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Broadcast Bulletin Issue Number 191 10/10/11
Ofcom Broadcast Bulletin Issue number 191 10 October 2011 1 Ofcom Broadcast Bulletin, Issue 191 10 October 2011 Contents Introduction 4 Notice of Sanction Al Ehya Digital Television Limited Saturday Night Special, 13 November 2010 5 Note to Broadcasters Publication of new guidance and research 7 Standards cases In Breach Aden Live 27 October 2010, 18:20 (16:20 GMT) to 29 October 2010, 19:00 (17:00 GMT) 15 November 2010, 10:00 (08:00 GMT) to 16 November 2010, 10:00 (08:00 GMT) 8 Pro Bull Riders trailer Extreme Sports, 19 July 2011, 13:00 31 Howard Taylor at Breakfast Total Star – Wiltshire, 20 May 2011, 06:00 33 The Baby Borrowers Really, 2 August 2011, 20:00 36 Music video programming Brit Asia TV, 11 June 2011 38 Sponsorship of various programmes B4U Music, 15 June 2011, 21:00 to 22:42 42 Resolved Station promotion 106 Jack FM, 2 August 2011, 10:30 47 Fairness and Privacy cases Upheld Complaint by Mr David Gemmell Grimefighters, ITV1, 12 April 2011 49 2 Ofcom Broadcast Bulletin, Issue 191 10 October 2011 Not Upheld Complaint by Dr Saeb Erakat on his own behalf and on behalf of the Palestine Liberation Organisation The Palestine Papers, Al Jazeera English, 23 to 26 January 2011 53 Other programmes Not in Breach 72 Complaints Assessed, Not Investigated 73 Investigations List 79 3 Ofcom Broadcast Bulletin, Issue 191 10 October 2011 Introduction Under the Communications Act 2003, Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1, Ofcom must include these standards in a code or codes. -
Broadcast Bulletin Issue Number
O fcom Broadcast Bulletin Issue number 117 15 September 2008 Standards cases In Breach World’s Most Amazing Videos 4 TV6, 28 June 2008, 20:00 “Wake Up Your Brain” competition 7 James and Ali in the Morning, Invicta FM, 20 December 2007, 06:00 “Worst Girlfriend” competition 9 Lloydie and Katie Show, Power FM, 14 March 2007, 16:00 Full Pott 11 Kanal 5, 16 July 2008; 09:00 Breakfast 13 Kiss 105, 10 April 2008, 08:00 Peter Popoff Ministries 14 Ben TV, 29 February 2008, 16:30 Paul Lewis Ministry Ben TV, 20 March 2008, 16:00 Peter Popoff Ministries Red TV, 24 March 2008, 17:30 The Soup 17 E! Entertainment, 19 July 2008, 23:00 Stripped 18 The Style Network, 2 July 2008, 11:00 Biggles 20 Movies4Men+1, 21 June 2008; 16:20 Eid Messages 22 Aapna Channel, 24 December 2007, 17:00 Deepam TV 23 Non-retention of off-air recordings and sponsored news bulletins up to July 2008 Karl Davies Breakfast Show 25 Tudno FM, 7 August 2008, 7:45 and 8 August 2008, 8:20 Note to Broadcasters – Recordings 26 2 Resolved BBC News 27 BBC1, 2 July 2008, 22:00 Not in Breach The F Word 29 Channel 4, 29 July 2008, 21:00 Fairness & Privacy Cases Not Upheld Complaint by Ms Jenny Thoresson made on her behalf by 30 Ms Ann-Kristin Thoresson Lyxfällan (Luxury Trap), TV3 Sweden, 12 April 2007 (and repeated 23 July 2007) 3 Standards cases In Breach World’s Most Amazing Videos TV6, 28 June 2008, 20:00 Introduction TV6 is a Swedish language channel operated by Viasat Broadcasting UK Limited (“Viasat”). -
James Daffern 15/09/2020, 21 09
Spotlight: JAMES DAFFERN 15/09/2020, 2109 JAMES DAFFERN C S A 3rd Floor Joel House, 17-21 Garrick Street, London WC2E 9BL Phone: 020-7420 9351 E-mail: [email protected] WWW: www.shepherdmanagement.co.uk HARVEY VOICES 49 Greek Street, London W1D 4EG Phone: 020 7952 4361 Mobile: 07739 902784 Photo: Jennie Scott E-mail: [email protected] WWW: www.harveyvoices.co.uk Location: Greater London, Appearance: White, England, United Scandinavian, Kingdom Eastern Height: 6' (182cm) European Weight: 13st. 7lb. (86kg) Other: Equity Playing Age: 40 - 50 years Eye Colour: Blue Hair Colour: Dark Brown Hair Length: Short About me: Television Television, Andrew Wallace, PROFESSOR T, Eagle Eye Productions, Indra Siera Television, Jim Bonning, CASUALTY, BBC, Various Television, One Eyed Marc, BIRDS OF A FEATHER, ITV, Martin Dennis Television, Leon, X COMPANY, CBC Television/Sony Pictures Television Television, Ben Owens, DOCTORS (NINE EPS), BBC, Various Television, Zac Glazerbrook, CUFFS, BBC/Tiger Aspect Productions, Kieron Hawkes Television, Natie, RAISED BY WOLVES, C4, Mitchell Altieri Television, Bruce, FLYING HIGH, ZDF, Stephen Bartmann Television, Andrew Hayden, HUNTED, Kudos/HBO/BBC, Daniel Percival/James Strong Television, Ray Keats, WATERLOO ROAD, Shed Productions, Fraser Macdonald Television, Lucas North in Flashback, SPOOKS, BBC Television, Edward Hall Television, Paul Walsh, HOME TIME, BBC Television, Christine Gernon Television, Nathan, RIVER CITY, BBC Television, Semi regular Television, Jimmy Barrett, THE ROYAL, Yorkshire Television, -
