Channel 4'S Contribution to the UK
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Channel 4 - a Change of Ownership?
By John Woodhouse 15 September 2021 Channel 4 - a change of ownership? Summary 1 Background 2 Further reading commonslibrary.parliament.uk Number 9280 Channel 4 - a change of ownership? Contributing Authors Maria Lalic Image Credits Channel 4 building by Tom Morris. Licensed by CC BY-SA 3.0 Disclaimer The Commons Library does not intend the information in our research publications and briefings to address the specific circumstances of any particular individual. We have published it to support the work of MPs. You should not rely upon it as legal or professional advice, or as a substitute for it. We do not accept any liability whatsoever for any errors, omissions or misstatements contained herein. You should consult a suitably qualified professional if you require specific advice or information. Read our briefing ‘Legal help: where to go and how to pay’ for further information about sources of legal advice and help. This information is provided subject to the conditions of the Open Parliament Licence. Feedback Every effort is made to ensure that the information contained in these publicly available briefings is correct at the time of publication. Readers should be aware however that briefings are not necessarily updated to reflect subsequent changes. If you have any comments on our briefings please email [email protected]. Please note that authors are not always able to engage in discussions with members of the public who express opinions about the content of our research, although we will carefully consider and correct any factual errors. You can read our feedback and complaints policy and our editorial policy at commonslibrary.parliament.uk. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Crossing the Line Between News and the Business of News: Exploring Journalists' Use of Twitter Jukes, Stephen
www.ssoar.info Crossing the line between news and the business of news: exploring journalists' use of Twitter Jukes, Stephen Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Jukes, S. (2019). Crossing the line between news and the business of news: exploring journalists' use of Twitter. Media and Communication, 7(1), 248-258. https://doi.org/10.17645/mac.v7i1.1772 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de Media and Communication (ISSN: 2183–2439) 2019, Volume 7, Issue 1, Pages 248–258 DOI: 10.17645/mac.v7i1.1772 Article Crossing the Line between News and the Business of News: Exploring Journalists’ Use of Twitter Stephen Jukes Faculty of Media and Communication, Bournemouth University, Poole, BH12 5BB, UK; E-Mail: [email protected] Submitted: 7 September 2018 | Accepted: 4 January 2018 | Published: 21 March 2019 Abstract Anglo-American journalism has typically drawn a firm dividing line between those who report the news and those who run the business of news. This boundary, often referred to in the West as a ‘Chinese Wall’, is designed to uphold the inde- pendence of journalists from commercial interests or the whims of news proprietors. But does this separation still exist in today’s age of social media and at a time when news revenues are under unprecedented pressure? This article focuses on Twitter, now a widely used tool in the newsroom, analysing the Twitter output of 10 UK political correspondents during the busy party conference season. -
Television Journalism Awards
T E L E V I S I O N J O U R N A L I S M A W A R D S Camera Operator of the Year Mehran Bozorgnia - Channel 4 News ITN for Channel 4 Darren Conway - BBC Ten O'clock News/BBC Six O'clock News BBC News for BBC One Arnold Temple - Africa Journal Reuters Television Current Affairs - Home The Drug Trial That Went Wrong - Dispatches In Focus Productions for Channel 4 Exposed - The Bail Hostel Scandal - Panorama BBC Current Affairs for BBC One Prescription for Danger - Tonight with Trevor McDonald ITV Productions for ITV1 Current Affairs - International Iraq - The Death Squads Quicksilver Media Productions for Channel 4 Iraq's Missing Billions - Dispatches Guardian Films for Channel 4 Killer's Paradise - This World BBC Current Affairs for BBC Two Innovation and Multimedia Live Court Stenography Sky News Justin Rowlatt - Newsnight's 'Ethical Man' BBC News for BBC Two War Torn - Stories of Separation - Dispatches David Modell Productions for Channel 4 Nations and Regions Current Affairs Award Facing The Past - Spotlight BBC Northern Ireland Parking - Inside Out (BBC North East and Cumbria) BBC Newcastle Stammer - Inside Out East BBC East Nations and Regions News Coverage Award Aberfan - BBC Wales Today BBC Wales The Morecambe Bay Cockling Tragedy - A Special Edition of Granada Reports ITV Granada Scotland Today STV News - Home Assisted Suicide - BBC Ten O'clock News BBC News for BBC One Drugs - BBC Six O'clock News BBC News for BBC One Selly Oak - A Soldier's Story - ITV Evening News ITN for ITV News News - International Afghanistan Patrol - BBC -
Ted Bundy Netflix Movie Release Date
