Transnational Television in Sub-Saharan Africa

Total Page:16

File Type:pdf, Size:1020Kb

Transnational Television in Sub-Saharan Africa Transnational Television in Sub-Saharan Africa By GRAHAM MYTTON, RUTH TEER-TOMASELLI & ANDRE-JEAN TUDESQ Introduction that will begin to shape much of the Television is less developed in Africa future of African TV in a different wav than in any other ~tmtinent. Fewer European influence continues' to people have a television set at home and guide the development of African TV, there are fewer TV stations transmitting This is not necessarily always something per head of population than on any that comes direct from Europe; it other continenti Television 111 sub- happens because of the linguistic legacy Saharan coun tries is characterised bv that the colonial powers bequeathed the the following features: . continent for good or ill. As noted • The dominance of state-owned and earlier, European languages dominate -controlled broadcasting. African television, and chieflv this • Broadcasting that is for the most means English and French, with the less part national, rather than local or widespread addition of Portuguese It regional. means that these three languages define three broadly different television • Dominance of imported content, landscapes, certainlv so far as ma in lv from Europe and the United transnational television activitx 15 States. concerned." US influence and input IS • Dominance of three European now also of growing importance. mainlx languages: French, English and III anglophone countries. Sim ilarlv. Portuguese. Brazilian involvement and influence 'is • Under-investment and poverty of beginning to be seen !!1 Iusophone facilities leading to low levels of local countries. production. • Lox levels of inter-African co- operation in television production, Transnational Television in exchange and marketing. an African Context Each of these factors has also slowed or 'In contrast to radio. \'.-:~.::-:-, '~:'ossecl hindered the development of national boundaries fr,::)!:': :~~~Ct:'11est transnational television. The market IS days, depending as it cce s T, C.:'eas of verv limited, the risks are high and the the electro-rnagnet:c s:c<~:',,:~' 'hat potential profit for commercial ventures carrv much furrhe:'. ~e:e'.:5: ~", :.:, :'7'12.;)\ is small. But at the start of the 21 SI years, was br02.C:c::;'5~ the cen t urv there are signs of change and of boundaries of a P2:'~::.:>: The the beginnings of continent-wide activity exception to this :-,:-: ,'_ '-:,'~''.lSlon channels that s r ; .~"':ional "ii","Sflllli",1 33 IHl'rfON. TEER-TOMASELLI & TUDESQ boundaries. For instance, populations of at a time when government monopoly the two capitals of the two Congas, on over the electronic media had been well either side of the Congo River, have for established. Links with the former several years been able to watch colonial powers were reflected to some television services from the other extent in the content and style of the country. People in northern areas of output. This was especially so in the Tanzania could watch Kenyan TV in the former French colonies. The close links 1960s, twenty-five years before TV that the majority of francophone states eventually came to Tanzania. Similarly, maintained with France led to a people in Botswana and Lesotho could dependency on programmes from watch South African TV long before they France and on news images sent via had their own national TV stations. satellite, although the state-run national Aside from these, most services are television stations exercised control over contained within the boundaries of the their programming. iv nation-state. Broadcasting frequency Advances in television technology, bands are pre-planned and internally together with a relative liberalization of coordinated through the International the media and the phenomenon of Telecommunications Union (ITU) to globalization, led to the growth of .avoid mutually harmful inference transnational television activity ID between neighbouring countries. The Africa, starting during the last decade of· current international frequency the twentieth century. The synergies assignment plans for television are between telecomm unications, included in the regional agreements information technology and electronics established by the ITU and adopted by all increased the possibilities for satellite signatory countries. Currently, the VHF television business in Africa. and UHF bands for television are set There were three main ways for between 174MHz and 470MHz to 854 transnational television to develop. at MHz, according to the Geneva Plan of this stage in Africa's media development. 