Autumn 2019 Colour
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East Tower Inspiration Page 6
The newspaper for BBC pensioners – with highlights from Ariel online East Tower inspiration Page 6 AUGUST 2014 • Issue 4 TV news celebrates Remembering Great (BBC) 60 years Bing Scots Page 2 Page 7 Page 8 NEWS • MEMORIES • CLASSIFIEDS • YOUR LETTERS • OBITUARIES • CROSPERO 02 BACK AT THE BBC TV news celebrates its 60th birthday Sixty years ago, the first ever BBC TV news bulletin was aired – wedged in between a cricket match and a Royal visit to an agriculture show. Not much has changed, has it? people’s childhoods, of people’s lives,’ lead to 24-hour news channels. she adds. But back in 1983, when round the clock How much!?! But BBC TV news did not evolve in news was still a distant dream, there were a vacuum. bigger priorities than the 2-3am slot in the One of the original Humpty toys made ‘A large part of the story was intense nation’s daily news intake. for the BBC children’s TV programme competition and innovation between the On 17 January at 6.30am, Breakfast Time Play School has sold at auction in Oxford BBC and ITV, and then with Channel 4 over became the country’s first early-morning TV for £6,250. many years,’ says Taylor. news programme. Bonhams had valued the 53cm-high The competition was evident almost ‘It was another move towards the sense toy at £1,200. immediately. The BBC, wary of its new that news is happening all the time,’ says The auction house called Humpty rival’s cutting-edge format, exhibited its Hockaday. -
The True Story of Mission to Hell Page 4
The newspaper for BBC pensioners – with highlights from Ariel online The true story of Mission to Hell Page 4 August 2015 • Issue 4 Trainee Oh! What operators a lovely reunite – Vietnam War TFS 1964 50 years on Page 6 Page 8 Page 12 NEWS • MEMORIES • CLASSIFIEDS • YOUR LETTERS • OBITUARIES • CROSPERO 02 BACK AT THE BBC Departments Annual report highlights ‘better’ for BBC challenge move to Salford The BBC faces a challenge to keep all parts of the audience happy at the same time as efficiency targets demand that it does less. said that certain segments of society were more than £150k and to trim the senior being underserved. manager population to around 1% of But this pressing need to deliver more and the workforce. in different ways comes with a warning that In March this year, 95 senior managers Delivering Quality First (DQF) is set to take a collected salaries of more than £150k against bigger bite of BBC services. a target of 72. The annual report reiterates that £484m ‘We continue to work towards these of DQF annual savings have already been targets but they have not yet been achieved,’ achieved, with the BBC on track to deliver its the BBC admitted, attributing this to ‘changes Staff ‘loved the move’ from London to target of £700m pa savings by 2016/17. in the external market’ and the consolidation Salford that took place in 2011 and The first four years of DQF have seen of senior roles into larger jobs. departments ‘are better for it’, believes Peter Salmon (pictured). a 25% reduction in the proportion of the More staff licence fee spent on overheads, with 93% of Speaking four years on from the biggest There may be too many at the top, but the the BBC’s ‘controllable spend’ now going on ever BBC migration, the director, BBC gap between average BBC earnings and Tony content and distribution. -
Drug Education and Its Publics in 1980S Britain
International Journal of Drug Policy 88 (2021) 103029 Contents lists available at ScienceDirect International Journal of Drug Policy journal homepage: www.elsevier.com/locate/drugpo Policy Analysis Just say know: Drug education and its publics in 1980s Britain Alex Mold Centre for History in Public Health, London School of Hygiene & Tropical Medicine, 15-17 Tavistock Place, London, WC1H 9SH, United Kingdom ARTICLE INFO ABSTRACT Keywords: Until the 1980s, anti-drug education campaigns in the UK were rare. This article examines the reasons behind a Heroin policy shift that led to the introduction of mass media drug education in the mid 1980s. It focuses on two Drug education campaigns. ‘Heroin Screws You Up’ ran in England, and ‘Choose Life Not Drugs’ ran in Scotland. The campaigns Health education were different in tone, with ‘Heroin Screws You Up’ making use of fear and ‘shock horror’ tactics, whereas History of drug use ‘Choose Life Not Drugs’ attempted to deliver a more positive health message. ‘Heroin Screws You Up’ was criticised by many experts for its stigmatising approach. ‘Choose Life Not Drugs’ was more favourably received, but both campaigns ran into difficulties with the wider public. The messages of these campaigns were appro priated and deliberately subverted by some audiences. This historical policy analysis points towards a complex and nuanced relationship between drug education campaigns and their audiences, which raises wider questions about health education and its ‘publics’. In April 1986, the cast of teen TV soap, Grange Hill, released a song wanted to be seen to take action on drugs, leading to the introduction of titled ‘Just say no’. -
