2008-1 Cover Section V2.Indd

Total Page:16

File Type:pdf, Size:1020Kb

2008-1 Cover Section V2.Indd ROYAL TELEVISION SOCIETY ANNUAL REPORT 2008 AGM 27 May 2009 at 6:00pm at the RTS, Kildare House, 3 Dorset Rise, London EC4Y 8EN Patrons Ofcom Principal Patrons Pepper Post Production PRS for Music BBC S4C BSkyB SMG Channel 4 Television UKTV ITV Value Partners Management Consulting International Patrons RTS Patrons ABN Amro APTN Accenture Autocue Discovery Communications Europe Avid Technology Europe Microsoft Bloomberg MTV Channel Television NBC Universal Digital Television Group OC&C Strategy Consultants Granada Television RTL Group HIT Entertainment Time Warner Ikegami Electronics UK Walt Disney Company ITV Anglia ITV London ITV Meridian Major Patrons ITV Tyne Tees ITV West Arqiva ITV Yorkshire Ascent Media Networks Panasonic Broadcast Europe BT Vision PricewaterhouseCoopers Cable & Wireless Quantel Deloitte Radio Telefís Éireann DLA Piper Reuters Television Enders Analysis SMG Grampian Television Five SMG Scottish Television FremantleMedia Tektronix (UK) GMTV Tiger Aspect IMG Media Ulster Television ITN University College, Falmouth KPMG University of Teesside Millbank Studios Vinten Broadcast 2 R O YA L T E L E V I S I O N S O C I E T Y REPORT 2008 Contents Patrons 2 Notice of AGM 2009 4 Form of proxy 5 Advisory Council election manifestos 6 Minutes of AGM 2008 7 Board of Trustees report to members 10 National events 2008 23 Centres report 2008 24 Who’s who at the RTS 30 Auditors’ report 32 Financial statements 33 Notes to the financial statements 36 Trustees’ and Directors’ reports 43 Picture credits 51 R O YA L T E L E V I S I O N S O C I E T Y REPORT 2008 3 Notice of AGM 2009 The 80th Annual General Meeting of the Royal Television 4 To elect Paul Corley, John Mair, Lucy Pilkington and Sue Society will be held on Wednesday 27 May 2009 at: Robertson as Members of Council. Kildare House 3 Dorset Rise 5 To consider – and if thought fit, pass – the following London EC4Y 8EN Special Resolution. at 6:00pm. A Special Resolution that the Memorandum of Association of the Society be amended by the deletion of the existing Clause 2 and the substitution therefor of the following: Voting by proxy Under Article 24, members of the Society are empowered to 2. The objects for which the Society is established appoint a proxy to attend and vote at the AGM. The completed are: proxy form, on page 5, should reach Head Office no less than 2.1 The advancement of public education in the 48 hours before the meeting. practice, technology, art and science of television and allied fields; and 2.2 The advancement of the arts and culture, in particular by promoting and encouraging the Agenda achievement of high standards of creativity in 1 To approve the minutes of the previous Annual General television and allied fields. Meeting held on 23 May 2008. 6 To appoint Arram Berlyn Gardner as auditors for 2009/10 2 To approve the 2008 Annual Report. and to authorise the Board of Trustees to fix their remuneration. 3 To receive the Financial Report, Balance Sheet and Accounts for the year ended 31 December 2008. 7 Any other business. Proposed amendment of Clause 2 of the Society’s Memorandum of Association One of the responsibilities of the Board of Trustees of the the advancement of the arts and culture alongside the exist- Society is to keep its constitution under review and in par- ing educational object. ticular to ensure, as far as reasonably possible, that its chari- This is, to some extent, uncharted territory in that neither table purposes keep pace with the changing nature of televi- the courts nor the new Charity Tribunal have had occasion to sion and related subjects as well as reflecting the Society’s rule on the effect of this wording being included in the Chari- current role and aspirations. ties Act 2006. The Society has for many years regarded the advancement However, the Charity Commission has indicated that it has of art and culture as central to its remit but the constraints no objection to the proposed new Clause 2 it is hoped that the of charity law have until now meant that it has had to regard amended objects will give the Society greater freedom and this as subservient to the purpose of advancing education. At flexibility to promote high standards of creativity in television present, its objects are as follows: through such means as its awards programmes as well as its educational work. The advancement of public education in the science, practice, technology and art of television and its allied Sir Robert Phillis fields and other scientific subjects. Chair of the Board of Trustees The arrival of the Charities Act 2006 brought with it, for the first time, a list of descriptions of the purposes that the law recognises as charitable. This list now includes the advance- ment of art and culture without any requirement that it be linked with education. The Board of Trustees