DOCSLIB.ORG

Digital Radio Toolkit Key Factors in the Deployment of Digital Radio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Radio Toolkit Key Factors in the Deployment of Digital Radio DIGITAL RADIO TOOLKIT KEY FACTORS IN THE DEPLOYMENT OF DIGITAL RADIO DECEMBER 2014 DIGITAL RADIO TOOLKIT PRODUCED BY THE MEDIA INTELLIGENCE SERVICE (MIS) OF THE EUROPEAN BROADCASTING UNION, IN COLLABORATION WITH THE RADIO UNIT DECEMBER 2014 MEDIA INTELLIGENCE SERVICE The EBU's Media Intelligence Service (MIS) provides your broadcasting organization with the latest market data, research and analysis needed to plan your future strategies and stay ahead of the game. Our experts cover a broad range of topics, including TV and radio trends, new media developments, market structure and concentration, funding and public policy issues. HEAD OF THE MEDIA INTELLIGENCE SERVICE Dr Roberto Suárez Candel suarez.candel@ebu.ch SENIOR MEDIA ANALYST DEVELOPMENT & COMMUNICATIONS Dr Florence Hartmann Rachel McGowan hartmann@ebu.ch mcgowan@ebu.ch SENIOR MEDIA ANALYST SENIOR MEDIA ANALYST Francesca Cimino Alexandra Brenkman cimino@ebu.ch brenkman@ebu.ch SENIOR MEDIA ANALYST VISITING RESEARCHER Dr David Fernández Quijada Riikka Lätti fernandez.quijada@ebu.ch latti@ebu.ch CONTACT www.ebu.ch/mis mis@ebu.ch CONFIDENTIALITY: The information contained in this document is confidential and only for EBU Members internal use. In the case of non- Members, the same and/or specific conditions apply. Public communication – oral, printed or electronic – is strictly forbidden without previous authorization by EBU-MIS. In addition, please avoid any unnecessary redistribution of this information within your company. If you have any doubt about how to use these data, please contact the Media Intelligence Service at EBU (mis@ebu.ch). DISCLAIMER: Please note that the EBU or the MIS are not liable for any errors or inaccuracies in data provided by third-parties. DIGITAL RADIO TOOLKIT 2 INTRODUCTION Digital distribution has been an issue This project builds on the EBU’s Obviously, national contexts are for the radio industry for about two Recommendation on Digital Radio significant in the radio market. General decades. While digital is a reality for Distribution in Europe (EBU R 138), social conditions such as each country’s platforms such as the Internet, mobile which suggests the deployment wealth or its citizens’ ICT awareness devices and even TV, radio remains primarily of DAB+ services and, only if affect the uptake of digital radio. analogue in the most cost-effective and DAB coverage is not possible, the use of Other specific issues play an important primary distribution platform for free-to- DRM as a broadcasting alternative. As a role, such as the level and nature of air services, terrestrial broadcasting. further step, this report offers guidelines competition, the relative strength of on how to launch digital terrestrial radio, public service media organizations, To build the case for digital radio, the based on the experiences at the three the co-existence and share of national, EBU’s Radio Unit commissioned the countries leading this process in Europe: regional or local networks and stations, Media Intelligence Service to examine Norway, Switzerland and the United the size of the advertising market, or the key success factors for radio Kingdom. policies and regulations. digitization. Entitled the Digital Radio Toolkit, the research was carried out The report focuses on good practices Even taking into account the specificities with the collaboration of various radio for introducing digital radio; however, of each national context, the experiences industry stakeholders (see annexe) and there is no one-size-fits-all solution. analysed in this report can be helpful this report details the results. Consequently, it describes various ways when introducing national policies and to handle the main digitization issues by broadcasting strategies for launching highlighting 30 factors that contribute digital radio. to positive acceptance of digital radio by listeners. Each of these key success factors is illustrated with a specific national example. DIGITAL RADIO TOOLKIT 3 NEVER UNDERESTIMATE THE SIMPLICITY OF RADIO ,, Knut-Henrik Ytre-Arne (NRK) DIGITAL RADIO TOOLKIT 4 CONTENT 6 20 METHODOLOGY SWITCHOVER PROCESS 7 22 EXECUTIVE SUMMARY PUBLIC COMMUNICATIONS 8 24 INSTITUTIONAL STRUCTURE CONSUMER ELECTRONICS 10 26 POLICY AND REGULATION CAR INDUSTRY 12 29 CONTENT AND OFFER ANNEXE – LIST OF EXPERTS INTERVIEWED 16 TECHNOLOGY DIGITAL RADIO TOOLKIT 5 METHODOLOGY This research project was designed for between May and July 2014. The and the car industry. As many aspects EBU Members and other radio industry interviewees included top and middle are interrelated and boundaries are