1989 for Africa and neighbouring One was to reach general populations countries. These regulations require that through existing terrestrial stations. For all medi um and high power frequencies this to happen, links needed to be made are coordinated with neighbouring with these stations. The second way to countries so as not to cause intentional go was similar to the route taken by trans-border interference. Any new several entrepreneurs in Europe and frequency or relation of a frequency or Asia - the direct to home satellite increase in transmitter power of a television service, as demonstrated most medium or high power transmitter successfully by BSkyB in the UK and situated within approximately 400km Star TV in South Asia. The third way from am border of South Africa's was to use cable or MMDS - Multipoint neighbours (Namibia, Botswana, Multichannel Distribution Service - to Zimbabwe. Swaziland, Lesotho or bring satellite television services to Mozambique], to take just one important households who paid a subscription for example, would require . extensive them to be provided without the need for bilateral negotiations. Although this a satellite dish. v planning and coordination takes place, However, for any of these three in ruanv instances traris-border spillage developments to occur, changes in the is unavoidable."! political and cultural sphere were TV in Africa, with a few exceptions, necessary. The more liberal atmosphere was introduced after each of the new necessary for transnational television to states had achieved independence, and grow was slow to develop in many parts lnternutionat Journal of Communication -'\'0.] Januarv lO()S TR,t\S.\! T/O.\AI. 1'U.(;I'/,\'/O" /.\ .!FRIC! 34 of Ahica. To sorue pxtent it is still to 4, Terrestriallv transmitted pay-TV emerge 111 some co,:ntries. But in most services which broadcast mainlx of th e 48 sub Saharan sta te s. foreign programmes, deregulation of soruc kind has lifted J. Cable or MMDS television services, restricuons on broadcasting activities, which transmit television channels tor rncrlv <l government monopolx ID received via satellite, ('\'£'f\ African co u n t rv . This has enabled , . not 0111\' tl~,~ cruergcnce of several There is something of a gulf in sub- hundred priva tr- radio st ation s but also Saharan Africa between rh« n u m be-r of dllo\,'t,(1 the retrarismission of television stations that are available on mtern ~lt iorial short wave services on local satellite and the number of channels F\'l Irequcnr-ie-s This is how onc can that are actuallv seen bv African hear Frances international radio audiences, In the former case, it was se-nice. RFI (Radio France International) calculated that, in .Julv 2002, arourid as well ,IS rh« 13f3C World Service on 250 channels were transmitted U\ so n rc local FM frequencies in the capitals and 22 satellites over Africa, of which major cities or many co u ntr ies. The approximatelx 100 were in English. 86 same libera lizat io n that has allowed this French, 30 Arabic, 7 Portuguese, several deve loprne-nt has also opened the m major Indian languages and the marker to t he wider distribution of others in different non-African tongues, satellite TV services, both private and Orilv three were in sub-Saharan African state funded. It has also permitted the languages - 1 in Amharic ane! 2 in establishment of Cl growing number of Afrikaans. We concentrate in this studv private commercial stations. on those channels that arc cffecti\'Cl\ Todav , transnational television received by viewers, either directlx or activities in Africa can be grouped into indirectly by the above five methods. five categories: Another major characteristic of transnational television in Africa is that, 1. Terrestrial cross-border television - until now, rather little of its content is commg from a neighbouring specifically designed for or created in the co u nt rv. continent. another reflection of Africa's 2. Television received direct to the poverty. Aside from some South African home from satellite', This can be production that can be seen from some' further categorized or sub-divided. services available from that country', There IS direct reception by there is at present not very much else motorized satellite dish or, because on offer that can be described as of the high cost of these, by means of indigenous, Many of the present a less sophisticated fixed dish, which transnational television services received may often be home-made and in Africa are actually produced for relatively inexpensive. These are domestic channels in Europe or North especially to be found in America - for example for TFl or Canal francophone countries such as Mali, + in France or for the BBC in the UK or Mauritania, Niger and Senegal, but NBC in the USA. Others are produced are also seen increasingly in Nigeria, for international audiences in all parts Kenva, Zambia and Angola, of the world, such as much of the 3. Television provided by national output of CFI, CNN and BBC World. terrestrial television stations, both Although they are beyond the main public and private, which relay focus of this study, terrestrial television foreign television programmes stations represent the most common received via satellite at certain times, form of viewing of transnational .-l1T tnterdisciplinury Journal OICOll1l1ll1l1ic1lt101I Studie» 35 ;HYTTO/\', TEER-TOMASELLI & TUDESQ television programmes. Some of the operation between countries that have newer private channels broadcast the French language in common. In mostly, or even entirely, imported effect, francophone African countries programmes, as can be seen in Kenya have joined with France, Canada, with Nation TV.
