BBC Beyond the Broadcast Outreach and the BBC’S Public Purposes
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Statement: Ofcom's Plan of Work 2021/22
Ofcom’s plan of work 2021/22 Making communications work for everyone Ofcom’s plan of work 2021/22 – Welsh translation STATEMENT: Publication Date: 26 March 2021 Contents Section 1. Chief Executive’s foreword 1 2. Overview 3 3. Our goals and priorities for 2021/22 9 4. Delivering good outcomes for consumers across the UK 31 Annex A1. What we do 37 A2. Project work for 2021/2022 39 Plan of Work 2021/22 1. Chief Executive’s foreword Ofcom is the UK’s communications regulator, with a mission to make communications work for everyone. We serve the interests of consumers and businesses across the UK’s nations and regions, through our work in mobile and fixed telecoms, broadcasting, spectrum, post and online services. Over the past year we have learned that being connected is everything. High-quality, reliable communications services have never mattered more to people’s lives. But as consumers shift their habits increasingly online, our communications sectors are transforming fast. It is an exciting moment for our industries and for Ofcom as a regulator - it requires long-term focus alongside speed and agility in response to change. Against this backdrop our statement sets out our detailed goals for the coming financial year, and how we plan to achieve them. On telecoms, Ofcom has just confirmed a new long-term framework for investment in gigabit- capable fixed networks. In the coming year, we will shift our focus to support delivery against this programme, alongside investment and innovation in 5G and new mobile infrastructure. Following legislation in Parliament, we will put in place new rules to hold operators to account for the security and resilience of their networks. -
Digital Television Transmitters: Pre-Switchover Network
Digital Television Transmitters: pre-switchover network This leaflet provides details of the Digital Terrestrial Television (DTT) transmitters which have not yet switched over to fully-digital operation (the 'low power' DTT network). Detailed information on post-switchover transmitter characteristics is available on the Ofcom website at www.ofcom.org.uk. Transmitters are grouped according to the ITV1 region that they broadcast, which will determine each transmitter's place in the digital switchover sequence. Details of the programme services carried in each multiplex are available on the Digital Television Group's website, www.dtg.org.uk/retailer. While this information is believed to be correct at the time of preparation, changes to the DTT network will occur, particularly as more transmitters switch to digital. For the latest information, please see the Ofcom website, www.ofcom.org.uk, or Digital UK's website, www.digitaluk.co.uk. Multiplex 1 Multiplex 2 Multiplex A Multiplex B Multiplex C Multiplex D Multiplex 1 Multiplex 2 Multiplex A Multiplex B Multiplex C Multiplex D BBC Digital 3&4 SDN BBC Arqiva Arqiva BBC Digital 3&4 SDN BBC Arqiva Arqiva Avg. Avg. Aerial ERP ERP ERP ERP ERP ERP Aerial ERP ERP ERP ERP ERP ERP Site Name NGR Aerial Site Name NGR Aerial Group (kW) (kW) (kW) (kW) (kW) (kW) Group (kW) (kW) (kW) (kW) (kW) (kW) Offset Offset Offset Offset Offset Offset Offset Offset Offset Offset Offset Height Offset Height Channel Channel Channel Channel Channel Channel Channel Channel Channel Channel Channel Channel Anglia Tyne Tees -
SUBMISSION by CHANNEL 5 BROADCASTING LTD to OFCOM CALL for INPUTS on MANAGING the EFFECTS of 700 Mhz CLEARANCE
SUBMISSION BY CHANNEL 5 BROADCASTING LTD TO OFCOM CALL FOR INPUTS ON MANAGING THE EFFECTS OF 700 MHz CLEARANCE Channel 5 welcomes the opportunity to respond to this call for inputs. As we are not a multiplex operator we do not have access to technical data that would enable us to answer all of Ofcom’s questions. But we do have strong views on the importance of the DTT platform and how the clearance programme should be managed. We are confident the 700 MHz clearance programme can be sensibly managed, especially in light of the experience gained during digital switchover (DSO) and the 800 MHz clearance programme. In planning the clearance programme, the greatest priority should be maintenance of confidence in the platform for the tens of millions of viewers who depend on it for viewing on both primary and secondary television sets. The DTT platform is of critical importance for public service broadcasting. For example, Channel 5 has eight channels1 broadcasting on DTT; it is the platform on which our channels are watched most and which is of greatest commercial benefit to us. We believe it is important for there to be a coherent and well resourced support and communications plan. Digital UK has proved itself an effective platform management body, as well as having past experience of DSO and 800 MHz clearance, so we would expect it to have the lead role in managing the programme. The programme itself needs to be properly resourced by government; the clearance programme is taking place to facilitate long-term economic benefits that will accrue to the mobile operators and the wider economy, not to DTT viewers, so the costs of it should be met from the public purse. -