SATURDAY 16TH JUNE 06:00 Breakfast 09:00 Saturday Kitchen
SATURDAY 16TH JUNE All programme timings UK All programme timings UK All programme timings UK 06:00 Breakfast 10:10 The Gadget Show 06:00 The Forces 500 Back-to-back Music! 09:00 Saturday Kitchen Live 09:25 Midsomer Murders 11:05 Revolution 10:30 MOTD Live: France v Australia 11:20 Long Lost Family: What Happened Next 11:55 Brooklyn Nine-Nine 13:15 BBC News 12:20 ITV Lunchtime News 12:20 Star Trek: Voyager 13:30 Bargain Hunt 12:30 The Best of the Voice Worldwide 13:00 Shortlist 14:30 Escape to the Continent 13:30 FIFA World Cup 2018 13:05 Modern Family 15:30 Britain's Best Home Cook 13:30 Modern Family 16:30 MOTD Live: Peru v Denmark 13:55 The Fresh Prince of Bel Air 19:10 BBC News 14:20 The Fresh Prince of Bel Air 19:20 BBC London News 14:45 Chris & Olivia: Crackin' On 19:30 Pointless Celebrities 15:30 Jamie and Jimmy's Friday Night Feast A special celebrity impressionists edition of 16:25 The Only Way Is Essex the quiz, with Alistair McGowan, Ronni Ancona, 17:10 Shortlist 09:00 America's WWII Jon Culshaw, Jan Ravens, Rory Bremner, Matt 17:15 The Simpsons 09:30 America's WWII Forde, Francine Lewis and Danny 17:40 Star Trek II: The Wrath of Khan 10:00 Hogan's Heroes Posthill. 19:25 The Crystal Maze 10:30 I Dream of Jeannie 20:20 Casualty 20:15 Shortlist Argentina v Iceland. 13:00 Mannix Connie and Elle are forced to go on the road 20:20 Marvel's Agents of S.H.I.E.L.D. -
A Sheffield Hallam University Thesis
Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms TOMSETT, Eleanor Louise Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26442/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26442/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Reflections on UK Comedy’s Glass Ceiling: Stand-up Comedy and Contemporary Feminisms Eleanor Louise Tomsett A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate declaration: I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University's policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acKnowledged. 4. The worK undertaKen towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
Radio 4 Extra Listings for 27 January – 2 February 2018 Page 1 of 8
Radio 4 Extra Listings for 27 January – 2 February 2018 Page 1 of 8 SATURDAY 27 JANUARY 2018 Series 3, Episode 2Gyles Brandreth chairs the scandals quiz Jan Ravens and guests chart the journey of changing attitudes to with Anthony Holden, Lucy Moore, Richard Herring and female satire. Recorded with an audience in the BBC Radio SAT 00:00 The Scarifyers (b007wv3h) Louise Doughty. From October 2005. Theatre of Broadcasting House in London. The Thirteen Hallows, Episode 4Professor Dunning and his SAT 04:30 After Henry (b007jnzw) Ever since Donald Trump dubbed Hillary Clinton a 'nasty knightly friend Glewlwyd Gafaelfawr are captured and taken to Series 2, The TeapotEleanor wants a video player but how can woman' during a presidential debate, women the world over King Arthur's final resting place: Barry Island, in Wales. With she raise the cash?. have embraced the term as a battle-cry and responded not only shadowy forces both home and abroad ranged against them, can Simon Brett's comedy about three generations of women - with a viral campaign on social media but with Nasty Woman T- Harry Crow and the mysterious Mr Merriman save them? struggling to cope after the death of Sarah's GP husband - who shirts, perfumes and cocktails. This spirited response chimes The Scarifyers follows the exploits of 1930s ghost-story writer never quite manage to see eye to eye. with a long tradition of feisty female comedians on the radio. Professor Dunning and retired policeman Harry Crow, who Starring Prunella Scales as Sarah, Joan Sanderson as Eleanor, In a sometimes frank discussion, Jan and her guests - Kiri together investigate weird mysteries under the auspices of top- Benjamin Whitrow as Russell, Gerry Cowper as Clare and Pritchard-McLean, Lauren Pattison and the BBC's radio secret government department MI:13. -
Captioning and Subtitling for D/Deaf and Hard of Hearing Audiences Captioning and Subtitling for D/Deaf and Hard of Hearing Audiences
