A Review of the Thames Television OB Fleet Part 1 (1968 To1980) All Change For
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The History of the Development of British Satellite Broadcasting Policy, 1977-1992
THE HISTORY OF THE DEVELOPMENT OF BRITISH SATELLITE BROADCASTING POLICY, 1977-1992 Windsor John Holden —......., Submitted in accordance with the requirements for the degree of PhD University of Leeds, Institute of Communications Studies July, 1998 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others ABSTRACT This thesis traces the development of British satellite broadcasting policy, from the early proposals drawn up by the Home Office following the UK's allocation of five direct broadcast by satellite (DBS) frequencies at the 1977 World Administrative Radio Conference (WARC), through the successive, abortive DBS initiatives of the BBC and the "Club of 21", to the short-lived service provided by British Satellite Broadcasting (BSB). It also details at length the history of Sky Television, an organisation that operated beyond the parameters of existing legislation, which successfully competed (and merged) with BSB, and which shaped the way in which policy was developed. It contends that throughout the 1980s satellite broadcasting policy ceased to drive and became driven, and that the failure of policy-making in this time can be ascribed to conflict on ideological, governmental and organisational levels. Finally, it considers the impact that satellite broadcasting has had upon the British broadcasting structure as a whole. 1 TABLE OF CONTENTS Abstract i Contents ii Acknowledgements 1 INTRODUCTION 3 British broadcasting policy - a brief history -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
Appendix A: Non-Executive Directors of Channel 4 1981–92
Appendix A: Non-Executive Directors of Channel 4 1981–92 The Rt. Hon. Edmund Dell (Chairman 1981–87) Sir Richard Attenborough (Deputy Chairman 1981–86) (Director 1987) (Chairman 1988–91) George Russell (Deputy Chairman 1 Jan 1987–88) Sir Brian Bailey (1 July 1985–89) (Deputy Chairman 1990) Sir Michael Bishop CBE (Deputy Chairman 1991) (Chairman 1992–) David Plowright (Deputy Chairman 1992–) Lord Blake (1 Sept 1983–87) William Brown (1981–85) Carmen Callil (1 July 1985–90) Jennifer d’Abo (1 April 1986–87) Richard Dunn (1 Jan 1989–90) Greg Dyke (11 April 1988–90) Paul Fox (1 July 1985–87) James Gatward (1 July 1984–89) John Gau (1 July 1984–88) Roger Graef (1981–85) Bert Hardy (1992–) Dr Glyn Tegai Hughes (1983–86) Eleri Wynne Jones (22 Jan 1987–90) Anne Lapping (1 Jan 1989–) Mary McAleese (1992–) David McCall (1981–85) John McGrath (1990–) The Hon. Mrs Sara Morrison (1983–85) Sir David Nicholas CBE (1992–) Anthony Pragnell (1 July 1983–88) Usha Prashar (1991–) Peter Rogers (1982–91) Michael Scott (1 July 1984–87) Anthony Smith (1981–84) Anne Sofer (1981–84) Brian Tesler (1981–85) Professor David Vines (1 Jan 1987–91) Joy Whitby (1981–84) 435 Appendix B: Channel 4 Major Programme Awards 1983–92 British Academy of Film and Television Arts (BAFTA) 1983: The Snowman – Best Children’s Programme – Drama 1984: Another Audience With Dame Edna – Best Light Entertainment 1987: Channel 4 News – Best News or Outside Broadcast Coverage 1987: The Lowest of the Low – Special Award for Foreign Documentary 1987: Network 7 – Special Award for Originality -
Labor Relations, 16Mm Film and Euston Films
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play. -
Channel Four and the Rediscovery of Old Movies on Television