House of Commons Welsh Affairs Committee
House of Commons Welsh Affairs Committee S4C Written evidence - web List of written evidence 1 URDD 3 2 Hugh Evans 5 3 Ron Jones 6 4 Dr Simon Brooks 14 5 The Writers Guild of Great Britain 18 6 Mabon ap Gwynfor 23 7 Welsh Language Board 28 8 Ofcom 34 9 Professor Thomas P O’Malley, Aberystwth University 60 10 Tinopolis 64 11 Institute of Welsh Affairs 69 12 NUJ Parliamentary Group 76 13 Plaim Cymru 77 14 Welsh Language Society 85 15 NUJ and Bectu 94 16 DCMS 98 17 PACT 103 18 TAC 113 19 BBC 126 20 Mercator Institute for Media, Languages and Culture 132 21 Mr S.G. Jones 138 22 Alun Ffred Jones AM, Welsh Assembly Government 139 23 Celebrating Our Language 144 24 Peter Edwards and Huw Walters 146 2 Written evidence submitted by Urdd Gobaith Cymru In the opinion of Urdd Gobaith Cymru, Wales’ largest children and young people’s organisation with 50,000 members under the age of 25: • The provision of good-quality Welsh language programmes is fundamental to establishing a linguistic context for those who speak Welsh and who wish to learn it. • It is vital that this is funded to the necessary level. • A good partnership already exists between S4C and the Urdd, but the Urdd would be happy to co-operate and work with S4C to identify further opportunities for collaboration to offer opportunities for children and young people, thus developing new audiences. • We believe that decisions about the development of S4C should be made in Wales. -
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. -
Stream Name Category Name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---TNT-SAT ---|EU| FRANCE TNTSAT TF1 SD |EU|
stream_name category_name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---------- TNT-SAT ---------- |EU| FRANCE TNTSAT TF1 SD |EU| FRANCE TNTSAT TF1 HD |EU| FRANCE TNTSAT TF1 FULL HD |EU| FRANCE TNTSAT TF1 FULL HD 1 |EU| FRANCE TNTSAT FRANCE 2 SD |EU| FRANCE TNTSAT FRANCE 2 HD |EU| FRANCE TNTSAT FRANCE 2 FULL HD |EU| FRANCE TNTSAT FRANCE 3 SD |EU| FRANCE TNTSAT FRANCE 3 HD |EU| FRANCE TNTSAT FRANCE 3 FULL HD |EU| FRANCE TNTSAT FRANCE 4 SD |EU| FRANCE TNTSAT FRANCE 4 HD |EU| FRANCE TNTSAT FRANCE 4 FULL HD |EU| FRANCE TNTSAT FRANCE 5 SD |EU| FRANCE TNTSAT FRANCE 5 HD |EU| FRANCE TNTSAT FRANCE 5 FULL HD |EU| FRANCE TNTSAT FRANCE O SD |EU| FRANCE TNTSAT FRANCE O HD |EU| FRANCE TNTSAT FRANCE O FULL HD |EU| FRANCE TNTSAT M6 SD |EU| FRANCE TNTSAT M6 HD |EU| FRANCE TNTSAT M6 FHD |EU| FRANCE TNTSAT PARIS PREMIERE |EU| FRANCE TNTSAT PARIS PREMIERE FULL HD |EU| FRANCE TNTSAT TMC SD |EU| FRANCE TNTSAT TMC HD |EU| FRANCE TNTSAT TMC FULL HD |EU| FRANCE TNTSAT TMC 1 FULL HD |EU| FRANCE TNTSAT 6TER SD |EU| FRANCE TNTSAT 6TER HD |EU| FRANCE TNTSAT 6TER FULL HD |EU| FRANCE TNTSAT CHERIE 25 SD |EU| FRANCE TNTSAT CHERIE 25 |EU| FRANCE TNTSAT CHERIE 25 FULL HD |EU| FRANCE TNTSAT ARTE SD |EU| FRANCE TNTSAT ARTE FR |EU| FRANCE TNTSAT RMC STORY |EU| FRANCE TNTSAT RMC STORY SD |EU| FRANCE TNTSAT ---------- Information ---------- |EU| FRANCE TNTSAT TV5 |EU| FRANCE TNTSAT TV5 MONDE FBS HD |EU| FRANCE TNTSAT CNEWS SD |EU| FRANCE TNTSAT CNEWS |EU| FRANCE TNTSAT CNEWS HD |EU| FRANCE TNTSAT France 24 |EU| FRANCE TNTSAT FRANCE INFO SD |EU| FRANCE TNTSAT FRANCE INFO HD -
The Future of Digital Terrestrial Television