stakeholders in response to the growing managers in public service media increasingly blurred between areas, there momentum of digital radio in some organizations, commercial broadcasters, are frequent cross-sectional references countries. network operators, government throughout the document. departments dealing with radio issues, Following a first phase of desk research regulatory authorities, industry trade Finally, a terminological consideration to define the most relevant markets, bodies, and car manufacturers. A needs to be clarified. In this report, the Norway, Switzerland and the United complete list is provided as an annexe to term digital radio is used as a synonym Kingdom were chosen as national this report. for digital terrestrial radio, as it is case studies, as they are forerunners commonly used as such by industry in launching digital radio (in offer, The report is divided into eight practitioners. Nowadays, digital radio penetration and development of sections, each of them tackling a services are also available on other regulation). key element for the digitization of platforms, such as the internet, mobile radio: institutional structure, policy and television networks, but terrestrial The bulk of the project was based on and regulation, content and offer, delivery is still (and is forecast to remain 34 semi-structured personal interviews technology, switchover process, public so for the coming years) the main with relevant stakeholders conducted communications, consumer electronics distribution platform for radio services. DIGITAL RADIO TOOLKIT 6 EXECUTIVE SUMMARY Terrestrial radio is the only Coverage Collaboration radio distributed universally At the end of the process, digital radio Led by broadcasters, all the stakeholders and free at the point of use. coverage must be at least the same as must work together in the technological At the same time, it is also the analogue radio, including along major and communications sectors. Their only platform that guarantees roads. Listeners will not accept losing involvement may vary according to the coverage in comparison with analogue stage of the process but all of them are the delivery of public service services. necessary. This relationship must be built content and its associated on trust and confidence. democratic values. In its Content Communication current analogue form, there The content needs to be strong, with seems to be no more room clear added value when comparing Public communication is essential for development in most of the digital and analogue portfolio of to make citizens aware of the new services. This means more services but platform and its associated services. the European countries. The also more diversity, targeting unattended It is also a central tool in involving the future is not just broadcasting audiences. related industries. The message must but broadcasting will be be consistent and avoid confusion in the the backbone of this future. Costs market. This is why a switchover to The launch of digital radio has associated costs, mainly distribution digital transmission is highly This 5 Cs formula leads to a sixth: costs and production costs for new important. commitment from all stakeholders. This content. Carefully planning and commitment clearly shows the goals building economies of scale will help and ambitions of the industry and sends Summarizing, there are broadcasters deal with these additional 5 Cs the strongest possible signal, helping to costs. Returns are not immediate. If the that digital radio needs if it is generate momentum among listeners. process is managed successfully, these to succeed: For them, digital radio represents an costs are outweighed by long-term expanded offer of services, not just benefits. limited to traditional programming but as a driver of other audio innovations in broadcasting and on IP platforms. DIGITAL RADIO TOOLKIT 7 1. INSTITUTIONAL STRUCTURE The radio market includes a variety Ideally the long-term benefits of the of stakeholders, each with particular transition should outweigh the initial COMPETE ON interests. Conflicts and divergence investment and interviewees repeatedly CONTENT, are therefore common among these pointed out that the cornerstone of players. Any uncertainty arising from their whole strategy was ‘competing COOPERATE IN technological transitions creates on content, cooperating in technology’. additional tensions, so understanding the This approach enables broadcasters to TECHNOLOGY logic of the radio environment is crucial focus on creating appealing content for to achieving effective coordination audiences while outsourcing non-core IS THE SHARED among all stakeholders. tasks to other stakeholders. VISION BETWEEN The digital switchover is not an issue that Similarly, tackling digitization lets PUBLIC AND broadcasters can tackle individually. As broadcasters manage their own it affects the entire industry, it requires transition while limiting the opportunities