Recommended publications
  • Ivision and the BBC: Building Public Value
    Observatorio (OBS*) Journal, 5 (2008), 041-055 1646-5954/ERC123483/2008 041 iVision and the BBC: Building Public Value Michael Klontzas, City University, London, UK Abstract Breaking with conventional wisdom that sees public service broadcasters as conveyors of content in line with historically shaped socio-political ideals, centred on quality, access, diversity and independence, evidence suggests that PSB is often the driving force behind key technological innovations serving public policy aims. In the drive towards wholesale digitalisation and the accelerated introduction of an information society, this hitherto understated function is now deemed critical and comes to the fore. More specifically, recent public policy initiatives in the UK, culminating to the 2006 White Paper, openly assign the mission of contributing to the process of ‘building digital Britain’ to the BBC, the flagship public service broadcaster. This vision of digitalisation is defined in broad terms in the policy discourse, as involving all platforms indiscriminately. The BBC’s contribution, designed to entice users to a digital future and simultaneously cement the continued relevancy of the institution in the 21st century, finds expression in a variety of implemented and proposed digital services deliverable over a range of digital platforms, including television and radio, the internet and mobile networks. This paper seeks to interrogate the host of controversial and closely scrutinised internet services offered by the BBC in the light of the digital vision articulated in the public policy discourse. These services shift the emphasis away from the time-honoured broadcasting paradigm to a more interactive approach. Through widespread application of emerging Web 2.0 practices, the users are now invited to participate, and generate and share their own content.
    [Show full text]
  • The Development of the UK Television News Industry 1982 - 1998
    -iì~ '1,,J C.12 The Development of the UK Television News Industry 1982 - 1998 Thesis submitted for the degree of Doctor of Philosophy by Alison Preston Deparent of Film and Media Studies University of Stirling July 1999 Abstract This thesis examines and assesses the development of the UK television news industry during the period 1982-1998. Its aim is to ascertain the degree to which a market for television news has developed, how such a market operates, and how it coexists with the 'public service' goals of news provision. A major purpose of the research is to investigate whether 'the market' and 'public service' requirements have to be the conceptual polarities they are commonly supposed to be in much media academic analysis of the television news genre. It has conducted such an analysis through an examination of the development strategies ofthe major news organisations of the BBC, ITN and Sky News, and an assessment of the changes that have taken place to the structure of the news industry as a whole. It places these developments within the determining contexts of Government economic policy and broadcasting regulation. The research method employed was primarily that of the in-depth interview with television news management, politicians and regulators: in other words, those instrumental in directing the strategic development within the television news industry. Its main findings are that there has indeed been a development of market activity within the television news industry, but that the amount of this activity has been limited by the particular economic attributes of the television news product.
    [Show full text]
  • 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.