THE FUTURE OF DIGITAL TERRESTRIAL TELEVISION Purpose of this document This document sets out the BBC Trust’s response to the Ofcom consultation document on the future of digital terrestrial television (DTT). Context The Trust’s consideration of Ofcom’s proposals must take into account a number of different aspects of our remit: • Our duties under the BBC Charter and Agreement to act as guardian of the licence fee and the public interest, to represent the interests of licence fee payers and to exercise rigorous stewardship of public money • Our regulatory interest in ensuring the efficient use of spectrum by the BBC • Our regulatory obligations with respect to any ‘non-service’ application that might be made to the Trust by the BBC Executive This response has been prepared with each of those interests in mind. The Trust welcomes Ofcom’s consultation. As noted in our conclusions on the Public Value Test for the BBC Executive’s proposed high definition (HD) service, we would like to see the BBC’s HD service launched on Freeview as soon as possible. We also recognise that there are advantages, in terms of achieving the critical mass necessary for existing Freeview users to upgrade to HD-compatible equipment, in seeking ways to establish other PSB HD services on the DTT platform in a co-ordinated way. Ofcom shared this view in its MIA work, concluding that the Trust should: “…ensure that the launch of any BBC HD channel on DTT is considered in the context of the potential delivery of a wider range of HD services on DTT. -
Now for a Lampshade Solo: How the Radiophonic Workshop Built the Future of Sound
https://www.theguardian.com/tv-and-radio/2018/jul/18/lampshade-solo-radiophonic-workshop-built- future-of-sound-festivals Now for a lampshade solo: how the Radiophonic Workshop built the future of sound Pascal Wyse Wed 18 Jul 2018 They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning. On a mission … a recording session in 1962. Photograph: BBC Photo Library In 1957, just before the broadcast of a radio show called Private Dreams and Public Nightmares, a warning was sent to BBC engineers. “Don’t attempt to alter anything that sounds strange,” it said. “It’s meant to sound that way.” The BBC was also worried about the public. Donald McWhinnie, the programme’s maker, made an explanatory statement, ending with the cheerful signoff: “One thought does occur – would it not be more illuminating to play the whole thing backwards?” Radiophonic sound was now in the public domain. A year later, to the bewilderment of many, the BBC dedicated a whole workshop to this avant-garde stuff, even giving it a home in an old ice rink: Maida Vale Studios. Years later, the Queen, shaking hands with the Workshop’s creator, Desmond Briscoe, would confirm its universal success with the words: “Ah yes, Doctor Who.” But what is radiophonic sound – and why did it need a workshop? Radiophonics owes everything to the invention of the tape recorder. Once you could capture sound, using a workable material, you could play with it: slow it down until it thundered, feed it back on itself until it shrieked and echoed, or simply slice bits out. -
Jonny Greenwood
JONNY GREENWOOD Jonny Greenwood (b. 1971) is best known as the lead guitarist of the band Radiohead whom he joined while still at school. He started to study psychology and music at Oxford Brookes University, but only finished his first term before leaving to sign a six-album deal with EMI, and start his recording career with Radiohead. Radiohead have realised phenomenal success over the past decade, with multi-platinum album sales and an ever growing worldwide following. Greenwood is no stranger to classical music, though. Indeed, his early musical interests included Messiaen and Ligeti and he started out as a viola player. He plays several other instruments too, including piano, organ, banjo, glockenspiel and harmonica, and he has a particular love for the ondes martenot. To date Greenwood has penned three “classical” works. These compositions have been licensed to Faber Music: smear (two ondes martenots and ensemble), Popcorn Superhet Receiver (string orchestra) and Doghouse (string trio and orchestra). smear, commissioned by the FuseLeeds festival, was premiered there in March 2004 by the London Sinfonietta. In March 2005 Greenwood was Featured Composer at the South Bank Centre’s cutting- edge Ether Festival, where the revised version of smear was performed by the London Sinfonietta in the Royal Festival Hall, one of its’ two sell-out concerts there. smear was later released on CD on the London Sinfonietta Label as part of their Jerwood Series. In 2004, Greenwood was made Composer in Residence with the BBC Concert Orchestra. The first fruit of this association was Popcorn Superhet Receiver, a BBC commission, premiered by the BBC Concert Orchestra and Robert Ziegler in April 2005. -
Cutting Red Tape – Is Dealing with HR Easier Now? Page 10