would now like to take the opportu- nity to amend the objects to include an express reference to 4 R O YA L T E L E V I S I O N S O C I E T Y REPORT 2008 Form of proxy If you wish to I, ....................................................................................................................................................................... appoint another member please of ...................................................................................................................................................................... insert the name of your proxy here. being a member of the above named Society and entitled to vote hereby appoint You may delete reference to the ........................................................................................................................................................................., Honorary Treasurer and Chair. Initial or, failing him, the Honorary Treasurer, or, failing him, the Chair of the meeting, as my proxy to vote for the alteration me and on my behalf at the AGM of the Society to be held on 27 May 2009 at 6:00pm and at any adjourn- ment thereof. In respect of the resolutions referred to in the Notice of the Meeting, I desire my proxy to vote as indicated: For Against Abstain Please insert ‘x’ 1.0 Approve minutes of the previous meeting held on in the appropriate 28 May 2008: box if you wish to instruct your proxy on how to vote 2.0 Approve the 2008 Annual Report: 3.0 To receive and adopt Financial Report, Balance Sheet and Accounts for the year ended 31 December 2008: 4.1 To elect as a member of the Advisory Council Paul Corley: 4.2 To elect as a member of the Advisory Council John Mair: 4.3 To elect as a member of the Advisory Council Lucy Pilkington: 4.4 To elect as a member of the Advisory Council Sue Robertson: 5.0 To approve the Special Resolution to amend Clause 2 of the Society’s Memorandum of Association: 6.0 To appoint Arram Berlyn Gardner as auditors for 2009/10 and to authorise the Board of Trustees to fix their remuneration: (If this form is signed without any indication as to how the proxy shall vote, the proxy will exercise his or her discretion both as to how he or she votes or abstains from voting) Signature ........................................................................................................... Date ..................................... Form of proxy 1 Under Article 24, members of the Society are empowered to vote at the AGM by proxy. To notes be valid, this form of proxy must be deposited at the Royal Television Society, Kildare House, 3 Dorset Rise, London EC4Y 8EN not less than 48 hours before the meeting. 2 The proxy, who must be a member of the Society, must attend the meeting in person to represent you. 3 Unless otherwise directed, the proxy will vote or abstain as he or she sees fit. R O YA L T E L E V I S I O N S O C I E T Y REPORT 2008 5 RTS Advisory Council election manifestos 2009 casting side of our industry, which I believe will be crucial Paul Corley to the RTS debates over the coming year, especially in this uncertain time. >Sponsors: Wayne Garvie; Jane Lighting; David Lowen; Grant Murray; Sue Robertson I would like to seek re-election to the RTS Advisory Council. I Sue Robertson have been a member of the Advisory Council for the past two years and was a member of RTS Council before that. Director of corporate affairs, Five I was elected a Trustee of the RTS by the Advisory Council and have performed those duties diligently during the past >Sponsors: Wayne Garvie; Jane Lighting; David Lowen; Grant two years. I am also a co-opted non-executive member of the Murray; Martin Scott RTS Executive Committee. I have been director of corporate affairs at Five since Janu- I have enjoyed a 35-year career in television, working ary 2001. Prior to this I was director of corporate affairs at for BBC, ITV and Channel 4. Senior posts held in television United Broadcasting and Entertainment (1999-2000) and include managing director of Carlton Broadcasting, chief head of corporate affairs at Channel 4 (1995-1999). I worked executive of Border plc, and managing director of GMTV. I at the BBC (1987-1995), initially in production on Panorama, was also commissioning editor of factual programmes for Question Time and Newsnight and then as a manager within ITV in the late 1990s. Political Programmes. Having worked half of my life outside London (Cumbria Before starting my TV career, I worked as secretary to the and the North East, as well as a spell for Granada) I under- SDP Parliamentary Committee and as press secretary to the stand the issues facing the RTS now in extending its activities Rt Hon Dr David Owen MP. regionally and to younger members. It is important also that I have been vice-chair of the RTS (2002-2005) and chaired the RTS continues to reinvent itself as digital broadcasting the Early Evening Events Committee during this period.