Load more

Recommended publications
  • FCC-06-11A1.Pdf
    Federal Communications Commission FCC 06-11 Before the FEDERAL COMMUNICATIONS COMMISSION WASHINGTON, D.C. 20554 In the Matter of ) ) Annual Assessment of the Status of Competition ) MB Docket No. 05-255 in the Market for the Delivery of Video ) Programming ) TWELFTH ANNUAL REPORT Adopted: February 10, 2006 Released: March 3, 2006 Comment Date: April 3, 2006 Reply Comment Date: April 18, 2006 By the Commission: Chairman Martin, Commissioners Copps, Adelstein, and Tate issuing separate statements. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION.................................................................................................................................. 1 A. Scope of this Report......................................................................................................................... 2 B. Summary.......................................................................................................................................... 4 1. The Current State of Competition: 2005 ................................................................................... 4 2. General Findings ....................................................................................................................... 6 3. Specific Findings....................................................................................................................... 8 II. COMPETITORS IN THE MARKET FOR THE DELIVERY OF VIDEO PROGRAMMING ......... 27 A. Cable Television Service ..............................................................................................................
    [Show full text]
  • Written Evidence Submitted by the BBC DCMS Select Committee Inquiry Into the Impact of Covid-19 on the DCMS Sectors
    Written evidence submitted by the BBC DCMS Select Committee Inquiry into the Impact of Covid-19 on the DCMS Sectors Executive Summary 1. Covid-19 has had a substantial impact on the BBC’s ability to produce programmes and services. Following advice from the WHO, public health organisations and the Government, the BBC closed the production of many programmes and services across its TV and radio output. The cancellation of key broadcasting events, ceasing of productions, and changes to schedules will continue to have an impact on what audiences see and hear across the BBC across the coming months. 2. Like other organisations continuing to operate during this crisis, the BBC has faced operational challenges. We’ve experienced reduced levels of staffing and the huge increase in demand for the BBC’s internal network as over 15,000 colleagues work from home. For those unable to work from home, safety is paramount and we’ve followed Government advice. 3. The BBC Board took the decision to delay changes to the over-75s licence fee from 1 June to 1 August during an unprecedented time. The decision is to be kept under review. 4. In response to Covid-19, the BBC took swift action at the start of the pandemic to repurpose our services and programmes for the benefit of all audiences ensuring we kept the nation informed, educated and entertained. 5. The BBC enhanced our core role to bring trusted news and information to audiences in the UK and around the world in a fast-moving situation, and to counter confusion and misinformation.
    [Show full text]
  • UK CMR Charts
    Figure 1.1 Communications industry revenue – telecoms, TV, radio, post £billions Annual 5 year 80 change CAGR 61.1 61.6 60.2 59.8 59.6 59.5 Total -0.2% -0.5% 60 6.8 6.8 6.7 6.5 6.7 7.2 1.2 1.1 1.1 1.1 1.2 1.2 Post 7.0% 0.9% 11.0 11.2 11.1 11.7 12.2 12.3 40 Radio 2.7% 0.3% TV 0.8% 2.2% 20 42.1 42.5 41.3 40.4 39.5 38.8 Telecoms -1.8% -1.6% 0 2007 2008 2009 2010 2011 2012 Source: Ofcom/ operators Note: Includes licence fee allocation for radio and TV, Figures are in nominal terms 0 Figure 1.2 Digital communications service availability UK UK Platform UK 2012 England Scotland Wales N Ireland 2011 change Fixed line 100% 100% 0pp 100% 100% 100% 100% 2G mobile1 99.6% 99.7% -0.1pp 99.8% 99.3% 98.8% 98.5% 3G mobile2 99.1% 99.1% 0pp 99.5% 96.6% 97.7% 97.4% Virgin Media cable broadband3 48% - - 51% 38% 22% 28% LLU ADSL broadband4 94% 92% +3pp 95% 87% 92% 85% BT Openreach / Kcom fibre b’band5 56% n/a n/a 59% 25% 41% 93% NGA broadband6 73% 65% +8pp 76% 52% 48% 95% Digital satellite TV 98% 98% 0pp - - - - Digital terrestrial TV7 99% - - 99% 99% 98% 97% DAB BBC Network88 94.3% 92% +2.3pp 95.5% 90.9% 85.9% 85.4% DAB commercial network (Digital 85% 85% 0pp 90% 75% 60% - One)9 Sources: Ofcom and operators: 1.