P H otograp 08·12·09 Week 49 explore.gateway.bbc.co.uk/ariel H: step H en THE BBC NEWSPAPER GIBSON Staff with hidden talents among traders a at Pacific Quay Christmas Market Quay to a crafty Xmas page 4 ◆ Victoria Derbyshire ◆ Uploading the ‘next ◆ Cutting red tape – broadcasts live from big thing’ with BBC is dealing with HR Zimbabwe Page 3 Introducing Pages 8-9 easier now? Page 10 > NEWS 2-4 WEEK AT WORK 7 OPINION 10 MAIL 11 JOBS 14 GREEN ROOM 16 < 162 News aa 00·00·08 08·12·09 CITIZEN JOURNALISM POSES CHALLENGE The etiquette a Sharper skills needed to sort of social media a & a Room 2316, White City 201 Wood Lane, London W12 7TS fact from fiction, says Boaden 020 8008 4228 by Sally Hillier Editor NICK Candida Watson 02-84222 u THE RAPID RISE of user generated content Reynolds Deputy editor and social media sites promises new possi- Cathy Loughran 02-27360 bilities but has also ‘opened a can of worms’, SOCIAL MEDIA; WE LOVE IT. I’m making a very Chief writer Helen Boaden, director of news, has warned. good living out of social media myself. Sally Hillier 02-26877 At a White City seminar on Monday, she But if you want to be ‘social’ it’s about more Features editor pointed to the ‘huge benefits’ of citizen jour- than just starting a Twitter account. For to be Clare Bolt 02-27445 nalism – during the February snowstorms, social is to be human. As Stephen Fry wisely Broadcast Journalist for example, the BBC received 65,000 pic- said recently, Twitter (and he could have eas- Claire Barrett 02-27368 tures – while making clear that there were ily said all social media) is ‘human shaped not Art editor also significant downsides to this particular business shaped’. -
BBC Radio International Pop Docs Catalogue Contents
BBC Radio International Pop Docs Catalogue BBC Radio International brings you innovative music documentaries covering rock, pop, jazz, country, classical and much more. With access to both new and established artists and performers we provide your listeners with a special insight into their favourite artists' lives. Here you will find profiles of new bands, exclusive in-depth interviews with the biggest stars, unique material from the largest music archive in the world, plus original unreleased music and exclusive concert recordings as we celebrate music as a living and developing art form. You can easily search the BBC music documentaries by genre. Take a look through the options available and select from hundreds of hours of content spanning from present day back through the last twenty years. Most programmes are one hour in duration and you can pick and choose any titles that suit your listeners, including selecting individual episodes from a series. The catalogue is updated on a quarterly basis so look out for new and exciting programmes and feel free to get in touch with the team to find out more. All rights are cleared by the BBC and all relevant royalties and payaways will be originated by the BBC. The licensee only reports music to a relevant local collection society. Have a question or want to know more about a specific genre or programme? Contact: Larissa Abid, Ana Bastos or Laura Lawrence for more details. Contents Classic Pop and Rock ...............................................................................................................................................2 -
Commissioning Brief No.: 20217 BBC Radio 2'S Golden Hour Talent
RADIO COMMISSIONING FRAMEWORK Commissioning Brief Commissioning Brief No.: 20217 BBC Radio 2’s Golden Hour Talent: Tony Blackburn From November/December 2020 BBC Radio Popular Music Network - CONFIDENTIAL CONTENTS SECTION A: EDITORIAL OPPORTUNITY ...................................................................................... 3 1. The Opportunity ........................................................................................................................ 4 2. Editorial Strategy ...................................................................................................................... 4 3. Editorial Objectives .................................................................................................................. 5 4. Music Policy .............................................................................................................................. 5 5. Key Deliverables ....................................................................................................................... 5 6. Success Measures ................................................................................................................... 5 7. Social Media / Digital / Extra deliverables ............................................................................ 5 8. Risk Management .................................................................................................................... 6 9. Additional Information / Requirements .................................................................................