Channel Four and the rediscovery of old movies on television HALL, Sheldon <http://orcid.org/0000-0003-0950-7310> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/6812/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HALL, Sheldon (2012). Channel Four and the rediscovery of old movies on television. In: Channel Four and UK Film Culture, BFI Southbank, 1-2 November 2012. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Channel 4 and the Rediscovery of Old Movies on Television (Channel 4 and British Film Culture conference, BFI Southbank, 2 November 1982) Unlike some other contributors to this conference I will not be discussing Film on Four – but I will be discussing films on 4. In this paper I will not be concerned with Channel 4 as a producer or distributor of theatrical movies, but as an exhibitor of theatrical movies on television, and most especially as a curator of them. As well as the new movies it had financed, made with television ultimately in mind and only in a few cases theatrically distributed, Channel 4 presented a great many films it had nothing to do with making but to which it gave the viewing public access. While charged with the need to be innovative, experimental and to provide a real alternative to the existing TV channels, Channel 4 was also obligated to cater to hitherto neglected sectors of the audience, including more mature viewers and those with minority interests. -
PAUL GRUNERT Representation: Alexandra Mclean-Williams
PAUL GRUNERT Representation: Alexandra McLean-Williams Playing Age: 50-60 Height: 5’10” Eyes: Blue Location: West Sussex/Surrey/Milton Keynes FILM WALL STREET 2 – Barber 20th Century Fox Oliver Stone DEATH DEFYING ACTS – Hotel Manager BBC Films Gillian Armstrong TELEVISION MADAME MANHATTAN – Mr. Watkins MVD TV Michael Doane SPOOKS – Nicholas Faures BBC Brendan Maher MIDSOMER MURDERS – Bentley Productions Sarah Hellings Freddie Greenaway THERE’S A VIKING IN MY BED – BBC Television Various Mr. Bradshaw GOODNIGHT SWEETHEART – Alamo Various Sid Potter C.I.T.V GOGGLES FAMILY – Dad London Weekend Television John Morgan FAITH IN THE FUTURE – Garage Boss London Weekend Television Sylvie Boden ALL NIGHT LONG – Wally/Taxi Driver BBC Television Harold Snoad SECOND THOUGHTS – TV Director London Weekend Television Sylvie Boden THE BILL – Reg Thames Television Derek Lister BAD PENNY – Multiple Roles BBC Television Martin Hughes STAGE SINGLE SPIES – Restorer/Shop Assistant Chichester & UK Tour Rachel Kavanaugh CYRANO DE BERGERAC – Ragueneau Chichester Festival Theatre Sir Trevor Nunn ALADDIN – Emperor of China The Old Vic Sean Mathias HIS GIRL FRIDAY – Kruger Royal National Theatre Jack O’Brian Continued Unit F22B, Parkhall Business Centre, 40 Martell Road, London SE21 8EN T +44 (0) 203 567 1090 E [email protected] www.mclean-williams.com Registered in England Number: 7432186 Registered Office: C/O William Sturgess & Co, Burwood House, 14 - 16 Caxton Street, London SW1H 0QY PAUL GRUNERT continued LOVE’S LABOUR’S LOST – Sir Nathaniel Royal National -
LWT's Pioneering Technology
LONDON WEEKEND TELEVISION’S PIONEERING TECHNOLOGY by Phil Nott ITV in London is 65 years old in 2020, remaining vital throughout a period of external pressures as well as the changing viewing habits of the population. In this article, I look at the birth and evolution of London Weekend Television, and at the role that technology played in developing its sport and drama output. The biggest change in ITV’s history came with the franchise renewal process of 1968. As a result, the franchisees for London were two new companies - Thames Television on weekdays and London Weekend Television at weekends. LWT was a pioneering and innovative TV company. Many of the changes it introduced still have an impact today, whereas the battle to get there gives us an insight into the politics and business practices of the time. David Frost photo: via wembleyparkstudios.co.uk The story starts in 1967. The main ITV franchise holders had enjoyed prosperity since the late 1950s, with constantly increasing advertising revenues driven by the march towards consumerism. ‘You’ve never had it so good’ Prime Minister Harold Macmillan claimed at the time. Rediffusion London, the London weekday ITV company, was the dominant company. Rival ATV was split between the Midlands in the week and London at the weekends. Granada in the North was a weekday franchise that had an amicable commercial relationship with Rediffusion in London. ABC TV was the weekend TV specialist, with the franchise for both the North and the Midlands at the weekend. Its commercial wrangles were mainly with the other weekend franchise contractor ATV in London. -