    [Show full text]
  • Annual Report and Accounts 2007/08 the BBC Executive’S Review and Assessment 07 08
    PART TWO: Annual Report and Accounts 2007/08 The BBC Executive’s review and assessment 07 08 Director- General ’s introduction 01 About the BBC 02 BBC & me 04 BBC Executive Board 24 BBC at a glance 26 Review of services Future Media & Technology 29 Vision 32 Audio & Music 38 Journalism 44 Commercial activities 52 Engaging with audiences 54 ...quality programming that informs Performance us, educates us and more often BBC People 58 than not, entertains us. These three Operations 62 Statements of Programme Policy tenets are as important today as commitments 2007/08 70 when they were first uttered around Finance 80 years ago. Financial overview 82 Governance and financial statements 86 Getting in touch with the BBC 148 Other information Inside back cover THE DIRECTOR -GENERAL 01 WELCOME When I wrote to you a year ago, our award- Despite these difficulties, the BBC has had a downloads and streams. And it’s still growing. winning Gaza correspondent Alan Johnston year of outstanding creative renewal. From There is no evidence that it is impacting was still missing. We didn’t know if we would Cranford to Sacred Music to Gavin and Stacey, our linear television and radio ratings which ever see him again. And then, what we’d all television has lived up to our aim – to delight remain very strong. been hoping, working and praying for: Alan’s audiences. And we have seen the nation share tired but smiling face as he was led to freedom. some of the events that unite us all – from the With Freesat now launched, complementing Concert for Diana to Wales’ triumph at the Six our popular Freeview service, it’s clear But within a few days, we had fresh problems Nations Rugby championship.
    [Show full text]
  • Diverse on Screen Talent Directory
    BBC Diverse Presenters The BBC is committed to finding and growing diverse onscreen talent across all channels and platforms. We realise that in order to continue making the BBC feel truly diverse, and improve on where we are at the moment, we need to let you know who’s out there. In this document you will find biographies for just some of the hugely talented people the BBC has already been working with and others who have made their mark elsewhere. It’s the responsibility of every person involved in BBC programme making to ask themselves whether what, and who, they are putting on screen reflects the world around them or just one section of society. If you are in production or development and would like other ideas for diverse presenters across all genres please feel free to get in touch with Mary Fitzpatrick Editorial Executive, Diversity via email: mary.fitzpatrick@bbc.co.uk Diverse On Screen Talent Directory Presenter Biographies Biographies Ace and Invisible Presenters, 1Xtra Category: 1Xtra Agent: Insanity Artists Agency Limited T: 020 7927 6222 W: www.insanityartists.co.uk 1Xtra's lunchtime DJs Ace and Invisible are on a high - the two 22-year-olds scooped the gold award for Daily Music Show of the Year at the 2004 Sony Radio Academy Awards. It's a just reward for Ace and Invisible, two young south Londoners with high hopes who met whilst studying media at the Brits Performing Arts School in 1996. The 'Lunchtime Trouble Makers' is what they are commonly known as, but for Ace and Invisible it's a story of friendship and determination.
    [Show full text]
  • Celebrating 40 Years of Commercial Radio With
    01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22.
