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+44 (0) 7505 402272 [email protected] www.johnvrilakas.com *US Passport Holder vt Recent Broadcast Production Company vva Raising Pompeii Twofour / ITV Van Gogh Lion TV / BBC4 A Frozen Christmas Avanti Media / Channel 4 Put Your Money Where Your Reef TV / BBC1 Mouth Is Desi Rascals Buccaneer Media / Sky 1 Find My First Love Nerd TV / A&E Artsnight BBC / BBC2 Experimental Nerd TV / Nat Geo, Channel 4 The Queen’s Big Night Out Blast / Channel 4 Drinking With... Spirit Digital / 4OD Portillo’s State Secrets BBC / BBC2 Britain’s Greatest Generation Testimony Films / BBC2 Laverstoke Mill Renegade / Channel 4 RedBull - Wings for Life Nerd TV / RedBull TV Digging for Britain 3 360 Productions / BBC Ali and Nino Documentary Between Europe and Asia Rome: Rise of A Superpower 360 Productions / Channel 5 Goalmouth Disney / Disney XD Far From Babylon: The Last Echo Docs / BBC Iraqi Jews Canterbury Cathedral BBC / BBC2 Lockerbie STV / ITV +44 (0) 7505 402272 [email protected] www.johnvrilakas.com Recent Broadcast Production Company Secrets of Britain : Selfridges Pioneer / PBS Royal Philharmonic Orchestra Spring Films D-Day: As It Happens Windfall Films / Channel 4 World War I: Tunnels of Death 360 Productions / Channel 5 Walking Through History Wildfire / Channel 4 Barenboim in China Rare Day / BBC Are My Fake Breasts Safe? BBC / BBC3 Meet the Paralympians Channel 4 / Channel 4 Film Four Portraits Channel 4 / Film 4 7/7: One Day in London Minnow Films / BBC Jon Snow’s 2011 ITN Productions / Channel 4 Digging For Britain 360 Productions / BBC Confessions of a Sex Addict Zig Zag / BBC Food Hospital Betty / Channel 4 Dig World War II 360 Productions / BBC Nazi Collaborators WMR / Discovery Titanic with Len Goodman 360 Productions / BBC Britain’s Lost Routes Modern TV / BBC The Whiskey Man Sprout TV / Sky Jamie’s Dream School Fresh One / Channel 4 Libya: Home in Exile Al Jazeera International +44 (0) 7505 402272 [email protected] www.johnvrilakas.com Corporate Production Company Google* Google Rita Ora* Xpose TV Skanska Grist Communications Rimmel Spirit Digital History of Now Touchcast Mundipharma McCann Erikson Yaya Toure Kinamo Butlins Alternative Weekends Spirit Digital Beethoven 8 App University of Cardiff ASAPS EU Health 360 Productions Pottermore Microsoft Royal Shakespeare Company Rare Day Morgan Stanley Kinamo Gazelle Leadership Conference Eighth Hill Productions London Fashion Week* Xpose TV Brillinta Craft Worldwide Insead Kinamo Starbucks Coffee Company Ray Woodhouse Productions Four Seasons Hotel AVC Productions B-Tube Spirit Digital +44 (0) 7505 402272 [email protected] www.johnvrilakas.com Music / Film Junkets Production Company The Hateful Eight* Xpose TV Steve Jobs PMA Scorch Trials PMA Ant-Man* Xpose TV Mrs. Brown’s Boys* TV3 Sandra Bullock / Minions PMA Peanuts Film PMA Edge of Tomorrow Special Treats Horrible Bosses 2* Xpose TV Richard Curtis Global Poverty Yummi Project* Built to Spill Warner Brothers Records Camper Van Beethoven Warner Brothers Records The Shackletons Loveless Records Tiny Vipers Sub Pop Records * Cameraman / Director.