Recommended publications
  • October 12-18 Videofest.Org Video Association of Dallas Make Films That Matter
    ANGELIKA FILM CENTER OCTOBER 12-18 VIDEOFEST.ORG VIDEO ASSOCIATION OF DALLAS MAKE FILMS THAT MATTER UNIVERSITY OF The Department of Art and TEXAS ARLINGTON Art History at UTA has an ART+ART HISTORY excellent reputation for FILM/VIDEO PROGRAM grooming young filmmakers, preparing WWW.UTA.EDU/ART 817-272-2891 them for the creative challenges and emotional rigors of the motion picture industry. Call our advising sta to find out how you can train to be a vital part of the film industry. Art Art History Department 2 CONTENTS 2 BROUGHT TO YOU BY 3 2015 BOARD OF DIRECTORS 4 SPONSORS & CONTRIBUTORS 8 WELCOME BY BART WEISS 10 ABOUT OUR JURORS 14 TEXAS SHOW JURORS 16 KOVACS AWARD 18 HONOREES 26 SCREENINGS 52 SCHEDULE 1 BROUGHT TO YOU BY BARTON WEISS YA’KE SMITH Artistic Director Festival Bumpers RAQUEL CHAPA MARK WICKERSHAM Managing Director KARL SCHAEFFER Transportation BOXOFFICE: PREKINDLE SELIG POLYSCOPE COMPANY CAMERON NELSON Videography Technical Supervisor REDMAN I AM CHRISTIAN VASQUEZ Trophies DAVID GRANDBERRY Technical Assistant MATTHIEU CARTAL DAKOTA FORD MARISSA ALANIS MATTHEW GEISE MARGARITA BIRNBAUM VIVIAN GRAY AMY MARTIN Outreach MIKE MILLER YUMA MORRIS KELLY J KITCHENS ELEONORA SOLDATI Interns RONI HUMMEL Media Relations/Entertainment Publicity BETH JASPER ALVIN HYSONG DANA TURNER MARSHALL PITMAN Program Editor WES SUTTON Programmers TAMITHA CURIEL Newsletter Editor RON SIMON Curator of Television Pasily Center CYNTHIA CHAPA Program Content ED BARK Critic Uncle Barkey SULLIVANPERKINS MICHAEL CAIN Graphic Design Filmmaker, former head of AFI Dallas Festival DESIGN TEXAS - UT ARLINGTON JOSH MILLS Program Book Design It’s Alive! Media & Management DEV SHAPIRO Kovacs Committee DARREN DITTRICH Webpage 2 BOARD OF DIRECTORS JEFFREY A.
    [Show full text]
  • Media Nations 2019
    Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube.
    [Show full text]
  • Annual Report 2019
    Annual Report 2019 Table of Contents Year In Review........................Page 4 Financial Report.....................Page 6 Treasurer’s Report................Page 7 Contributors............................Page 8 Gifts in Honor/Memory.......Page 16 Volunteers................................Page 25 Accessions...............................Page 26 Oral Histories.......................... Page 27 Board & Staff...........................Page 28 3 2019 Year in Review How do we even begin to capture what an eventful campus in those first nine months. We gained 1,000 and historic year 2019 was for the Martha’s Vineyard new members and 10,000 new followers on social Museum? It was the year when our cherished, media. More than 1,000 people came to our Pecha long-held dream finally came true, but there is so Kucha presentations — now held at the Museum much more to share! for the first time in our history — and 8,560 visitors came to the Edgartown Lighthouse and 548 to the Yes, the Martha’s Vineyard Museum finished East Chop Light. Free Tuesday evenings, sponsored restoring and improving the landmark 1895 by Cronig’s Market and Cape Cod Five Bank, Vineyard Haven Marine Hospital. Yes, Island history allowed us to give free admission to over 6,000 finally took its rightful place center-stage, at the top visitors. Inquiries to the MVM research library more of a majestic hill. Yes, the museum was warmly than quadrupled. embraced by the Island community beginning March 13th, the day it opened to the public for the Education programs grew at a healthy pace in 2019, first time. All these things were dearly hoped-for. with 119 classes being taught to 1,015 unique Island But 2019 brought a plethora of wonderful school children.
