BBC Code of Practice
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7116-A BBC TV Review
Independent Review of the BBC’s Digital Television Services 1 Contents Executive Summary 2 1. Introduction 13 1.1 Background, terms of reference, and report structure 13 1.2 General and specific approval conditions 16 1.3 Review process 16 1.4 Consultation results 17 1.5 Conceptual framework: net public value 19 1.6 The BBC’s digital TV strategy and its assumptions about audience behaviour 23 1.7 Television is a mass medium, not a niche medium 26 2. Performance Against the Approval Conditions 35 2.1 CBeebies 35 2.2 CBBC 37 2.3 BBC3 41 2.4 BBC4 47 2.5 Interactivity 50 2.6 Driving digital takeup 52 2.7 Value for money 54 2.8 Performance against conditions: summary and conclusions 58 3. Market Impact 63 3.1 Introduction 63 3.2 In what ways might the BBC’s services impact the market? 65 3.3 Clarifying the “base case” 66 3.4 Direct impact on commercial channels’ revenue 69 3.5 Impact on programme supply market 77 3.6 Impact on long-run competitiveness of the market 79 3.7 Market impact: summary and conclusions 80 4. How Might the Services Develop in the Future? 82 4.1 Summary of conclusions: performance and market impact 82 4.2 The evolving market context and the BBC-TV portfolio 87 4.3 Recommendations for future development 91 Appendix: Ofcom Analysis of Genre Mix 98 Supplementary Reports* Report on CBeebies and CBBC, by Máire Messenger Davies Report on BBC3 and BBC4, by Steve Hewlett Assessment of the Market Impact of the BBC’s New Digital TV and Radio Services, by Ofcom About the Author 100 *All supplementary reports are available electronically on the DCMS website, www.culture.gov.uk 2 Independent Review of the BBC’s Digital Television Services Executive Summary This report reviews the BBC’s digital television services CBeebies, CBBC, BBC3 and BBC4. -
1 BBC Four Biopics
BBC Four biopics: Lessons in Trashy Respectability The broadcast of Burton and Taylor in July 2013 marked the end of a decade- long cycle of feature-length biographical dramas transmitted on BBC Four, the niche arts and culture digital channel of the public service broadcaster. The subjects treated in these biopics were various: political figures, famous cooks, authors of popular literature, comedians and singers. The dramas focused largely on the unhappy or complex personal lives of well-loved figures of British popular culture. From the lens of the 21st century, these dramas offered an opportunity for audiences to reflect on the culture and society of the 20th century, changing television’s famous function of ‘witness’ to one of ‘having witnessed’ and/or ‘remembering’ (Ellis, 2000). The programmes function as nostalgia pieces, revisiting personalities familiar to the anticipated older audience of BBC Four, working in concert with much of the archive and factual content on the digital broadcaster’s schedules. However, by revealing apparent ‘truths’ that reconfigure the public images of the figures they narrate, these programmes also undermine nostalgic impulses, presenting conflicting interpretations of the recent past. They might equally be seen as impudent incursions onto the memory of the public figures, unnecessarily exposing the real-life subjects to censure, ridicule or ex post facto critical judgement. Made thriftily on small budgets, the films were modest and spare in visual style but were generally well received critically, usually thanks to writerly screenplays and strong central performances. The dramas became an irregular but important staple of the BBC Four schedule, furnishing the channel with some of their highest ratings in a history chequered by low audience numbers. -
BBC R&D Annual Review 2001-2002
BBC Research & Development maintains a world-class forward research programme. This enables us to deliver significant competitive advantage to the BBC. BBC R&D ANNUAL REVIEW 1 foreword BBC Research & Development maintains a world-class forward research production systems, and the planning of a their roll-out across the BBC. Our R&D expertise programme in a variety of broadcast technologies. As a consequence we are is placing the BBC at the leading edge of this revolution – offering us a major efficiency advantage compared with our competitors. BBC Technology is implementing these pilot able to deliver significant competitive advantage to the BBC. This last year systems, and will themselves gain an important time advantage in reaching the market with has been particularly productive and fruitful. this key new technology. BBC R&D has also delivered leading-edge technology to support the BBC’s production The full benefits of digital broadcasting are now beginning to come through to our viewers function. Examples include our work on the new production centres, speech-assisted and listeners. The BBC has launched new television and radio services and significantly subtitling, high-definition video production, digital radio cameras, and virtual production. enhanced the quality and sophistication of the interactive and enhanced services on the In a time of rapid technology change, there is no shortage of demand from our BBC FOREWORD digital platform. Interactive Wimbledon 2001, the enhanced Walking with Beasts colleagues for our effort and advice. Demand exceeds our ability to meet it, and we have to programme, the BBC i-Bar, regional news programmes and the new BBC Children’s work hard to retain a significant allocation of effort to continue the long-term, blue-sky channels have all been critical successes for the BBC. -
Annual Report on the BBC 2019/20