    [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: [email protected] 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]
  • TR 101 231 V1.2.1 (1998-06) Technical Report
    TR 101 231 V1.2.1 (1998-06) Technical Report Television systems; Register of Country and Network Identification (CNI) and of Video Programming System (VPS) codes European Broadcasting Union Union Européenne de Radio-Télévision EBU UER 2 TR 101 231 V1.2.1 (1998-06) Reference RTR/JTC-PDC-2 (bec00ios.PDF) Keywords ID, registration, PDC, teletext, TV ETSI Postal address F-06921 Sophia Antipolis Cedex - FRANCE Office address 650 Route des Lucioles - Sophia Antipolis Valbonne - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Internet [email protected] http://www.etsi.fr http://www.etsi.org Copyright Notification No part may be reproduced except as authorized by written permission. The copyright and the foregoing restriction extend to reproduction in all media. © European Telecommunications Standards Institute 1998. © European Broadcasting Union 1998. All rights reserved. ETSI 3 TR 101 231 V1.2.1 (1998-06) Contents Intellectual Property Rights................................................................................................................................4 Foreword ............................................................................................................................................................4 1 Scope........................................................................................................................................................5 2 References................................................................................................................................................5
    [Show full text]
  • To Be Independent Or Not to Be Independent, That Is the Question BBC-UK Government Relations, 2016
    Publizistik (2016) 61:305–320 DOI 10.1007/s11616-016-0284-6 MEDIENPOLITIK INTERNATIONAL To be independent or not to be independent, that is the question BBC-UK Government relations, 2016 Jay G. Blumler Published online: 18 July 2016 © The Author(s) 2016. This article is available at SpringerLink with Open Access. It may seem strange to outsiders that this question should be asked. After all, the BBC has long enjoyed an international reputation for its – especially its journalism’s – independence from political influence. It was, for example, the model for German public service broadcasting, introduced by the Allied powers after World War II in the three Western occupation zones. Hugh Greene, who was responsible for the establishment of the central broadcasting corporation in Northwest Germany (and later became Director General of the BBC), resisted all attempts by politicians to take control of it. The influences likely to affect the answer are multi-faceted and complex. The out- come will eventually depend on the terms of the next Royal Charter of the BBC, due to run for 11 years from January 2017, the government’s prospectus for which was published in a White Paper in May 2016 (Department for Culture, Media and Sport 2016a). This article examines associated BBC-government relations successively in historical, political and systemic (about the BBC’s vulnerabilities and defenses) contexts, after which the White Paper’s proposals for the future of the BBC will be successively outlined, explained and evaluated. 1 Until recent times Historically, the political independence of the BBC was underpinned by strong structural and normative sources of support.
    [Show full text]
  • Shaping Global Opinion, Prioritizing News Over Noise
    BBC GLOBAL POWER BRAND SHAPING GLOBAL OPINION, PRIORITIZING NEWS OVER NOISE The British Broadcasting Corpora- tion Ltd. (BBC) is the largest public sector media company in the world. Affectionately known as “Auntie” or simply “the Beeb,” the BBC has served the British public for more than 85 years. Since 2000, the BBC has rapidly expanded its broadcast- LEGACY It is the largest and the most ing content beyond the venerable prestigious public sector media BBC1 and BBC2 channels. In 2007, company in the world. the company operated ten channels, through analog and digital broadcast RECALL Driven by R&D through and satellite networks, including continuous innovation and digital (r)evolution and not by stasis BBC3, BBC4, CBBC, Cbeebies, and of ancient glory of loyalty and BBC News 24. The BBC also operates popularity. a range of local and regional televi- sion channels in England, Scotland, BBC Food, BBC Kids, BBC Prime, tifarious portfolio (radio, television, IMPACT Well ahead in the race in building Wales, and Ireland. The company BBC World, and Animal Planet, internet, blogs, commercial servic- and molding public opinion throughout the Globe. oversees the sales of BBC program- among others. With a continu- es, etc.) and detailed customiza- ming worldwide, as well as ancillary ous penchant for reinventing itself tion in all the sections. Available in sales such as CDs and DVDs. BBC and strong focus on R&D, BBC has more than 30 languages, BBC has POWER Steady presence in different FACTOR forms of media and worldwide also operates a range of commercial been able to extend its reach and definitely become one of the most reach and credibility across all television stations worldwide, in- relevance to the fullest – across all preferred and trusted news and ages.