    [Show full text]
  • Special Issue
    ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018.
    [Show full text]
  • Broadcast and on Demand Bulletin Issue Number 331 19/06/17
    Issue 331 of Ofcom’s Broadcast and On Demand Bulletin 19 June 2017 Issue number 331 19 June 2017 Issue 331 of Ofcom’s Broadcast and On Demand Bulletin 19 June 2017 Contents Introduction 3 Broadcast Standards cases In Breach Drivetime Gravity FM, 27 March 2017, 15:00 6 Ramsay’s Hotel Hell Channel 4, 28 April 2017, 11.00 8 Fuck That’s Delicious Viceland, 26 February 2017, 13:00 10 Sikh Channel News Sikh Channel, 18 February 2017, 11:00 13 Shaun Tilley featuring 70s, 80s and 90s Heaven Cheesy FM, 9 February 2017, 18:26 17 Martin Lowes Capital FM North East, 27 March 2017, 17:30 19 Sam Rocks Rugby Sam FM (Bristol), 26 February 2017, 12:00 22 Jail Chittian Akaal Channel, 14 November 2016, 21:04 Health Show Akaal Channel, 14 November 2016, 21:38 25 Tour Down Under Bike, 21 January 2017, 15:00 31 Broadcast Licence Conditions cases In Breach Provision of information Channel i, 1 February 2017, 09:30 35 Providing a service in accordance with ‘Format’ Isles FM, 19 January 2017 to present 37 Issue 331 of Ofcom’s Broadcast and On Demand Bulletin 19 June 2017 Broadcast Fairness and Privacy cases Upheld Complaint by Mr John Shedden Party Political Broadcast by the Scottish National Party, BBC1 Scotland, 12 October 2016 39 Tables of cases Investigations Not in Breach 44 Complaints assessed, not investigated 45 Complaints outside of remit 54 Complaints about the BBC, not assessed 56 Investigations List 59 Issue 331 of Ofcom’s Broadcast and On Demand Bulletin 19 June 2017 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content to secure the standards objectives1.
    [Show full text]
  • Blade Runner: the Final Cut Review – a Timeless Sci-Fi Classic | Film | the Guardian 22/01/2018 15:48
    Blade Runner: The Final Cut review – a timeless sci-fi classic | Film | The Guardian 22/01/2018 15:48 Blade Runner: The Final Cut review 6 a Mark Kermode, Observertimeless film sci:fi classic critic RidleySun 5 Apr 2015 Scott’s 07.59 1982BST masterpiece, back on the big screen in this definitive version, is an overwhelming experience ’ve seen things you people wouldn’t believe…” When making the 2000 documentary On the Edge of Blade Runner, I asked Rutger Hauer why he thought Harrison Ford was so reluctant to talk about what is now considered a timeless sci-fi classic. “He’s such a dumb character,” Hauer replied “I mischievously of Ford’s android-hunter Deckard. “He gets a gun put to his head and then he fucks a dish-washer!” Ford, with his Star Wars cachet, was Blade Runner’s top-line draw, but it’s Hauer’s movie all the way, his shimmering “replicant” providing the tonal touchstone for Ridley Scott’s severally reworked masterpiece. The Dutch actor even contributed his own infinitely quotable couplet to the film’s epochal “tears in rain” scene, a moment as iconic as Casablanca’s “Here’s looking at you, kid”. As for Deckard, the stooge who falls for Sean https://www.theguardian.com/film/2015/apr/05/blade-runner-final-cut-timeless-sci-fi-classic-review Page 1 of 2 Blade Runner: The Final Cut review – a timeless sci-fi classic | Film | The Guardian 22/01/2018 15:48 Young’s artificial charms in rain-drenched 2019 LA, Scott had his own way of explaining Ford’s robotic performance, a unicorn-themed conceit drawn not from Philip K Dick’s source but born out of a simple miscommunication between screenwriters Hampton Fancher and David Peoples.