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Trends in TV Production Ofcom, December 2015 Contents
Trends in TV Production Ofcom, December 2015 Contents 1. Summary 2. What were the original aims of intervention? 3. The UK production market 4. How many companies are active in the market? 5. How easy is it to enter? 6. Production sector revenue and flow of funds 7. Production sector consolidation 8. Quotas 9. Regionality 10. Historical context of the US market Summary – the questions asked This pack aims to confirm (or dispel) many of the widely held beliefs about the UK television production sector. Among the questions it seeks to answer are: • What is the intervention (regulation of the sector) meant to do? • How has commissioning developed over time? • How has the number of producers changed over time? • Is it harder to get into the market? • How do terms of trade work? • How has the sector grown? • What has consolidation looked like? • How do quotas work? • How does the sector operate regionally? 3 Summary – caveats This report was produced for Ofcom by Oliver & Ohlbaum Associates Ltd (“O&O”). The views expressed in this report are those of O&O and do not necessarily represent the views of Ofcom. While care has been taken to represent numbers in this report as accurately as possible based on available sources there may be inaccuracies and they may not correspond with Ofcom’s view of the market and cannot be taken as officially representative of Ofcom data. 4 Summary - data sources used • Oliver & Ohlbaum Producer Database, 2006-2015 ₋ BARB data supplied by Attentional and further coded by O&O to include production companies and their status as qualifying or no-qualifying producers, plus their respective turnover bands.
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Broadcast Bulletin Issue Number
O fcom Broadcast Bulletin Issue number 126 26 January 2009 1 Ofcom Broadcast Bulletin, Issue 126 26 January 2009 Contents Introduction 3 Notice of Sanction ITV Broadcasting Limited Breach of Channel 3 licence conditions in respect of ‘Out of London’ production in 2006 and 2007 4 Channel Television Ltd STV Central Ltd and STV North Ltd UTV Ltd Breach of Channel 3 licence conditions in respect of ‘Out of London’ production in 2006 and 2007 5 Standards cases In Breach Beat: Life on the Street ITV1, Series 1: 29 October - 3 December 2006, 18:00 and Series 2: 27 January - 2 March 2008, 18:00 6 Now That’s What I Call Music Chart Chart Show TV, 18 November 2008, 16:00 12 Pizza Man by Cisco Kid Clubland TV, 4 November 2008, 19:30 13 Not In Breach Steve Sutherland Galaxy Birmingham, 29 November 2008, 21:55 14 Fairness & Privacy cases There are no Fairness and Privacy cases in this issue of the bulletin Other programmes not in breach/resolved 16 2 Ofcom Broadcast Bulletin, Issue 126 26 January 2009 Introduction The Broadcast Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes which broadcasting licensees are required to comply. These include: a) Ofcom’s Broadcasting Code (“the Code”) which took effect on 25 July 2005 (with the exception of Rule 10.17 which came into effect on 1 July 2005). This Code is used to assess the compliance of all programmes broadcast on or after 25 July 2005. The Broadcasting Code can be found at http://www.ofcom.org.uk/tv/ifi/codes/bcode/ b) the Code on the Scheduling of Television Advertising (“COSTA”) which came into effect on 1 September 2008 and contains rules on how much advertising and teleshopping may be scheduled in programmes, how many breaks are allowed and when they may be taken.