Ofcom’s Annual Report on the BBC 2019/20 Published 25 November 2020 Raising awarenessWelsh translation available: Adroddiad Blynyddol Ofcom ar y BBC of online harms Contents Overview .................................................................................................................................... 2 The ongoing impact of Covid-19 ............................................................................................... 6 Looking ahead .......................................................................................................................... 11 Performance assessment ......................................................................................................... 16 Public Purpose 1: News and current affairs ........................................................................ 24 Public Purpose 2: Supporting learning for people of all ages ............................................ 37 Public Purpose 3: Creative, high quality and distinctive output and services .................... 47 Public Purpose 4: Reflecting, representing and serving the UK’s diverse communities .... 60 The BBC’s impact on competition ............................................................................................ 83 The BBC’s content standards ................................................................................................... 89 Overview of our duties ............................................................................................................ 96 1 Overview This is our third -
The Production of Religious Broadcasting: the Case of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output. -
COLOUR MUSIC! STLD See CBSO Get RDE Pop Lighting Treatment for HRH and BBC TV at NEC
COLOUR MUSIC! STLD see CBSO get RDE Pop Lighting Treatment for HRH and BBC TV at NEC. BOB ANDERSON The Society of Television Lighting studio, representatives from Playlight, CCT Directors had the unusual experience on and Lee Colortran demonstrated some of June 25th of watching a top Pop lighting their latest lurninaires and portable controls. phone system. Without the questions the designer, Richard Dale, creating spectacu Then the party transferred to the NEC. answers made little sense. Sound, the lar colour lighting effects for a performance Hall 7 at the NEC is about the same size as audience PA system, cut in and out, ofRavel's "Bolero" to be performed before the Wembley Arena, about 120,000 sq. ft. presumably to test balances, and, inciden Prince Charles at the National Exhibition and seats 6,000 people in concert layout. tally, thereby demonstrated how well sound Centre the following night and transmitted You have probably seen show jumping reinforcement can work when the aim is to live on BBC television. televised from there. When the horses assist hearing instead of to attack it. The STLD arrange meetings four or five · depart the main floor is swept clean and Lighting faded and altered as Richard and times a year for members to see studios, filled with countless rows of seats and a flat the hidden electronics control engineers equipment or other matters of interest in the floor facing the platform and on scaffold agreed working limits. Continuing streams general field of performance lighting. terraces along the back and sides. Lighting of water descended from the laser until it Occasionally meetings involve visits to TV is industrial high pressure sodium flood was eventually lowered for major surgery. -
BBC Children's News and First-Run UK Originated Programmes
BBC Children’s news and first-run UK originations Statement on the BBC’s request to change its Operating Licence [] Redacted for publication BBC Children’s news and first-run UK originations – Welsh overview STATEMENT: Publication Date: 28 July 2020 Contents Section 1. Overview 1 2. Background 4 3. Our decisions on changes to the Operating Licence 7 Annex A1. Comparison of current and revised Operating Licence conditions 50 A2. Notice of Variation 56 A3. Equality impact assessment 59 1. Overview This document explains Ofcom’s final decisions following a request by the BBC to change its Operating Licence to allow it to meet its news and new content commitments for children by increasing its online provision. This follows a consultation setting out our provisional views, which we published in November 2019. Our research shows that children are increasingly consuming content online, while the reach of linear television on the TV set among children is continuing to decline.1 In April-May 2020, during lockdown, linear viewing saw a resurgence among children, but it is already falling again.2 Given these changes, the BBC must innovate and adapt its approach in order to stay relevant to its youngest audiences. In Ofcom’s most recent Annual Report on the BBC3, we said that the BBC needs to work harder to reach young people by making content that appeals to them and ensuring that it is readily available where they want it. If younger audiences don’t engage with the BBC, then public support for the licence fee could be eroded, which is a significant risk to the future sustainability of the BBC. -
Tvc Handbook.Pdf