    [Show full text]
  • January 2012 at BFI Southbank
    PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival:
    [Show full text]
  • Editorial Standards Committee Bulletin
    Editorial Standards Findings Appeals to the Trust and other editorial issues considered by the Editorial Standards Committee February 2016, issued March 2016 Getting the best out of the BBC for licence fee payers Contents Contents 1 Remit of the Editorial Standards Committee 2 Summary of findings 4 Appeal Findings 7 Panorama: GM Food - Cultivating Fe a r, BBC One, 8 June 2015 7 The Stephen Nolan Show, BBC Radio 5 Live, 3 April 2015, and more generally 25 Requests to review the Trust Unit’s decisions on appeals 31 Scotland 2015, BBC Two Scotland, 7 September 2015 31 Breakfast Show with Nick Grimshaw, BBC Radio 1, 6 August 2015 36 Appeals against the decisions of BBC Audience Services and BBC News not to correspond further with the complainant 39 Decision of BBC Audience Services not to respond further to a complaint about Israeli PM Benjamin Netanyahu's 44-second UN silence, BBC News online 40 Decision of BBC Audience Services not to respond further to a complaint about Kermode and Mayo’s Film Review, BBC Radio 5 live, 16 October 2015 44 Decision of BBC Audience Services not to respond further to a complaint about Inside Out (Yorkshire, East Yorkshire & Lincolnshire) 12 October 2015 47 Decision of BBC Audience Services not to respond further to a complaint about Today, Radio 4, 12 August 2015 52 Decision of BBC Audience Services not to respond further to a complaint about Today, BBC Radio 4, 6 October 2015 55 Admissibility decisions 58 Newsnight, BBC Two, 17 March 2015 59 Match of the Day 2, BBC One, 13 September 2015 61 In order to provide clarity for the BBC and licence fee payers it is the Trust’s policy to describe fully the content that is subject to complaints and appeals.
    [Show full text]
  • HANCOCK's HALF HOUR COLLECTIBLES Notes To
    HANCOCK’S HALF HOUR COLLECTIBLES Notes to accompany Volume 2 All photographs copyright (C) BBC The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost or rare work of, and related to, Tony Hancock, one of our greatest comedians. Tony Hancock,1951 The Tony Hancock Appreciation Society (THAS) Since its inception in 1976, the THAS and its many allies have been at the forefront of efforts to find, preserve and promote the works of Tony Hancock. As detailed in the previous volume of this series, this toil has, over the decades, yielded innumerable discoveries of work by Hancock that was previously believed to have been lost. The result is that the THAS now has the most extensive archive of Hancock’s stage, radio, television, and film work in the world. In addition, we have myriad recorded items related to his career, such as interviews and documentaries featuring Hancock, his colleagues and friends. Each offers valuable insights into his life and work. It is this extensive collection, combined principally with that of Ted Kendall, the noted sound engineer and media researcher, and the contents of the BBC Sound Archives, that have enabled the publication of Hancock’s Half Hour Collectibles. It is natural for modern audiences to question why broadcast material is missing from the period in which Hancock was ascendant from the late 40s until 1968. As many readers may know, this issue has, in fact, affected the legacy of numerous performers, programmes and broadcasts; and this phenomenon is by no means limited to the BBC, the United Kingdom, or indeed, the period during which Hancock was active.
    [Show full text]
  • The Bbc Trust Report: On-Screen and On-Air Talent Including an Independent Assessment and Report by Oliver & Ohlbaum Associates
    THE BBC TRUST REPORT: ON-SCREEN AND ON-AIR TALENT INCLUDING AN INDEPENDENT ASSESSMENT AND REPORT BY OLIVER & OHLBAUM ASSOCIATES MAY 2008 2 BBC TRUST CONCLUSIONS The issue of talent costs The BBC Trust operates to protect the interests of licence fee payers who pay for and own the BBC. As part of this we seek to ensure quality and value for money for licence fee payers and to challenge BBC management to use everything at their disposal to deliver both. An area where this is particularly complex is the salaries paid to on-screen and on-air talent. During the course of 2006, press reports about presenters’ salaries aroused industry and public concern and led some people to question the BBC’s approach to the talent it employs. This debate was still live when the Trust was established as the BBC’s governing body in January 2007. It was and has remained a topic raised by the public with Trustees during our appearances on radio phone-ins and at public meetings in all parts of the UK. Against this background the Trust commissioned an independent review, conducted by Oliver and Ohlbaum Associates Ltd (O&O), to provide an in depth examination of the BBC’s use of on air and on screen talent. We posed O&O three specific questions: • How do the size and structure of the BBC's reward packages for talent compare with the rest of the market? • What has been the impact of the BBC's policy on the talent market, particularly in relation to cost inflation? • To what extent do the BBC's policy and processes in relation to investment in, and reward of, talent support value for money? We are publishing O&O’s report which seeks to answer these questions, the BBC management’s response to the points it raises and our own judgements informed by this evidence.
