BUILDING a GLOBAL TV HUB Multichannel Broadcasters and the UK’S Global Competitiveness
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April 2020 • Issue 2 PROSPERO
The newspaper for retired BBC Pension Scheme members • April 2020 • Issue 2 PROSPERO REMEMBERING A GOLDEN AGE OF FILM PAGE 8 PENSION SCHEME | BBC PENSIONS PAUL BOHAN AT 100: ‘A REMARKABLE MAN’ Former BBC broadcast engineer Paul Bohan recently celebrated his 100th birthday, and BBC Volunteer Visitor Arthur Masson caught up with him to talk about the interesting times – and places – he’s seen in his long life. aul was born in Bishop Auckland, County He arrived at Stoney Cross and joined a unit servicing Durham, on 24 November 1919. aircraft, for approximately a year. He was then transferred to RAF Marham, and then to RAF PHe was educated at a council school in Byers Mildenhall. Eventually, with his service completed, Green village, where he obtained the first of many he was released in March 1947. (It is perhaps worth ‘accomplishments’, his 11-plus certificate! He was then posted to Meldrum and completed noting that, as he had passed the Commission 12 years as a TV engineer. He left school at 16 and joined the RAF, completing an examinations, if he had remained in service he would 18-month course at Cranwell as a wireless operator, then, have been a Commissioned Officer.) He was offered early retirement, which he accepted after successfully qualifying, went to RAF Thornaby. at the ‘ripe old age’ of 58 and joined Aberdeen After leaving the RAF he joined BOAC, which was the University Language Laboratory as their recording After one year, he went back to Cranwell for another state airline, and was posted to Sudan (Wadi-Halfa). -
Organisational Structure, Programme Production and Audience
OBSERVATOIRE EUROPÉEN DE L'AUDIOVISUEL EUROPEAN AUDIOVISUAL OBSERVATORY EUROPÄISCHE AUDIOVISUELLE INFORMATIONSSTELLE http://www.obs.coe.int TELEVISION IN THE RUSSIAN FEDERATION: ORGANISATIONAL STRUCTURE, PROGRAMME PRODUCTION AND AUDIENCE March 2006 This report was prepared by Internews Russia for the European Audiovisual Observatory based on sources current as of December 2005. Authors: Anna Kachkaeva Ilya Kiriya Grigory Libergal Edited by Manana Aslamazyan and Gillian McCormack Media Law Consultant: Andrei Richter The analyses expressed in this report are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe. CONTENT INTRODUCTION ...........................................................................................................................................6 1. INSTITUTIONAL FRAMEWORK........................................................................................................13 1.1. LEGISLATION ....................................................................................................................................13 1.1.1. Key Media Legislation and Its Problems .......................................................................... 13 1.1.2. Advertising ....................................................................................................................... 22 1.1.3. Copyright and Related Rights ......................................................................................... -
Daniel Greenway Editor
Daniel Greenway Editor Daniel gained cutting room and features experience working on Batman Begins, The Da Vinci Code and The Bourne Ultimatum. He graduated with a Distinction in 2007 from the National Film and Television School's two year MA programme, specialising in editing. In 2016 he was nominated for a BAFTA for his work on the sci-fi drama series Humans. Daniel is a proficient French speaker and is based in London. Agents Silvia Llaguno Associate Agent Shannon Black [email protected] +44 (0) 20 3214 0889 Credits Drama Production Company Notes SUSPICION Keshet Productions / Apple Dir: Chris Long 4 x 60MIN EPS 1, 2, 7 TV+ Prod: Darin McLeod & 8 2021 BRAVE NEW WORLD Amblin Television / Dir: Andrij Parekh 1 x 60MIN EP 7 NBCUniversal Content Studios Prod: Chloe Moss 2020 / USA Network WHITE LINES Left Bank Pictures / Netflix Dir: Luis Prieto 1 x 60MIN EP 5 Prod: Chris Croucher 2020 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE CROWN Left Bank Pictures / Netflix Dir: Sam Donovan 1 x 60MIN SERIES 3, Prod: Michael Casey EP 9 2019 WORLD ON FIRE Mammoth Screen / BBC One Co-editor 1 x 60MIN EP 1 Dir: Adam Smith 2019 Prods: Nickie Sault, Chris Clough BAPTISTE Two Brothers Pictures / BBC Dir: Börkur Sigþórsson 1 x 60MIN EP 1 One Prod: John Griffin 2019 THE WIDOW Two Brothers Pictures / ITV Dir: Sam Donovan 2 x 60MIN EPS 1 & 2 Prod: Eliza Mellor 2019 THE TERROR Scott Free / AMC Studios Dir: Sergio Mimica-Gezzan 3 x 60MIN -