Peter Moffat Writer
Peter Moffat Writer Barrister turned writer, Peter Moffat started out writing plays – his first, ‘Fine and Private Place’ was broadcast on BBC Radio – before going on to create several television dramas, including ‘Criminal Justice, ‘Silk’ and ‘North Square,’ which he won the Broadcasting Press Guild Writer’s Award. He was awarded two BAFTAS for ‘Criminal Justice,’ which was the basis for HBO’s Emmy-winning series ‘The Night Of,’ starring Riz Ahmed. His most recent series for Showtime, ‘Your Honour,’ stars Bryan Cranston and ‘61st Street’ with Michael B. Jordan as Executive Producer. Agents Charles Walker Assistant [email protected] Olivia Martin +44 (0) 20 3214 0874 [email protected] +44 (0) 20 3214 0778 Credits Television Production Company Notes 61ST STREET AMC Studios Executive Producer: Michael B. Jordan 2020 YOUR HONOR CBS for Showtime 10 x 60 2020 Producer: Liz Glotzer and Michelle & Robert King Lead Director: Ed Berger Starring: Bryan Cranston and Courtney B. Vance THE LAST POST BBC 6 x 60 2017 Aden 1965. This is the story of a British army unit fighting a Yemeni insurgency in the Middle East and the women and children who were there with them. THE NIGHT OF HBO Executive Producer 2016 Based on the Peter's orginal series Criminal Justice 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 UNDERCOVER BBC1 6 x60' with Sophie Okonedo and Adrian Lester, Denis 2015 Haysbert Director James Hawes, Exec Producer Peter Moffat THE VILLAGE series Company Pictures 6 x 60' with John Simm, Maxine Peake, Juliet Stevenson 1 / BBC1 Producer: Emma Burge; Director: Antonia Bird 2013 SILK 2 BBC1 6 x 60' With Maxine Peake, Rupert Penry Jones, Frances 2012 Barber, and Neil Stuke Producer: Richard Stokes; Directors: Alice Troughton, Jeremy Webb, Peter Hoar SILK BBC1 6 x 60' 2011 With Maxine Peake, Rupert Penry Jones, Natalie Dormer, Tom Hughes and Neil Stuke. -
Broadcast Bulletin Issue Number 45
* Ofcom broadcast bulletin Issue number 45 10 October 2005 Ofcom broadcast bulletin 45 10 October 2005 Contents Introduction 3 Standards cases In Breach 4 Resolved 8 Other programmes not in breach/outside remit 11 2 Ofcom broadcast bulletin 45 10 October 2005 Introduction Ofcom’s Broadcasting Code 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/ The Rules on the Amount and Distribution of Advertising (RADA) apply to advertising issues within Ofcom’s remit from 25 July 2005. The Rules can be found at http://www.ofcom.org.uk/tv/ifi/codes/advertising/#content The Communications Act 2003 allowed for the codes of the legacy regulators to remain in force until such time as Ofcom developed its own Code. While Ofcom has now published its Broadcasting Code, the following legacy Codes apply to content broadcast before 25 July 2005. • Advertising and Sponsorship Code (Radio Authority) • News & Current Affairs Code and Programme Code (Radio Authority) • Code on Standards (Broadcasting Standards Commission) • Code on Fairness and Privacy (Broadcasting Standards Commission) • Programme Code (Independent Television Commission) • Programme Sponsorship Code (Independent Television Commission) • Rules on the Amount and Distribution of Advertising From time to time adjudications relating to advertising content may appear in the bulletin in relation to areas of advertising regulation which remain with Ofcom (including the application of statutory sanctions by Ofcom). -
Spooks Returns to Dvd