    [Show full text]
  • MCPS TV Fpvs
    MCPS Broadcast Blanket Distribution - TV FPV Rates paid April 2013 Peak Non Peak Non P(ence) P(ence) Peak FPV Non Peak Programme Programme Rate (per Rate (per (per FPV (per s (covered s (covered Source/Sh Manufactur Link weighted weighted weighted weighted by blanket by blanket Licensee Channel Name ort Code udc er Number code second) second) minute) minute) licence) licence) BBC BBC Interactive BBCINT AN120 251209 kb2 0 5.444 0 3.2664 Y Y BBC BBC Interactive BBCINT AN120 251209 kb7 0 5.444 0 3.2664 Y Y BBC BBC3 BBC3 Z0001 126187 kdc 16.128 8.064 9.6768 4.8384 Y Y BBC BBC4 BBC4 Z0002 158776 kdd 7.946 3.973 4.7676 2.3838 Y Y BBC BBC OLYMPICS 2012 INTERACTIVEBBCOLY AN121 287153 kb8 0 5.444 0 3.2664 Y Y BBC BBC 1 BBCTVD Z0003 5258 kde 69.334 34.667 41.6004 20.8002 Y Y BBC BBC 2 BBC2 Z0004 316168 kdf 20.908 10.454 12.5448 6.2724 Y Y BBC CBBC CBBC Z0005 165235 kdg 11.218 5.609 6.7308 3.3654 Y Y BBC Cbeebies CBEEBI Z0006 285496 kdh 11.837 5.918 7.1022 3.5508 Y Y BBC BBC News BBC NE Z0007 127284 kdi 8.725 4.362 5.235 2.6172 Y Y BBC BBC ALBA BBCALB Z0008 232662 kdj 5.432 2.716 3.2592 1.6296 Y Y BBC BBC Parliament BBCPAR Z0009 316176 kdk 2.934 1.467 1.7604 0.8802 Y Y BBC BBC HD BBCHD Z0010 232654 kdm 6.095 3.047 3.657 1.8282 Y Y BBC BBC Side Agreement for S4C BBCS4C Z0222 316184 kij 0 4.188 0 2.5128 Y Y Turner TCM Nordic TCMNOR Z0373 251126 kn8 0 0.539 0 0.3234 N Y Turner Boomerang BOOMER Z0206 79030 ki8 7.412 3.706 4.4472 2.2236 N Y Turner Boomerang Germany BOOMDE Z0235 286064 kiv 1.633 0.816 0.9798 0.4896 N Y Turner Boomerang EMEA BOOMPF Z0236
    [Show full text]
  • Light, Julie J. (2004) Television Channel Identity: the Role of Channels in the Delivery of Public Service Television in Britain, 1996-2002
    Light, Julie J. (2004) Television channel identity: the role of channels in the delivery of public service television in Britain, 1996-2002. PhD thesis http://theses.gla.ac.uk/3939/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] University of Glasgow Department of Theatre, Film and Television Studies Television Channel Identity: the Role of Channels in the Delivery of Public Service Television in Britain, 1996 - 2002 Julie J Light PhD Thesis August 2004 © Julie Light 2004 Abstract This thesis examines the developing role of television channels in the delivery of public service broadcasting in Britain, 1996 - 2002. Starting from a hypothesis that channels are distinct television products in their own right and increasingly important in organising how broadcasters think about their audiences, it argues that channels have identities expressed through their schedules and determined by their relationship to genre and target audience. Based on research at the BBC (from 1998 - 2002), involving interviews with key staff and the analysis of BBC documents, this study examines the television broadcasting functions of commissioning, scheduling, marketing and audience research.