Soledad Zárate Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences Soledad Zárate First published in 2021 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.uclpress.co.uk Text © Author, 2021 Images © Author and copyright holders named in captions, 2021 The author has asserted her rights under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work. A CIP catalogue record for this book is available from The British Library. This book is published under a Creative Commons 4.0 International licence (CC BY 4.0). This licence allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Zárate, S. 2021. Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences. London: UCL Press. https://doi.org/10.14324/111.9781787357105 Further details about Creative Commons licences are available at http://creative commons.org/licenses/ Any third-party material in this book is published under the book’s Creative Commons licence unless indicated otherwise in the credit line to the material. If you would like to reuse any third-party material not covered by the book’s Creative Commons licence, you will need to obtain permission directly from the copyright holder. -
A Quantitative Analysis of Red Button Television Content in the UK
Pushing the button: A quantitative analysis of red button television content in the UK Submitted in partial fulfilment of the Requirements of the Degree of Doctor of Philosophy. July 2014 Andrew Fox 1 Table of Contents Abstract p. 8 Chapter 1: Introduction 1.1 Introduction p. 10 1.2 Technohype p. 11 1.3 Internet Television p. 13 1.4 Television and Interactivity p. 14 1.5 Research Aims p. 17 1.6 Field Interviews p. 18 1.7 Thesis Structure p. 18 Chapter 2: Theoretical framework and literature review 2.1 Introduction p. 20 2.2 Has the sociological position of television changed? p. 20 2.2.1 ‘The Death of Television’ p. 21 2.2.2 Convergence p. 23 2.2.3 Uncertain future p. 26 2.3 Is interactive television happening and if so why? p. 29 2.3.1 Institutional attitudes p. 29 2.3.2 Regulatory policy p. 33 2.4 What does interactivity mean for television? p. 38 2.4.1 Participatory experience p. 39 2.4.2 Individualistic experience p. 43 2.5 What does interactivity mean for television content? p. 46 2.5.1 Enhanced content p. 46 2.5.2 Freedom of choice p. 48 2 2.6 What does interactive television mean for the audience? p. 50 2.6.1 A more questioning audience p. 51 2.6.2 An everyday experience? p. 52 2.6.3 Choice means responsibility p. 55 2.7 What does interactive television actually offer? p. 57 2.7.1 Defining ‘interactivity’ p. 58 2.7.2 Forms of interactive TV p. -
Annual Report and Accounts 2007/08 the BBC Executive’S Review and Assessment 07 08
PART TWO: Annual Report and Accounts 2007/08 The BBC Executive’s review and assessment 07 08 Director- General ’s introduction 01 About the BBC 02 BBC & me 04 BBC Executive Board 24 BBC at a glance 26 Review of services Future Media & Technology 29 Vision 32 Audio & Music 38 Journalism 44 Commercial activities 52 Engaging with audiences 54 ...quality programming that informs Performance us, educates us and more often BBC People 58 than not, entertains us. These three Operations 62 Statements of Programme Policy tenets are as important today as commitments 2007/08 70 when they were first uttered around Finance 80 years ago. Financial overview 82 Governance and financial statements 86 Getting in touch with the BBC 148 Other information Inside back cover THE DIRECTOR -GENERAL 01 WELCOME When I wrote to you a year ago, our award- Despite these difficulties, the BBC has had a downloads and streams. And it’s still growing. winning Gaza correspondent Alan Johnston year of outstanding creative renewal. From There is no evidence that it is impacting was still missing. We didn’t know if we would Cranford to Sacred Music to Gavin and Stacey, our linear television and radio ratings which ever see him again. And then, what we’d all television has lived up to our aim – to delight remain very strong. been hoping, working and praying for: Alan’s audiences. And we have seen the nation share tired but smiling face as he was led to freedom. some of the events that unite us all – from the With Freesat now launched, complementing Concert for Diana to Wales’ triumph at the Six our popular Freeview service, it’s clear But within a few days, we had fresh problems Nations Rugby championship. -
Jayne Chard Producer