A BAPTISM OF FIRE FOR THE NEW TEAM AS SPOOKS RETURNS TO DVD SPOOKS: SERIES NINE AVALIABLE ON DVD FROM 28TH FEBRUARY 2011 “Who doesn’t feel a thrill of excitement when a new series of Spooks hits our screens?” Daily Mail “It’s a tribute to Spooks’ staying power that after eight years we still care so much” The Telegraph BAFTA Award‐winning British television spy drama Spooks is back for its ninth knuckle‐clenching series and is available on DVD from 28th February 2011 courtesy of Universal Playback. Filled with spy‐tastic extra features, the DVD is a must for any die‐hard Spooks fan. The ninth series of the critically acclaimed Spooks, is filled with dramatic revelations and a host of new characters ‐ Sophia Myles (Underworld, Doctor Who), Max Brown (Mistresses, The Tudors), Iain Glen (The Blue Room, Lara Croft: Tomb Raider), Simon Russell Beale (Much Ado About Nothing, Uncle Vanya) and Laila Rouass (Primeval, Footballers’ Wives). Friendships will be tested and the depth of deceit will lead to an unprecedented game of cat and mouse and the impact this has on the team dynamic will have viewers enthralled. Follow the team on a whirlwind adventure tracking Somalian terrorists, preventing assassination attempts, avoiding bomb efforts and vicious snipers, and through it all face the personal consequences of working for the MI5. The complete Spooks: Series 9 DVD boxset contains never before seen extras such as a feature on The Cost of Being a Spy and a look at The Downfall of Lucas North. Episode commentaries with the cast and crew will also reveal secrets that have so far remained strictly confidential. -
The Derby School Register, 1570-1901
»;jiiiiliiiili^ 929.12 D44d 1275729 'I ^BNHAUOG^r CiOUi^H-OTiOM ALLEN COUNTY PUBLIC LIBRARY 3 1833 01795 1531 . ^^-•^ THE DERBY SCHOOL REGISTER, I ^70-1901 /// prepanxtio)! : *• History of Derby School from the Earliest Times to the Present Day." : THE DERBY SCHOOL REGISTER. 1 5'7o-i90i . Edited by B. TACCHELLA, Assiiiaiit Master of Derby Sehool. LONDON BEMROSE & SONS, Limited, 4, Snow Hill ; and Derby, 1902. Sic *ffDeur\? Ibowe Beinrose, Ikt., ®.H)., THE PATRON OF DERBYSHIRE LITERATURE, THIS REGISTER OF DERBY SCHOOL IS MOST RESPECTFULLY DEDICATED, AS A SLIGHT ACKNOWLEDGMENT OF HIS GENIAL ENCOURAGEMENT AND INVALUABLE ASSISTANCE DURING ITS COMPILATION. ^ PREFACE. ,__ NO work is more suited to perpetuate the fame and traditions of an ancient scliool, and to foster the spirit of brother- hood among the succeeding generations of its alumni, than a Register recording the proud distinctions or the humble achievements of those who have had the honour of belonging to it. To do this, effectually a register ought to be complete in all its parts, from the first clay the school opened its doors ; and it is evident that such a work could only be the result of a continuous purpose, coeval with the school itself. Unfortunately that task has been deferred from century to century, and has become harder in proportion to its long post- ponement. But is this a. reason why it should not at length be attempted? As the usefulness, or, to speak more correctly, the necessity of such an undertaking has in these latter times become more and more apparent at Derby School, and as procrastination only makes matters worse, the editor decided some years ago to face the difficulty and see what could be done. -
Sensational West End Show Gives Theatre Audiences a Vote
TRANSACT TRANSFORM RUN RECYCLE Sensational West End Show Gives Theatre Audiences a Vote Electronic voting system allows audiences to participate in the action and have their say as the drama unfolds Hamilton Rentals plays a leading role helping an innovative production company create an immersive and interactive audience experience that challenged theatre-goers to think again. The challenge The challenge Finding the right technology solution would be no easy To evaluate other potential approaches, John turned matter as John Page, the show’s Production Manager, to Hamilton Rentals to see if they could help resolve the explains. audience voting conundrum. “We needed to find an elegant yet simple way of putting a “Once I explained our dilemma they immediately voting mechanism into the hands of audience members, suggested an interactive radio frequency (RF) audience ensuring the selected solution didn’t disrupt the pace or response system that could easily be implemented into smooth running of the play and was accessible to, an auditorium setting. There was no complex or bulky and usable by, any audience member – regardless of hardware involved and the system featured simple age or dexterity.” push-button key pads that made it easy for people to place their votes.” Initially, the production team considered if a mobile app was the way forward but this opened the door to people “Thanks to Hamilton Rentals, the voting element of the fumbling for phones and risked performances being play had suddenly become an affordable and workable disturbed by audience members’ phones ringing in key technical reality – especially as renting everything from dramatic moments. -