    [Show full text]
  • Restorative Justice Cover-02
    Why Restorative Justice? Repairing the harm caused by crime Roger Graef Why Restorative Justice? Repairing the Harm Caused by Crime Why Restorative Justice? Repairing the Harm Caused by Crime Roger Graef edited and additional material by Marian Liebmann CALOUSTE GULBENKIAN FOUNDATION, LONDON Dedication To Martin Wright, whose vision of restorative justice has not obscured his commitment to rigorous scholarship. This vision inspired me to see the potential of restorative justice to change our lives. Published by the Calouste Gulbenkian Foundation United Kingdom Branch 98 Portland Place London W1B 1ET Tel: 020 7636 5313 © 2000 Calouste Gulbenkian Foundation The right of Roger Graef to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved; unauthorised reproduction of any part of this work in any medium is strictly prohibited. ISBN 0 903319 92 6 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Designed by Andrew Shoolbred Printed by Expression Printers Ltd, IP23 8HH Distributed by Turnaround Publisher Services Ltd, Unit 3, Olympia Trading Estate, Coburg Road, Wood Green, London N22 6TZ Tel: 020 8829 3000, Fax: 020 8881 5088, E-mail: [email protected] Cover photo: Still from In Search of Law and Order – UK (Channel 4). Contents Author’s Acknowledgements 6 Foreword by Ben Whitaker 7 Introduction 9 Chapter 1: The Need for Change 13 Chapter 2: Principles of Restorative Justice 18 Chapter 3: A Brief History 22 Chapter 4: The Victim 27 Chapter 5: The Offender 33 Chapter 6: The Community 38 Chapter 7: What Choices are There? 42 Chapter 8: Current Services 50 Chapter 9: New Government Legislation 55 Chapter 10: The Future 58 Retributive and Restorative Justice: A Comparison 63 Glossary 64 Further Reading 67 Organisations Involved in Restorative Justice 69 Index 71 Author’s Acknowledgements John Harding, one of the pioneers of restorative justice in Britain, has been extremely helpful.
    [Show full text]
  • Creative Scotland Response to Ofcom's Consultation on the Channel 3 and Channel 5 Proposed Programming Obligations Ahead of A
    Creative Scotland response to Ofcom’s Consultation on the Channel 3 and Channel 5 proposed programming obligations ahead of a new licensing period Background Creative Scotland is Scotland’s national development agency for the arts, culture, film, TV and creative industries. Formed in July 2010, the organisation was born out of the merger of the Scottish Arts Council and Scottish Screen but it presents the opportunity to deliver a new model for cultural investment and advocacy. Our priorities are: • Identifying, supporting and developing quality and excellence in the arts and culture; • Promoting understanding, appreciation and enjoyment of the arts and culture; • Encouraging as many people as possible to access and participate in the arts and culture; • Increasing the diversity of people who access and participate in the arts and culture; • Realising the value and benefits nationally and internationally of arts and culture; • Encouraging artistic and creative work that contributes to an understanding of Scotland’s national culture; • Promoting and supporting industries and commercial activity based on the application of creative skills; and • Providing advice to Scottish Ministers relating to the creative industries specialising in the arts and culture.1 Creative Scotland welcomes this opportunity to contribute to the Ofcom consultation on the Channel 3 and Channel 5 proposed programming obligations for the period beyond expiry of their current licences on 31 December 2014.2 We have three main comments: • Whilst the second of the two
    [Show full text]