Meet the Makers & Teachers
A RECKONING IN BOSTON MEET THE MAKERS STEPHEN MCCARTHY, AARON BOUCHARD, SOUND RECORDIST: CINEMATOGRAPHER: I first worked with James on the doc back in April of While following Kafi 2014 when it was just it was just him, a cameraman, and Dixon around the vacant I rolling through south Boston in my beat up PT Cruiser. lot on Mission Hill - truly I worked with James on many more shoot days until the a “mission” for Kafi - I film was finished in 2020. Over the years I developed a couldn’t stop thinking of sentimental investment in the lives of Kafi & Carl so see- my late friend John Car- roll. John was a neighbor ing the film for the first time was very moving. It is a rare of in nearby Jamaica experience to work on a project like A Reckoning in Bos- Plain - an African-Amer- ton and it is one I am very proud to have been a part of. ican Vietnam vet with a wondrous green thumb. Our many years of friendship began through early morning encounters in a former horse stable which I helped him cultivate with flowers, herbs and small plots of veg- etables. Like Kafi, John had a quiet mission to spread positivity through agriculture in a dense urban setting. In John’s case, the endeavor resulted in a permanent community garden that now serves as the hub of a thriv- ing (and desirable) neighborhood. There is a monument to John at the garden’s entrance. The less inspiring side of this story is that John’s work likely helped price him out of the very neighborhood in which he had become a true fixture. -
Live News: a Survival Guide for Journalists
AA SURVIVALSURVIVAL GUIDEGUIDE FORFOR JOURNALISTSJOURNALISTS LIVELIVE NEWSNEWS Front cover picture: A press photographer in a cloud of teargas during a riot in Lima, Peru, in May 2000. Photo: AP / Martin Mejia Title page picture (right) A newspaper vendor waits for customers in Abidjan, Ivory Coast, one of many countries where media have been put under threat. In November 2002, an emergency aid programme was launched by the IFJ, the Communication Assistance Foundation, International Media Support and Media Assistance International, working with the Union Nationale des Journalistes de Côte d'Ivoire (UNJCI) and the West Africa Journalists Association. The programme included training on safety and conflict reporting. Photo: AP / Clement Ntaye. LIVE NEWS A SURVIVAL GUIDE FOR JOURNALISTS Written and produced for the IFJ by Peter McIntyre Published by the International Federation of Journalists, Brussels March 2003 With the support of the European Initiative for Democracy and Human Rights. (i) Live News — A survival guide for journalists Published by the International Federation of Journalists March 2003. © International Federation of Journalists International Press Centre Residence Palace Rue de la Loi 155 B-1040 Brussels, Belgium ✆ +32 2 235 2200 http://www.ifj.org Editor in Chief Aidan White, General Secretary, IFJ Managing Editor Sarah de Jong, Human Rights Officer, IFJ [email protected] Projects Director Oliver Money-Kyrle Written and designed by Peter McIntyre, Oxford, UK [email protected] Acknowledgments The IFJ would like to thank: Associated Press Photos and Reuters, who donated the use of photos; AKE Ltd, Hereford, UK, for advice, information, facilities, and support; Mark Brayne (Dart Centre Europe) for advice on post trauma stress; Rodney Pinder, for comments on the drafts; All the journalists who contributed to, or were interviewed for, this book. -
The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends
The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends Sidneyeve Matrix Jeunesse: Young People, Texts, Cultures, Volume 6, Issue 1, Summer 2014, pp. 119-138 (Article) Published by The Centre for Research in Young People's Texts and Cultures, University of Winnipeg DOI: https://doi.org/10.1353/jeu.2014.0002 For additional information about this article https://muse.jhu.edu/article/553418 Access provided at 9 Jul 2019 13:25 GMT from University of Pittsburgh The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends —Sidneyeve Matrix Introduction first time Netflix had released an entire season of an original program simultaneously and caused a Entertainment is fast becoming an all-you-can-eat nationwide video-on-demand stampede. When House buffet. Call it the Netflix effect. of Cards and Orange Is the New Black premiered in –Raju Mudhar, Toronto Star 2013, huge percentages of Netflix subscribers watched back-to-back episodes, devouring a season of content Whatever our televisual drug of choice—Battlestar in just days. Although these three shows belong to Galactica, The Wire, Homeland—we’ve all put different genres—one a sitcom and the others adult- off errands and bedtime to watch just one more, a themed melodramas—what they share is an enormous thrilling, draining, dream -influencing immersion popularity among the millennial cohort that makes up experience that has become the standard way to the majority of the subscriber base of Netflix. When consume certain TV programs. all episodes of a season -
Economic Impact Report on Global Rugby
EMBARGOED UNTIL 9am GMT, 5 April 2011 ECONOMIC IMPACT REPORT ON GLOBAL RUGBY PART III: STRATEGIC AND EMERGING MARKETS Commissioned by MasterCard Worldwide Researched and prepared by the Centre for the International Business of Sport Coventry University Dr Simon Chadwick Professor of Sport Business Strategy and Marketing Dr. Anna Semens Research Fellow Dr. Eric C. Schwarz, Department of Sport Business and International Tourism School of Business Saint Leo University Dan Zhang, Sport Business Consultant March 2010 1 Economic Impact Report on Global Rugby, Part III: Strategic and Emerging Markets EMBARGOED UNTIL 9am GMT, 5 April 2011 Highlights More than 5 million people play rugby in over 117 countries. Participation in rugby worldwide has increased 19% since the last Rugby World Cup in 2007. Participation figures are highest in Europe, but there are significant numbers of players elsewhere, with increasing numbers in emerging markets. Since 2007 participation has grown by 33% in Africa, 22% in South America and 18% in Asia and North America. In terms of participation, Japan, Sri Lanka and Argentina now feature in the top ten countries, which bodes well as there is a strong, positive correlation between participation and performance. These unprecedented levels of growth can be attributed to three main factors: o Developments in non-traditional game formats, particularly Sevens Rugby’s inclusion in the Olympic program from 2016. o Event hosting strategies often with linked legacy programs. o IRB programs and investment. £153 million (USD245.6 million) is being invested from 2009 to 2012, an increase of 20% over the previous funding cycle. Introduction Following Six Nations and Tri Nations reports, MasterCard commissioned the Centre for the International Business of Sport (CIBS) to look at rugby in emerging markets. -
Download Programme (PDF)
Not a Symposium/Conference/Indaba 24–26 March 2021 #BA01 CONTENTS YOUR GUIDE OVERVIEW SUPPORTING PARTNERS PROGRAMME CONTRIBUTORS CREDITS /əˈsɛmbli/ noun 1. a group of people gathered together in one place 2. the action of gathering together as a group for a common purpose 3. a meeting in a school of several classes, usually at the beginning of the school day OVERVIEW CREATIVITY NOW In line with 2021 being declared the ‘International Year of Creative Economy for Sustainable Development’ by the United Nations General Assembly, BASA ASSEMBLY aims to raise awareness, promote cooperation and networking, encourage sharing best practices and experiences, enhance human resource capacity, promote an enabling environment at all levels, as well as tackle the challenges of the current creative economy. Themed Creativity Now: Cultural intelligence in the time of COVID-19, BASA ASSEMBLY seeks to explore what insights cultural intelligence can o!er in terms of rebooting the creative economy in South Africa, on the African continent and globally. It is also intended as a vehicle for showcasing BASA’s research into the South African creative sector with the launch of ArtsTrack No. 9, BASA’s biennial research project tracking consumer engagement within the arts and culture sector. PROGRAMME YOUR DAILY SCHEDULE STREAM #01 STREAM #02 STREAM #03 STREAM KEY BUSINESS + MARKETING + ARTISTS + RESEARCH CULTURAL POLICY GRANTS Go to stream Go to stream Go to stream WED THU FRI 24 25 26 Talk Talk BETWEEN THE NOW WE'RE Offical Launch STATE AND THE TALKING OFFICAL LAUNCH -