2 X 60ʼ for Lynda Laplante Productions/ITV Wrote and Directed, Starring Amanda Burton, Mark Lewis Jones, Gary Stretch, Gerard Kearns and Toby Kebbell
JANE PROWSE: TV DIRECTING THE COMMANDER: 2 x 60ʼ for Lynda LaPlante Productions/ITV wrote and directed, starring Amanda Burton, Mark Lewis Jones, Gary Stretch, Gerard Kearns and Toby Kebbell ROCKET MAN: directed episodes 3 and 4 of Alison Humeʼs drama comedy for Coastal/Touchpaper/BBC Wales starring Robson Green BBC1). THE FUGITIVES: directed 7 part childrenʼs drama serial for Shed Productions/CITV. Cast included Maureen Lipman. (CITV). LIVING IT: directed first 5 episodes of new CBBC series. Producer May Gibson BETWEEN THE SHEETS: directed second block (3 episodes) of Kay Mellor series for Rollem Productions/ Producer Yvonne Francas. Cast Julie Graham, Brenda Blethyn, Alun Armstrong, Liz Smith and Norman Wisdom. GREEN-EYED MONSTER: directed 2 part drama from own screenplay for Film & General/ BBC1 (Jane Tranter). Producer Gillian Gordon. Emma Fielding, Fay Ripley and Hugo Speer star. THE GREATEST STORE IN THE WORLD: directed film for Film and General/ BBC TV based on Alex Shearerʼs novel. Broadcast Christmas Eve ʻ99. Cast: Dervla Kirwan, Ricky Tomlinson and Peter Capaldi. Nominated for Best Childrenʼs Drama BAFTA 2000 . SUNNYʼS EARS: Directed 4 x 30ʼ children's serial for Film & General Productions (producer Gillian Gordon)/Carlton . Winner of Royal Television Society Best Childrenʼs programme award Pascal Blackburn playing Sunny won the One in Eight Award (highlighting roles and performances for the disabled in film & TV) for best performance. Screened at the Chicago International Childrenʼs Film Festival, October 1998. THE BILL: directed four episodes for Thames Television; . -
A Study of the Evolution of Make/Buy Contracting for Uk Independent Television
A STUDY OF THE EVOLUTION OF MAKE/BUY CONTRACTING FOR UK INDEPENDENT TELEVISION (ITV): 1954-2001 Lynne Nikolychuk Submitted in Fulfilment of the Requirement of The Degree of Doctor of Philosophy Interdisciplinary Institute of Management London School of Economics and Political Science August 2005 UMI Number: U214955 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U214955 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 VjS*. F 5 0 1 « 1 - U- PREFACE The establishment of UK Commercial television and the ongoing programme supply make/buy arrangements of its main terrestrial operator ITV (Independent Television) has been studied as part of a broader social and business history pertaining to the emergence and development of both commercial and public service UK television broadcasting. Briggs (1970, 1995), Briggs and Spicer (1986), Briggs and Burke (2002) provide illuminating, general accounts of how socio-political concerns have interacted with economic interests in this industry. Descriptive accounts from industry insiders (Potter 1989,1990; Sendall 1982,1983) and others (Bonner & Aston 1998) richly supplement these academic business histories. -
Cricket and TV
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository The Early Courtship of Television and Sport: The Case of Cricket, 1938-56. Richard Haynes Journal of Sport History, Fall 2009, Volume 36, No. 3, 401 - 417. Abstract The televising of cricket in Britain began in the pioneering days of broadcasting during the inter- War period. In a contemporary context the relationship between television and sport is now so well ingrained that it is difficult to imagine one without the other, as the income from rights fees and the exposure of sponsors and advertisers through the small screen drives the professional sports economy. This article traces a specific narrative of the early coverage of Test and County Cricket in England. Based on archival evidence held by the MCC and the BBC the article outlines how the marriage of television and cricket as a spectator sport tentatively began in 1938 and 1939, and then developed more formally in the decade after the Second World War. The history of negotiations over access to cricket, first with the public service broadcaster the BBC, and subsequently by commercial television, known as Independent Television (ITV) from 1955, reveals the origins of rights fees to sport and how competition for exclusive coverage led to regulatory intervention to ensure fairness between broadcasters. The relationship between the MCC and the County cricket clubs is explored in the context of managing the balance between television as commercial opportunity and as a threat to attendance at matches. 1 The early courtship of television and sport: the case of cricket, 1938-56. -