THE BBC TELEVISION CENTRE THE BRITISH BROADCASTING CORPORATION . for Britain and the world THE BBC TELEvrsroN CENrnr, openedin June designedto meet not only the needsof today, but of 1960, is the hub of Britain's national television net- the future too; it is equipped to meet possiblefuture work. It housesthe world's seniortelevision service in developments such as colour television and trans- the most up-to-date, self-contained broadcasting missionsby 625-line definition. Meantime, the Centre centre in Europe-the fust in Britain to be designed is already the western terminal of a vast complex of specificallyfor television. ri(ithin its studios are pro- vision circuits that span Europe, with Eurovision in duced programmesnot only for the BBC's own net- the west of the continent and Intervision beyond. work, but also for use in many parts of the world: Every year, the Centre is visited by television BBC television material is exported to more than executivesfrom broadcastingorganizations through- seventy countries. The Television Centre has been out the world, and more and more it is becoming a venue for international assembliesconcerned with the nrnorc<< nftelcwicinn Its significancelies largely in irs extensiveequip- The Main Entrdnce by night ment for production by electronic methods. Apart from programmesproduced in the studios,the Centle 40 ft (rr.5 m) high and this is surmounted by a houses equipment for the transmission of films and gilded bronze figure of Helios, the all-seeingSun God apparatuswhich enablesprogrammes to be recorded of Greek mythology. Two reclining bronze figures and reproducedat a later time. over the pool of the fountain represent Sound and The Centre occupies a site of r3, acres (5.4 hec- Vision. -
An Economic Review of the Extent to Which the BBC Crowds out Private Sector Activity
An economic review of the extent to which the BBC crowds out private sector activity A KPMG Report commissioned by the BBC Trust October 2015 FINAL REPORT Important Notice This report (‘Report’) has been prepared by KPMG LLP in accordance with specific terms of reference (‘terms of reference’) agreed between the British Broadcasting Corporation Trust (‘BBC Trust’ or ‘the Addressee’), and KPMG LLP (‘KPMG’). KPMG has agreed that the Report may be disclosed to third parties. KPMG wishes all parties to be aware that KPMG’s work for the Addressee was performed to meet specific terms of reference agreed between the Addressee and KPMG LLP and that there were particular features determined for the purposes of the engagement. The Report should not therefore be regarded as suitable to be used or relied on by any other person or for any other purpose. The Report is issued to all parties on the basis that it is for information only. Should any party choose to rely on the Report they do so at their own risk. KPMG will accordingly accept no responsibility or liability in respect of the Report to any party other than the Addressee. KPMG does not provide any assurance on the appropriateness or accuracy of sources of information relied upon and KPMG does not accept any responsibility for the underlying data used in this report. No review of this report for factual accuracy has been undertaken. For this report, the BBC Trust has not engaged KPMG to perform an assurance engagement conducted in accordance with any generally accepted assurance standards and consequently no assurance opinion is expressed. -
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. -
Dispatches from Television Centre Issue 1
I s s u e 1 Dispatches from Television Centre Food Slice of life: Meet the team behind Homeslice Landscapes A closer look at Hammersmith Park, which isn’t where you think it is Culture Many moons ago: The story of the BBC’s broadcast of Apollo 11 transmission 1 WELCOME WELCOME The future is a bright one in W12. Warehouses are turning into homes, industrial spaces are becoming startup studios and both Imperial College a n d t h e Roya l C o l l ege o f A r t a r e expanding their campuses into White City. B u t i t ’ s n o t a l l n e w k i d s o n t h e b l o c k . To p e o p l e l i k e Mario Testino, Stella McCartney and fast fashion retailer Monsoon, w h o a l l operate their businesses from the area, t h i s c o r n e r o f w e s t L o n d o n i s o l d n e w s . To businesses like the S o h o H o u s e G r o up, w h o are set to open a new members’ club, hotel and gym, or like YOOX NET-A-PORTER, w h o are moving their tech operations to White City Place, this once overlooked slice of the city marks the next frontier. Indeed, the historic Television Centre Bright is a catalyst for much of the surrounding regeneration – and this circular structure is g o i n g t h r o u g h a t r a n s f o r m a t i o n o f i t s o w n . -
Administrative Appeals Tribunal
*gaAg-k Administrative Appeals Tribunal ADMINISTRATIVE APPEALS TRIBUNAL No: 2010/4470 GENERAL ADMINISTRATIVE DIVISION Re: Australian Subscription Television and Radio Association Applicant And: Australian Human Rights Commission Respondent And: Media Access Australia Other Party TRIBUNAL: Ms G Ettinger, Senior Member DATE: 30 April 2012 PLACE: Sydney In accordance with section 34D(1) of the Administrative Appeals Tribunal Act 1975: in the course of an alternative dispute resolution process, the parties have reached an agreement as to the terms of a decision of the Tribunal that is acceptable to the parties; and the terms of the agreement have been reduced to writing, signed by or on behalf of the parties and lodged with the Tribunal; and the Tribunal is satisfied that a decision in those terms is within the powers of the Tribunal and is appropriate to make. Accordingly the Tribunal sets aside the decision of the Respondent and substitutes a decision that reflects the conditions jointly agreed by the parties and annexed to this decision. [ IN THE ADMINISTRATIVE APPEALS TRIBUNAL File Number 2010/4470 AUSTRALIAN SUBSCRIPTION TELEVISION AND RADIO ASSOCIATION Applicant AND AUSTRALIAN HUMAN RIGHTS COMMISSION Respondent AND MEDIA ACCESS AUSTRALIA Joined Party BY CONSENT THE TRIBUNAL MAKES THE FOLLOWING ORDERS PURSUANT TO SECTION 55 OF THE DISABILITY DISCRIMINATION ACT 1992 (CTI1): 1. Exemption 1.1 Each of the Entities is exempt from the operation of ss 5, 6, 7, 8,24, 122 and 123 of the Disability Discrimination Act 1992 (Cth) in respect of the provision of Captioning from the date of this Order until 30 June 2015 on the condition that it complies with the conditions outlined below that are applicable to it by reason of its operation as either a Channel Provider or a Platform.