    [Show full text]
  • Part Two: Annual Report and Accounts 2008/09
    SHARING IDEAS/ CREATING VALUE/ Part Two: Annual Report and Accounts 2008/09 The BBC Executive’s review and assessment BBC EXECUTIVE’S REVIEW AND ASSESSMENT 2008/09/ 001 002 / / OVERVIEW BBC PURPOSES / FINANciaL perForMANce / THE YeaR EW AT A GLANCE / DIRECTOR-GENERAL ForeWorD / RVI DELiveriNG creative FutureS / PARTNERSHIPS / E OV 020 / PERFORMANce OBJectiveS / teLeviSioN / RADIO / FUTURE MEDIA & TecHNOLogY / JourNALISM / coMMerciaL / 084 / GOVERNANCE Executive boaRD / SUMMarY GoverNANce report / 094 / ResPONSIBILITY OperatioNS / 104 / FINANCIAL stAteMENts OvervieW / RISK ouTLOOK / HigHLigHTS / auDitoRS’ STATEMENT / SUMMarY FINANciaL StatEMENT / IFRS / coNtact US / otHer INForMatiON / OVERVIE W/ 003 / EW RVI E OV 004 / BBC PURPOSES/ 005 / FINANCIAL PERFORMANce/ 006 / THE YEAR AT A GLANCE/ 008 / DIRECTOR-GENERAL FORewoRD/ 012 / DELIVERING CREATIVE FUTURes/ 014 / PARTNERSHIPS/ OVERVIE W/ OvervieW/ purpoSES AND FINANciaL perForMANce/ BBC purpoSES/ THE BBC’S Six pubLic purpoSES – buiLT ON our priNcipLES to ‘INForM, EDucate AND ENtertaiN’ – UNDerpiN ALL THat WE DO, AND HELP US to FocuS ON OFFeriNG everYONE IN THE UK MEMorabLE AND DIStiNctive coNteNT AND ServiceS THat ENricH THeir LiveS. SoME HigHLigHTS FroM THIS Year INCLUDED: 004 CITIZENSHIP COMMUNITY The BBC has a worldwide reputation for its The UK is an incredibly diverse place, and we aim reportage and analysis of the world we live in. Our to reflect this diversity at national, regional and / UK-wide, international, national and local channels local levels. We offer services in English, Scottish EW and services cover a wide range of stories tailored Gaelic and Welsh, and programmes in over 30 RVI for a diverse range of users. This year we led the languages from Bengali to Urdu.
    [Show full text]
  • 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.
    [Show full text]
  • Programme 1-2 June 2015 Croatia Hotel, Cavtat
    CONNECT PROGRAMME 1-2 JUNE 2015 CROATIA HOTEL, CAVTAT In collaboration with #eurovisionconnect 2 DAY 1 - MONDAY 1 JUNE 2015 MORNING SESSION 08:30 REGISTRATION OPEN 09:00 OPENING AND INTRODUCTION OF DAY ONE By Vitold GRAND’HENRY, EUROVISION CONNECT Steering Group Chairman, Strategic advisor, RTBF 09:10 WELCOME BACK TO CROATIA Is Croatia really “full of life” as its new national tourist slogan claims? Speaker: Krešimir MACAN, General Manager, Manjgura PR After 10 years EUROVISION CONNECT returns to Croatia. This short introduction will try to show you how much Croatia has changed in that period. Has EU membership made the country different since 2013? And of course update you about its TV landscape and presentation styles. 09:40 ALL YOU NEED IS LOVE Why winning hearts is as important as winning minds in the battle for public service broadcasting? Speaker: Jane LINGHAM, Director, BBC Brand This is a story about how we persuaded Britain to overcome its stiff upper lip and used emotions to remind people of the value they get from public service broadcasting. It’s a story about how marketing stretched beyond the realms of the traditional TV trail to influence editorial output and product development. Ultimately, it’s a story about how content is always king, and how love really can conquer all when making the continued case for public service broadcasting. #eurovisionconnect PROGRAMME 3 10:10 CONQUERING THE HEARTS OF YOUNGER GENERATIONS Speakers: Holly GOODIER, Director, Marketing & Audiences, BBC Digital Fredrik MARKLUND, Brand Manager, SVT Communications Innovation, Digital Media and Young Audiences: A BBC Perspective Holly will discuss about audience trends, BBC iPlayer and new open innovation product’ BBC Taster.