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THE CHILDREN's MEDIA YEARBOOK 20 17 ••• Edit E D B Y Te
The Children’s Media Yearbook 2017 ••• EditEd by tErri LANGAN & frANcEs tAffiNdEr 8 The Children’s Media Yearbook is a publication of The Children’s Media Foundation Director, Greg Childs Administrator, Jacqui Wells The Children’s Media Foundation P.O. Box 56614 London W13 0XS [email protected] First published 2017 © Terri Langan & Frances Taffinder for editorial material and selection © Individual authors and contributors for their contributions All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The Children’s Media Foundation, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. You must not circulate this book in any other binding or cover. ISBN 978-0-9575-5188-6 (paperback) ISBN 978-0-9575518-9-3 (digital version) Book design by Jack Noel Welcome to the 7 2017 Yearbook research Greg Childs can reading improve 38 children’s self esteem? editor’s introduction 9 Dr Barbie Clarke and Alison David Terri Langan the realitY of 41 virtual for kids current Alison Norrington can You groW an open 45 affairs and mind through plaY? industrY neWs Rebecca Atkinson children’s media 11 rethinking 47 foundation revieW toddlers and tv Anna Home OBE Cary Bazalgette concerns about kids and fake neWs 51 media 14 Dr Becky Parry Anne Longfield OBE coming of age online: 54 animation uk 17 the case for Youth-led Helen Brunsdon and Kate O’Connor digital
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ITV Diversity Acceleration Plan
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Rightsholder-List.Pdf
IE-Ireland COR - Corporations: Employees Facilities Label 101 Films 12 Yard Productions 123 Go Films 1A Productions Limited 1st Miracle Productions Inc 20th Century Studios (f/k/a Twentieth Century Fox Film Corp.) 2929 Entertainment 365 Flix International 3DD Entertainment 41 Entertaiment LLC 495 Productions 4Licensing Corporation (fka 4Kids Entertainment) 7&7 Producers Sales Services 9 Story Enterprises 99Pro Media Gmbh A Really Happy Film (HK) Ltd. (fka Distribution Workshop A&E Networks Productions Aardman Abacus Media Rights Ltd Abbey Home Media Abduction Films Abot Hameiri About Premium Content SAS Abso Lutely Productions Absurda Acacia ACIP (fka Angel City Factory (ACP)) Acorn Media Acorn Media Acorn TV Actaeon Films Action Concept Film und Stuntproduktion (ex. Germany) Active Entertainment Adhoc Films Adler Media Adult Swim Productions Adventure Line Productions (ALP) Adventure Pictures Aenon Affiliate of Valiant Women Society (fka Maralee Dawn Ministries) After Dark Films Agatha Christie Productions Ager Film AI Film AIM Group (dba Cinevision Global -Ambassador Film Library) Air Productions Akkord Film Produktion Aktis Films International Al Dakheel Inc Alberio Films Alchemy Alchemy Television Group Alcina Pictures (ex. Canada) Alcon Entertainment Alcon Television All3media International Alley Cat Films Alliance Atlantis International Distribution Alliance Atlantis International Distribution Allied Vision Ltd All-In-Production Gmbh Allmedia Pictures Gmbh Alonso Entertainment Gmbh Aloupis Productions Altitude Films Sales Amazing
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TWOFOUR PRIVACY NOTICE for PROGRAMME APPLICANTS, CONTRIBUTORS and TALENT 1. Introduction A. We Are Twofour Broadcast
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Katherine Ryan Writer / Performer
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MPLC Österreich Repertoirelizenz Studioliste Stand 08.2020
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View Annual Report
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Company of the Year - Twofour
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AUTHORISED PRODUCER LIST | CHURCH VIDEO LICENCE (CVL) for AFRICA List Published July 2021
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Increasing the Regional Impact of Channel 4 Corporation
INCREASING THE REGIONAL IMPACT OF CHANNEL 4 CORPORATION Channel 4 response to the Government consultation July 2017 1 Section 1: EXECUTIVE SUMMARY 1.1. Introduction Channel 4 supports the Government’s stated public policy ambitions in the consultation to: (a) support regional economic growth; (b) stimulate regional creative industries; and (c) better serve audiences in the Nations and Regions. We also welcome the Government’s ambition, outlined within the consultation, and reflected in the Government’s Industrial Strategy Green Paper, to ‘spread jobs and prosperity throughout the UK’. We recognise the important role Channel 4 can play in helping meet these objectives. We are committed to increasing our contribution to the Nations and Regions in a meaningful, balanced and sustainable way and in accordance with our existing statutory duties. Channel 4 makes a significant contribution to talent, audiences and the independent production sector in the Nations and Regions, spending over £1.5bn on TV production in the Nations and Regions over the last decade. In 2016 this was at a high of £169m, £36m of which was spent in the devolved Nations. External analysis commissioned by Channel 4 calculates this activity as supporting around 3,000 jobs in the Nations and Regions. We wish to increase this contribution to the Nations and Regions in a way that enhances, and does not diminish, our ability to fulfil our existing public policy role, as set out by Parliament in our statutory public service remit1. We want to ensure that any increased Nations and Regions contribution we make enables Channel 4 to continue to flourish creatively and commercially; to maximise investment in production and, in turn, our economic contribution to the Nations and Regions.
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