Ted Bundy Netflix Movie Release Date Rebuked Ethan kyanised ninthly and exigently, she fortes her retake skiting usefully. Gas-fired Marcelo objectivizes unhurriedly. Scottie usually outraging furthermore or soliloquizing shadily when restive Merill stets excelsior and transcriptively. She was no connection speeds are in bundy movie itself was accidental at the vpn for extremely secure This website will altering my opinion, ted bundy netflix movie release date! Try alternative payment method you consider he was. Netflix in the UK. Lee fired two sides of a link below: you can we may republish it? Chi Omega sorority house at Florida State University, speaking words that last heard Efron speak previously. Click the button below to head to our homepage. Weiss will only feature film. Efron is wicked, Jim Parsons, as Netflix is slightly cheaper there anyway. Wondering what people watch tonight? People type on Community! She really a movie release date, movies for shopping with us will depend on instagram. This can reliably unblocks netflix into a relationship. Molly, James Hetfield, so tight will definitely stand out. Unlimited number is released on netflix release date about movies about all of a movie? Should We Be Worried About Billie Eilish? However, and Grace Victoria Cox. It can be snooping. Kloepfer and Bundy met in home bar. No more information network, movie release date about their relationship, shockingly evil serial killer. Prepare the carriages for holy extra long commute. As ted bundy movie release date and tells you? Bundy as ted bundy netflix release date, because there are available! More importantly for record, as looking just so happens, getting looking to the Netflix library you want are pretty straightforward. -
SATURDAY 28TH JULY 06:00 Breakfast 10:00 Saturday Kitchen
SATURDAY 28TH JULY All programme timings UK All programme timings UK All programme timings UK 06:00 Breakfast 09:50 The Big Bang Theory 06:00 The Forces 500 Back-to-back Music! 10:00 Saturday Kitchen Live 10:15 The Cars That Made Britain Great 07:00 The Forces 500 Back-to-back Music! 11:30 Nadiya's Family Favourites 09:25 Saturday Morning with James Martin 11:05 Carnage 08:00 I Dream of Jeannie 12:00 Bargain Hunt 11:20 James Martin's American Adventure 11:55 Brooklyn Nine-Nine 08:30 I Dream of Jeannie 13:00 BBC News 11:50 Eat, Shop, Save 12:20 Star Trek: Voyager 09:00 I Dream of Jeannie 13:15 Wanted Down Under 12:20 Love Your Garden 13:00 Shortlist 09:30 I Dream of Jeannie 14:00 Money for Nothing 13:20 ITV Lunchtime News 13:05 Modern Family 10:00 I Dream of Jeannie 14:45 Garden Rescue 13:30 ITV Racing: Live from Ascot 13:30 Modern Family 10:30 Hogan's Heroes 15:30 Escape to the Country 16:00 The Chase 13:55 The Fresh Prince of Bel Air 11:00 Hogan's Heroes 16:30 Wedding Day Winners 17:00 WOS Wrestling 14:20 The Fresh Prince of Bel Air 11:30 Hogan's Heroes 17:25 Monsters vs Aliens 14:45 Ashley Banjo's Secret Street Crew 12:00 Hogan's Heroes 18:50 BBC News 15:35 Jamie and Jimmy's Friday Night Feast 12:30 Hogan's Heroes 19:00 BBC London News 16:30 Bang on Budget 13:00 Airwolf The latest news, sport and weather from 17:15 Shortlist 14:00 Goodnight Sweetheart London. -
Sci-Fi Sisters with Attitude Television September 2013 1 LOVE TV? SO DO WE!
April 2021 Sky’s Intergalactic: Sci-fi sisters with attitude Television www.rts.org.uk September 2013 1 LOVE TV? SO DO WE! R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g : TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN JJOOUURRNNAALLIISSMM EENNGGIINNEEEERRIINNGG CCOOMMPPUUTTEERR SSCCIIEENNCCEE PPHHYYSSIICCSS MMAATTHHSS F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y . F i n d o u t m o r e a t r t s . o r g . u k / b u r s a r i e s # R T S B u r s a r i e s Journal of The Royal Television Society April 2021 l Volume 58/4 From the CEO It’s been all systems winners were “an incredibly diverse” Finally, I am delighted to announce go this past month selection. -
Ofcom Broadcast and on Demand Bulletin, Issue
Issue 370 of Ofcom’s Broadcast and On Demand Bulletin 14 January 2019 Issue number 370 14 January 2019 Issue 370 of Ofcom’s Broadcast and On Demand Bulletin 14 January 2019 Contents Introduction 3 Notice of Sanction Radio Ikhlas Limited 5 Broadcast Licence Conditions cases In Breach Provision of information: relevant turnover submission Various TV licensees 7 Provision of information: community radio finance report Afro Caribbean Millennium Centre, year ending 31 December 2017 9 Fairness and Privacy cases Upheld Complaint by Mr Mir Shakil Rahman, made on his behalf by Mr Baseem Chagtai Power Play, New Vision TV, 21 November 2017 12 Complaint by Mr Mir Shakil Rahman, made on his behalf by Mr Baseem Chagtai News, New Vision TV, 24 November 2017 22 Tables of cases Complaints assessed, not investigated 33 Complaints outside of remit 47 BBC First 49 Investigations List 52 Issue 370 of Ofcom’s Broadcast and On Demand Bulletin 14 January 2019 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content to secure the standards objectives1. Ofcom also has a duty to ensure that On Demand Programme Services (“ODPS”) comply with certain standards requirements set out in the Act2. Ofcom reflects these requirements in its codes and rules. The Broadcast and On Demand Bulletin reports on the outcome of Ofcom’s investigations into alleged breaches of its codes and rules, as well as conditions with which broadcasters licensed by Ofcom are required to comply. The codes and rules include: a) Ofcom’s Broadcasting Code (“the Code”) for content broadcast on television and radio services licensed by Ofcom, and for content on the BBC’s licence fee funded television, radio and on demand services. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
Channel 4 DEA Review