    [Show full text]
  • Broadcast Bulletin Issue Number 57
    * Ofcom broadcast bulletin Issue number 57 3 April 2006 Ofcom broadcast bulletin 57 3 April 2006 Contents Introduction 3 Standards cases In Breach 4 Resolved 9 Fairness and Privacy cases Not Upheld 13 Other programmes not in breach/outside remit 16 2 Ofcom broadcast bulletin 57 3 April 2006 Introduction Ofcom’s Broadcasting Code took effect on 25 July 2005 (with the exception of Rule 10.17 which came into effect on 1 July 2005). This Code is used to assess the compliance of all programmes broadcast on or after 25 July 2005. The Broadcasting Code can be found at http://www.ofcom.org.uk/tv/ifi/codes/bcode/ The Rules on the Amount and Distribution of Advertising (RADA) apply to advertising issues within Ofcom’s remit from 25 July 2005. The Rules can be found at http://www.ofcom.org.uk/tv/ifi/codes/advertising/#content The Communications Act 2003 allowed for the codes of the legacy regulators to remain in force until such time as Ofcom developed its own Code. While Ofcom has now published its Broadcasting Code, the following legacy Codes apply to content broadcast before 25 July 2005. • Advertising and Sponsorship Code (Radio Authority) • News & Current Affairs Code and Programme Code (Radio Authority) • Code on Standards (Broadcasting Standards Commission) • Code on Fairness and Privacy (Broadcasting Standards Commission) • Programme Code (Independent Television Commission) • Programme Sponsorship Code (Independent Television Commission) • Rules on the Amount and Distribution of Advertising From time to time adjudications relating to advertising content may appear in the bulletin in relation to areas of advertising regulation which remain with Ofcom (including the application of statutory sanctions by Ofcom).
    [Show full text]
  • 27Th January 2010 Freedom of Information Request
    27th January 2010 Freedom of Information request – RFI20110023 Thank you for your request to the BBC of 8th January 2011 seeking the following information under the Freedom of Information Act 2000: the current payment made by the BBC to the EBU to enter the Eurovision Song Contest for the 2009 and 2010 contests the overall production cost incurred by the BBC to cover the Eurovision Song Contest of 2009 and 2010. This is the cost over and above the payment made in (1) to broadcast the BBC1, BBC3 and Radio 2 coverage of the three live shows each year The unique reference for your request is RFI20110023 and I now respond as follows: Please note that the information you have requested is excluded from the Act because it is held for the purposes of ‘journalism, art or literature.’ Part VI of Schedule 1 to the Act provides that information held by the BBC and the other public service broadcasters is only covered by the Act if it is held for ‘purposes other than those of journalism, art or literature” 1. The BBC is not required by the Act to supply information held for the purposes of creating the BBC’s output or information that supports and is closely associated with these creative activities; accordingly we will not be providing information regarding the production costs of the programme however, on this occasion we’re happy to provide the following information in response to your request. 1 For more information about how the Act applies to the BBC please see the enclosure at the end of this letter.
    [Show full text]
  • Mr Ewan Spence Sent by Email To: Request-57287-9Fe3c64e@Whatdotheyknow.Com
    Mr Ewan Spence Sent by email to: request-57287-9fe3c64e@whatdotheyknow.com 27th January 2010 Dear Mr Spence Freedom of Information request – RFI20110023 Thank you for your request to the BBC of 8th January 2011 seeking the following information under the Freedom of Information Act 2000: the current payment made by the BBC to the EBU to enter the Eurovision Song Contest for the 2009 and 2010 contests the overall production cost incurred by the BBC to cover the Eurovision Song Contest of 2009 and 2010. This is the cost over and above the payment made in (1) to broadcast the BBC1, BBC3 and Radio 2 coverage of the three live shows each year The unique reference for your request is RFI20110023 and I now respond as follows: Please note that the information you have requested is excluded from the Act because it is held for the purposes of ‘journalism, art or literature.’ Part VI of Schedule 1 to the Act provides that information held by the BBC and the other public service broadcasters is only covered by the Act if it is held for ‘purposes other than those of journalism, art or literature” 1. The BBC is not required by the Act to supply information held for the purposes of creating the BBC’s output or information that supports and is closely associated with these creative activities; accordingly we will not be providing information regarding the production costs of the programme however, on this occasion we’re happy to provide the following information in response to your request. 1 For more information about how the Act applies to the BBC please see the enclosure at the end of this letter.
    [Show full text]