The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8. -
Transatlantic Spaces: Production, Location and Style in 1960S-1970S Action- Adventure TV Series
Transatlantic spaces: production, location and style in 1960s-1970s action- adventure TV series Article Accepted Version Bignell, J. (2010) Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series. Media History, 16 (1). pp. 53-65. ISSN 1469-9729 doi: https://doi.org/10.1080/13688800903395460 Available at http://centaur.reading.ac.uk/17666/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/13688800903395460 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Transatlantic spaces: Production, location and style in 1960s-70s Action-Adventure TV Series Jonathan Bignell Abstract This article argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s-70s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood. -
Weekly News Round
Rosebery News Weekly News Round Friday 6 July 2018 Dear Parents and Carers This week our focus has been very much directed to the future, as we welcomed our new Year 7 students for their Transition Day and on Thursday evening we held our annual Open Evening attended by Year 4 and 5 students, THIS WEEK’S NEWS keen to determine whether Rosebery should be their school of choice at the end of Year 6. As ever, our current students were centre stage during both events and were fantastic ambassadors and supporters to our visitors. Also this week, our cheerleaders performed brilliantly in the national championships, and this weekend Mrs Brice and Miss Hill take 27 students on Dates for your Diary .......................................... 2 their final Silver Duke of Edinburgh expedition, which promises to be an even more significant challenge than usual, given the current very warm PE Results ............................................................. 2 temperatures. End of term arrangements Wellbeing Week ................................................ 3 As the end of term rapidly approaches, I want to ensure all parents are clear about the changes to the timetable over the final weeks of this school year. Film Media Academy .......................................... 3 Sports Day Sixth Form Student Coaching ............................ 4 Friday 13 July: Sports Day at The Harrier Centre, Poole Road, West Ewell, KT19 9RY (click here for a map and directions) Student News—Rosebery Doodles .................. 5 All students should arrive at The Harrier Centre by 8.30am where they will go to their tutor area to be registered. Students will not be at school during the International Women in Engineering Day ...... 6 day. -
2020 Social Purpose Impact Report
1 6.4 million 217 million extra Contents people talking portions of veg Britain Get Talking, page 9 Eat Them to Defeat Them, page 12 Welcome 3 ITV’s Social Purpose 5 70,605 more 29 million people kids exercising saw the campaign Better Health 7 The Daily Mile, page 14 Black Voices, page 26 Diversity & Inclusion 21 Climate Action 37 Giving Back 49 Awards 57 What’s coming up in 2021 59 Colleague 26.6% emissions The Data 60 engagement doubled reduction Network Groups, page 34 Climate Action, page 37 5,000 £9.3m raised Watch our Video colleagues trained for Soccer Aid of the Year Climate Action, page 37 Soccer Aid, page 51 2 Welcome We spoke to Carolyn McCall, ITV’s CEO, on the extraordinary year that was 2020, and how ITV’s Social Purpose activity has been having an impact. 2020 has been a year like no other. What has been the biggest changes in society? All of us will remember 2020 as the year our lives were turned upside down by Covid-19. It’s hard to overestimate the impact that had on not just our physical health and our daily lives, but also on our mental health, with rates of depression doubling during the first six months of lockdown. The Black Lives Matter movement also stands out, shining a light on the systemic issues facing Black people and people of colour around the world. And of course, climate change is ever-present. 2020 showed that we can all mobilise to change. What impact have these issues had on ITV and its Social Purpose? I think it shows that purpose-driven business is more important than ever before.