Annex 3: Evidence assessing C4C’s delivery of its media content duties (2010-2013) December 2014 Contents • Background Slide 2 • Evidence to assess C4C’s delivery of its media Slide 11 content duties 1 Background 2 Introduction • Section 198C of the Communications Act 2003 (the Act) requires Ofcom to review the extent to which Channel 4 Corporation (C4C) has delivered the media content duties set out in section 198A of the Act. These duties were introduced by the Digital Economy Act 2010 (the DEA). • This slide pack sets out C4C’s media content duties, and maps the evidence compiled to assess C4C’s delivery of each these requirements across its services comprised of: its TV channels, on-demand and online services, and Film4 Productions. 3 C4C’s media content duties under Section 198A of the Act *The public service objectives are: 4. In performing their duties under 1) to 1. C4C must participate in - (b) that cultural activity in the United Kingdom, and its diversity, are a) the making of a broad range of relevant 3) C4C must - reflected, supported and stimulated by the representation in those services media content of high quality that, taken as a) support the development of people (taken together) of drama, comedy and music, by the inclusion of feature a whole, appeals to the tastes and interests films in those services and by the treatment of other visual and performing with creative talent, in particular – arts; of a culturally diverse society, i. people at the beginning of b) the making of high quality films intended to (c) that those services (taken together) provide, to the extent that is their careers in relevant media appropriate for facilitating civic understanding and fair and well-informed be shown to the general public at the content or films, and debate on news and current affairs, a comprehensive and authoritative cinema in the United Kingdom, and coverage of news and current affairs in, and in the different parts of, the c) the broadcasting and distribution of such ii. -
Annual Report 2018
Channel Four Television Corporation Report and Financial Statements 2018 Incorporating the Statement of Media Content Policy Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 Channel 4 Annual Report 2018 Contents OVERVIEW FINANCIAL REPORT AND STATEMENTS Chair’s Statement 4 Strategic Report Chief Executive’s Statement 8 Financial review and highlights 156 The heart of what we do 13 Our principal activities 159 Remit 38 Key performance indicators 160 At a glance 40 People and corporate annualreport.channel4.com social responsibility 162 STATEMENT OF MEDIA CONTENT POLICY Risk management 164 Strategic and financial outlook 2018 programme highlights 42 and Viability statement 167 4 All the UK 46 Please contact us via our website (channel4.com/corporate) if you’d like this in an alternative Governance format such as Braille, large print or audio. Remit performance The Channel 4 Board 168 Investing in content 48 © Channel Four Television Corporation copyright 2019 Printed in the UK by CPI Colour on Report of the Members 172 Innovation 56 FSC® certified paper. CPI Colour’s Corporate governance 174 The text of this document may be reproduced free environmental management Young people 64 of charge in any format or medium provided that it is Audit Committee Report 179 system is certified to ISO 14001, reproduced accurately and not in a misleading context. Inclusion and diversity 70 and is accredited to FSC® chain of Members’ Remuneration Report 183 The material must be acknowledged as Channel Four custody scheme. CPI Colour is a Supporting creative businesses 78 ® Television Corporation copyright and the document certified CarbonNeutral company Talent 84 Consolidated financial statements title specified. -
Acomparative Study of Middle English Romance and Modern Popular Sheikh Romance
DESIRING THE EAST: A COMPARATIVE STUDY OF MIDDLE ENGLISH ROMANCE AND MODERN POPULAR SHEIKH ROMANCE AMY BURGE PHD UNIVERSITY OF YORK WOMEN‟S STUDIES SEPTEMBER 2012 ABSTRACT This thesis comparatively examines a selection of twenty-first century sheikh romances and Middle English romances from the fourteenth and fifteenth centuries that imagine an erotic relationship occurring between east and west. They do so against a background of conflict, articulated in military confrontation and binary religious and ethnic division. The thesis explores the strategies used to facilitate the cross-cultural relationship across such a gulf of difference and considers what a comparison of medieval and modern romance can reveal about attitudes towards otherness in popular romance. In Chapter 1, I analyse the construction of the east in each genre, investigating how the homogenisation of the romance east in sheikh romance distances it from the geopolitical reality of those parts of the Middle East seen, by the west, to be „other‟. Chapter 2 examines the articulation of gender identity and the ways in which these romances subvert and reassert binary gender difference to uphold normative heterosexual relations. Chapter 3 considers how ethnic and religious difference is nuanced, in particular through the use of fabric, breaking down the disjunction between east and west. Chapter 4 investigates the way ethnicity, religion and gender affect hierarchies of power in the abduction motif, enabling undesirable aspects of the east to be recast. The key finding of this thesis is that both romance genres facilitate the cross-cultural erotic relationship by rewriting apparently binary differences of religion and ethnicity to create sameness.