Serializing the Middle Ages: Television and the (Re)Production of Pop Culture Medievalisms
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2012 Serializing the Middle Ages: Television and the (Re)Production of Pop Culture Medievalisms Sara McClendon Knight Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Medieval Studies Commons Recommended Citation Knight, Sara McClendon, "Serializing the Middle Ages: Television and the (Re)Production of Pop Culture Medievalisms" (2012). Electronic Theses and Dissertations. 170. https://egrove.olemiss.edu/etd/170 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. SERIALIZING THE MIDDLE AGES: TELEVISION AND THE (RE)PRODUCTION OF POP CULTURE MEDIEVALISMS A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of English The University of Mississippi by Sara McClendon Knight May 2012 Copyright Sara McClendon Knight 2012 ALL RIGHTS RESERVED ABSTRACT In his now canonical “Dreaming the Middle Ages,” Umberto Eco famously quips that “it seems that people like the Middle Ages” (61). Eco’s apt sentiment still strikes a resonant chord some twenty years after its publication; there is indeed something about the Middle Ages that continues to fascinate our postmodern society. One of the most tangible ways this interest manifests itself is through our media. This project explores some of the ways that representations of the medieval past function within present-day reimaginings in the media. More specifically, television’s obvious visual textuality, widespread popularity, and virtually untapped scholarly potential offer an excellent medium through which to analyze pop culture medievalisms—the creative tensions that exists between medieval culture and the way it is reimagined, recreated, or reproduced in the present. -
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Movie Data Analysis.Pdf
FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue. -
Henry IV Parts 1 and 2 Preparatory Workpack Thetravelex £10 Season Contents
Education Henry IV Parts 1 and 2 Preparatory workpack TheTravelex £10 Season Contents A Dramatic Commentary 2 part1 part2 Shakespeare’s History Plays 14 lV lV Teaching Henry IV Parts 1 and 2 15 Preparing the National’s productions 20 Henry Henry ng, designed by Michael Mayhew © National BY WILLIAM SHAKESPEARE Olivier Theatre 4 May. Photo (David Harewood, David Bradley, Michael Gambon, Matthew Macfadyen and John Wood) by Hugo Glendinni Theatre (reg’d charity) Henry IV Parts 1 and 2 Workpack co-written by Editor NT Education Workpack By William Shakespeare Peter Reynolds, Emma Thirlwell National Theatre © Peter Reynolds and Creative Director of South Bank Samantha Potter Director www.stagework.org.uk Design London SE1 9PX The views expressed in this Nicholas Hytner with contributions from Patrick Eley, Lisa Johnson workpack are not necessarily Samantha Potter, T 020 7452 3388 those of the National Theatre Further production details Staff Director on this F 020 7452 3380 www.nationaltheatre.org.uk production E educationenquiries@ nationaltheatre.org.uk A Dramatic Commentary HENRY IV PART 1 Their manner and their talk reveal an intimacy and informality entirely lacking from the Act 1 scene 1 behaviour of the men in the opening scene and, KING HENRY IV and his closest associates in contrast to news of a kingdom at war with acknowledge the deeply troubled nature of the itself, we now meet a man at odds with himself: times. Henry speaks of the recent armed Falstaff, according to his young companion, conflict that has left them all feeling physically doesn’t even know what time of day it is.