    [Show full text]
  • BBC Annual Report and Accounts 2004/2005 1 Chairman’S Statement
    Annual Report and Accounts 2004/2005 Purpose, vision and values Purpose Our purpose is to enrich people’s lives with programmes and services that inform, educate and entertain Vision Our vision is to be the most creative organisation in the world Values I Trust is the foundation of the BBC: we are independent, impartial and honest I Audiences are at the heart of everything we do I We take pride in delivering quality and value for money I Creativity is the lifeblood of our organisation I We respect each other and celebrate our diversity so that everyone can give their best I We are one BBC: great things happen when we work together Contents 02 54 Chairman’s statement Building public value 04 58 Director-General’s Being accountable report and responsible 06 How the BBC is run 66 Governors’ review of 08 commercial activities Board of Governors 10 68 Executive Board Performance against Statements of 12 Programme Policy Governors’ review commitments of objectives 2004/2005 20 The BBC at a glance 78 Compliance Governors’ review of services 94 Financial review 22 Television 96 Financial statements 30 Radio 136 38 Broadcasting facts New Media and figures 42 14 7 News Getting in touch with the BBC 46 BBC World Service 14 8 & Global News Other information 50 Nations & Regions BBC Annual Report and Accounts 2004/2005 1 Chairman’s statement As we approach the end of the current clear about the principles underlying any BBC Royal Charter at the end of 2006, new governance arrangements: the plans to replace it are becoming independence; rigorous stewardship of clearer.The Government’s Green Paper public money; accountability to licence fee set out the new framework and paved payers; clarity of roles; and practicality.The the way for a White Paper later this year.
    [Show full text]
  • Annual Repor T and Accounts 2005/2006
    BBC Annual Report and Accounts ReportAnnual and BBC 2005/2006 British Broadcasting Corporation Broadcasting House London W1A 1AA bbc.co.uk Annual Repor t and © BBC 2006 Accounts 2005/2006 Purpose, vision and values The BBC’s purpose is to enrich people’s lives with programmes and services that inform, educate and entertain The BBC’s vision is to be the most creative organisation in the world Values I Trust is the foundation of the BBC: we are independent, impartial and honest I Audiences are at the heart of everything we do I We take pride in delivering quality and value for money I Creativity is the lifeblood of our organisation I We respect each other and celebrate our diversity so that everyone can give their best I We are one BBC: great things happen when we work together Contents 2 Chairman’s statement 4 Director-General’s report 6 The BBC now and in the future 10 Board of Governors 12 Executive Board 14 Governors’ review of objectives 22 The BBC at a glance Governors’ review of services 24 Television 32 Radio 40 New Media 46 News 50 BBC World Service & Global News 54 Nations & Regions 58 Governors’ review of commercial activities 60 Being accountable and responsible 68 Performance against Statements of Programme Policy commitments 2005/2006 76 Compliance 92 Financial review 95 Financial statements 140 Broadcasting facts and figures 151 Getting in touch with the BBC 152 Other information BBC Annual Report and Accounts 2005/2006 1 Chairman’s statement This is the last annual report from the The main function of the Trust will be to BBC Board of Governors, which is to ensure that licence fee payers’ expectations be replaced under the new draft Royal of the BBC are fulfilled in terms of the Charter by the BBC Trust.
    [Show full text]
  • African Media Development Initiative: South Africa Context © BBC World Service Trust Figure 7: Broadcasting and Ownership Status of Television Stations
    South Africa Country Report Context 6. Television 6.1 Key changes and developments in the television marketplace in the past five years Television in South Africa operates in a strictly regulated environment, controlled by the Independent Communications Authority of South Africa (ICASA). There are three state- owned television channels (all owned by the SABC). There is only one privately-owned free-to-air channel, known as e.tv, which started broadcasting in 1998. There are two private television companies (M-Net and DStv) that broadcast to paying subscribers nationally1. While no new television channels or stations have entered the marketplace in the five years under review, ICASA did issue a licence to Trinity Broadcasting Network (TBN) in the Eastern Cape in 2002. It was due to expire in April 2006. According to TBN’s website (http://www.tbn.co.za), it broadcasts Christian programming through the DStv satellite system (see Figure 7). M-Net is a pay-television service that has seen a dramatic decline in viewer figures from 16.4% of adults in 2000 to 9.7% in 2005 (SAARF, 2004; SAARF, 2006). With a subscriber base of less than 254,400 (Koenderman, 2005), it is losing out to satellite digital television station DStv. (Note that viewership figures include viewers watching M-Net through DStv as well as “open time”, when it is allowed to broadcast unencoded for two hours a day. ICASA is due to close this “open time window” in April 2007). Because the cost of the receiving equipment and the subscription is relatively high, viewers are predominately drawn from the upper income-earning groups.
    [Show full text]