour, Rhondda) Mr Frank Doran MP (Labour, Aberdeen Central) Michael Fabricant MP (Conservative, Lichfield) Mr Adrian Flook MP (Conservative, Taunton) Mr Charles Hendry MP (Conservative, Wealden) Alan Keen MP (Labour, Feltham and Heston) Rosemary McKenna MP (Labour, Cumbernauld and Kilsyth) Ms Debra Shipley (Labour, Stourbridge) John Thurso MP (Liberal Democrat, Caithness, Sutherland and Easter Ross) Derek Wyatt MP (Labour, Sittingbourne and Sheppey) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the Internet via www.parliament.uk Publications The Reports and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee (including press notices) are on the Internet at http://www.parliament.uk/parliamentary_committees/culture__media_and_sport. cfm Committee staff The current staff of the Committee are Fergus Reid (Clerk), Olivia Davidson (Second Clerk), Grahame Danby (Inquiry Manager), Anita Fuki (Committee Assistant) and Louise Thomas (Secretary). -
Queer Television Thesis FINAL DRAFT Amended Date and Footnotes
Queer British Television: Policy and Practice, 1997-2007 Natalie Edwards PhD thesis submitted to the University of Nottingham School of American and Canadian Studies, January 2010 Abstract Representations of gay, lesbian, queer and other non-heterosexualities on British terrestrial television have increased exponentially since the mid 1990s. Lesbian, gay, bisexual, transgender and queer characters now routinely populate mainstream series, while programmes like Queer as Folk (1999-2000), Tipping the Velvet (2002), Torchwood (2006-) and Bad Girls (1999-2006) have foregrounded specifically gay and lesbian themes. This increase correlates to a number of gay-friendly changes in UK social policy pertaining to sexual behaviour and identity, changes precipitated by the election of Tony Blair’s Labour government in 1997. Focusing primarily on the decade following Blair’s installation as Prime Minister, this project examines a variety of gay, lesbian and queer-themed British television programmes in the context of their political, cultural and industrial determinants, with the goal of bridging the gap between the cultural product and the institutional factors which precipitated its creation. Ultimately, it aims to establish how and why this increase in LGBT and queer programming occurred when it did by relating it to the broader, government-sanctioned integration of gays, lesbians and queers into the imagined cultural mainstream of the UK. Unlike previous studies of lesbian, gay and queer film and television, which have tended to draw conclusions about cultural trends purely through textual analysis, this project uses government and broadcasting industry policy documents as well as detailed examination of specific television programmes to substantiate links between the cultural product and the wider world.