Jayne Chard Producer Jayne is an award winning producer working in TV and Film. She has produced for SKY studios and for the BBC on the BAFTA winning series Casualty. Jayne has produced three feature films – Two Heads Creek; B&B and Dartmoor Killing, which between them have won over fourteen awards, including Best Thriller at the National Film Awards for Dartmoor Killing and Best LGBTQ Film at the London Independent Film Festival for B&B. Agents Georgina Carrigan [email protected] Credits Television Production Company Notes THE RISING Sky Studios Producer 2 episodes. Executive Producer Serena 2021 Thompson. CASUALTY BBC 1 Producer 5 episodes. Series Producer Loretta Preece 2021 CASUALTY BBC 1 Producer 2018 - 2019 10 episodes. Series Producer Lucy Raffety. THE BENCH ITV Director Single Drama. Producer Grace Kitto HOLLYOAKS Channel Four Director 6 episodes. Producer Juliette Charlesworth GRANGE HILL BBC 1 Director 2 episodes. Producer Karl Dolan 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 BROOKSIDE Channel Four Director 2 episodes. Producer David Richardson Film Production Company Notes TWO HEADS CREEK Storm Vision; Dicentium Films Producer 2019 Hummingbird Films Wr. Jordan Waller. Dir. Jesse O'Brien. B&B Creative England/ Film Wales Producer 2017 Hummingbird Films Wr./Dir. Joe Ahearne. Distributors: Pecadillo (UK) Breaking Glass (USA) DARTMOOR KILLING PNF/Hummingbird Films Producer/Line Producer 2015 Wr. Isabelle Grey. Dir. Peter Nicholson. Shown theatrically in 35 screens in the UK. Documentaries Production Company Notes CVS: SAFE OR SORRY Channel Four Producer/Line Producer. -
Skins and the Impossibility of Youth Television
Skins and the impossibility of youth television David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays, can be found at: https://davidbuckingham.net/growing-up-modern/. In 2007, the UK media regulator Ofcom published an extensive report entitled The Future of Children’s Television Programming. The report was partly a response to growing concerns about the threats to specialized children’s programming posed by the advent of a more commercialized and globalised media environment. However, it argued that the impact of these developments was crucially dependent upon the age group. Programming for pre-schoolers and younger children was found to be faring fairly well, although there were concerns about the range and diversity of programming, and the fate of UK domestic production in particular. Nevertheless, the impact was more significant for older children, and particularly for teenagers. The report was not optimistic about the future provision of specialist programming for these age groups, particularly in the case of factual programmes and UK- produced original drama. The problems here were partly a consequence of the changing economy of the television industry, and partly of the changing behaviour of young people themselves. As the report suggested, there has always been less specialized television provided for younger teenagers, who tend to watch what it called ‘aspirational’ programming aimed at adults. Particularly in a globalised media market, there may be little money to be made in targeting this age group specifically. -
Transforming ITV ITV Plc Report and Accounts 2010 117
ITV plc ITV 2010 accounts and Report ITV plc The London Television Centre Upper Ground London SE1 9LT www.itv.com investors: www.itvplc.com Transforming ITV ITV plc Report and accounts 2010 117 Financial record 2010 2009 2008 2007 2006 ITV today Broadcasting & Online ITV Studios £m £m £m £m £m ITV is the largest commercial ITV content is funded by advertising and ITV Studios comprises ITV’s UK production Results Revenue 2,064 1,879 2,029 2,082 2,181 television network in the UK. sponsorship revenues as well as viewer operations, ITV’s international production competitions and voting. ITV1 is the largest companies and ITV Studios Global Earnings before interest, tax and amortisation (EBITA) before exceptional items 408 202 211 311 375 It operates a family of channels commercial channel in the UK. It attracts Entertainment. Amortisation of intangible assets (63) (59) (66) (56) (56) including ITV1, and delivers the largest audience of any UK commercial ITV Studios produces programming for Impairment of intangible assets – – (2,695) (28) (20) broadcaster and has the greatest share of content across multiple platforms ITV’s own channels and for other UK and Share of profits or (losses) of joint ventures and associated undertakings (3) (7) (15) 2 8 the UK television advertising market at via itv.com and ITV Player. international broadcasters. 45.1%. ITV’s digital channels continue to Investment income – – 1 1 3 ITV Studios produces and sells grow their audiences and most recently A wide range of programme genres are Exceptional items 19 (20) (108) (9) 4 programmes and formats in saw the launch of high definition (HD) produced, including: drama, soaps, Profit/(loss) before interest and tax 361 116 (2,672) 221 314 the UK and worldwide.