View Annual Report
ITV plc Annual Report and Accounts 2018 December 31 ended year the for ITV plc Annual Report and Accounts for the year ended 31 December 2018 Welcome to the 2018 Annual Report We are an integrated producer broadcaster, creating, owning and distributing high-quality content on multiple platforms. This is so much More than TV as we have known it. 4 ITV at a Glance 18 28 Market Review Key Performance Indicators 6 32 Chairman’s Operating and Statement Performance Review 1 Strengthen Integrated broadcaster 8 24 producer Chief Executive’s Our Strategy 2 3 Grow Create UK and global Direct to Report production consumer 26 46 54 Our Business Model Finance Risks and Review Uncertainties Contents Strategic Report Strategic Key financial highlights Contents Group external revenue1 Non-advertising revenue2 Strategic Report 2018 Highlights 2 ITV at a Glance 4 Governance £3,211m £1,971m Chairman’s Statement 6 Chief Executive’s Report 8 (+3%) (+5%) Investor Proposition 14 (2017: £3,130m) (2017: £1,874m) Non-Financial Information Statement 15 Corporate Responsibility Strategy 16 Adjusted EBITA3 Statutory EBITA Market Review 18 Our Strategy 24 £810m £785m Our Business Model 26 Key Performance Indicators 28 (-4%) (-3%) Operating and Performance Review 32 (2017: £842m) (2017: £810m) Alternative Performance Measures 44 Financial Statements Finance Review 46 Adjusted EPS Statutory EPS Risks and Uncertainties 54 15.4p 11.7p (-4%) (+15%) Governance Chairman’s Governance Statement 64 (2017: 16.0p) (2017: 10.2p) Board of Directors 66 Management Board 68 Dividend per share p (ordinary) Leverage4 Corporate Governance 70 Audit and Risk Committee Report 80 8.0p 1.1x Remuneration Report 92 Additional information (+3%) (2017: 1.0x) Directors’ Report 109 (2017: 7.8p) Financial Financial Statements 117 Statements Independent Auditor’s Report 118 Primary Statements 125 Corporate website ITV plc Company Financial We maintain a corporate website at www.itvplc.com containing Statements 189 our financial results and a wide range of information of interest to institutional and private investors. -
Notes and References
NOTES AND REFERENCES PREFACE AND ACKNOWLEDGEMENTS I. Broadcasting (HMSO, 1978) (Cmnd. 7294). 2. Report oj the Committee pn the Future ojBroadcasting (HMSO, 1977) (Cmnd. 6753) para. 4.3. 3. Ibid. para. 13.46. 4. Broadcasting, p. 21. 5. Report oj the Committee on Broadcasting rg60 (HMSO) (Cmnd. 1753) para. 20g. 6. Lord Windlesham, Broadcasting in a Free Society (Basil Blackwell, 1980) pp. 71-2. 7. B. Paulu, British Broadcasting in Transition (Macmillan, 1961). 8. B. Paulu, British Broadcasting: Radio and Teleuision in the United Kingdom (University of Minneapolis Press, 1956). 9. P. Black, The Mirror in the Corner: People'S Tel,ujsion (Hutchinson, 1972). 10. N. Swallow, Factual Teleuision (Focal Press, 1966). II. J. Gable, The Tuppen'lY Punch and Judy Show (Michael Joseph, 1980). CHAPTER I: BEVERIDGE I. H. H. Wilson, Pressure Group (Seeker and Warburg, 1961) p. 23. 2. Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8116). 3. Ibid. pp. 201-10. CHAPTER 2: BEYOND BEVERIDGE I. A. Briggs, History oj Broadcasting in the United Kingdom Vol. IV Sound and Vision (Oxford University Press, 1979) P.424· CHAPTER 3: WHITE PAPER: 1952 I. Broadcasting: Memorandum on the Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8550) para. 7. 2. Ibid. para. 9. 3. House of Lords, Hansard, (HMSO) 23 and 26 May 1952. 4. House of Commons, Hansard, (HMSO) J I June 1952. 375 NOTES AND REFERENCES CHAPTER 4: INTERLUDE 195~/3 I. A. Seldon, Churchill's Indian Summer (Hodder and Stoughton, 1981). CHAPTER 5: WHITE PAPER: 1953 I. (HMIO) Cmd. 9005. CHAPTER 6: FIELD DAYS IN PARLIAMENT: 1953 I.