Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. It offers a networked brokerage model of producing to identify the producer’s resources as cultural, social and economic capital and the producer’s function as their translation, transformation, accumulation and dissemination across professional networks. It employs the concept of diasporic networks to encapsulate the different contexts and outcomes of networking, arguing that the strong ties of co-working remain dormant or residual rather than being broken at the end of a working partnership and are able to be re-formed. 2 Acknowledgements This project has required the support and assistance of a number of people, whom I would like to acknowledge and thank here. Firstly, without the contributions of those I interviewed in the course of this study, it would not exist. To welcome an inquisitive stranger into one’s professional world is a generous act and I would like to thank of all of those who did so. My Director of Studies, Professor Andrew Spicer, has guided this project with clarity, great insight, and patience. From helping me to find my feet in the project, to keeping me on track both conceptually and temporally, and guiding and encouraging me toward its conclusion, he has been both a mentor and a role model to me in the researcher’s craft. My supervisors, Doctors Sherryl Wilson and Amy Genders not only directed me to overlooked perspectives but also provided me with encouragement through their understanding of the researcher’s journey. Doctor Mark Bould’s annual reviews of my progress were invaluable in their detail and insight. My thanks, go therefore, to all those at the University of the West of England who have supported me. I would like to thank Yeovil College for their contribution to the funding of the early months of my study and to Bournemouth University for funding the remainder. Too many colleagues to name here have encouraged and supported my work but I would like to thank, in particular, Doctor Christa Van Raalte, who, when possible, provided the time and understanding required to complete this alongside my other working responsibilities. To those who have shared an office with me over the years, I extend my thanks for the convoluted conversations, laughter, and for putting up with my keyboard-hammering and sudden outbursts on the nature of culture. Finally, if me doing this has in some way been inspiring to my amazing children, Rose and Leo, then it will have been worth it, and any pride or pleasure it may give my own inspirations, Mum, Dad and Denise, will ice that cake. Thanks to all of you for your love, support and encouragement. 3 Contents Abstract ..................................................................................................................... 2 Acknowledgements ................................................................................................... 3 Contents .................................................................................................................... 4 List of Figures ............................................................................................................ 7 1.0 Introduction .................................................................................................... 8 1.1 Research Questions .................................................................................................... 9 1.2 Structure of the Thesis ............................................................................................. 10 1.2.1 Chapter 2 – Literature Review ............................................................................. 10 1.2.2 Chapter 3 – Contexts: Historical .......................................................................... 11 1.2.3 Chapter 4 – Contexts: Contemporary .................................................................. 11 1.2.4 Chapter 5 – PreamBle to Case StuDies ................................................................ 12 1.2.5 Chapter 6 – Case Study 1 ..................................................................................... 12 1.2.6 Chapter 7 – Case Study 2 ..................................................................................... 12 1.2.7 Chapter 8 - Case Study 3 ..................................................................................... 13 1.2.8 Chapter 9 – Case Study 4 & Conclusions to Case Studies .................................... 13 1.2.9 Chapter 10 – Conclusion ..................................................................................... 13 1.3 Contribution to Knowledge ...................................................................................... 14 1.3.1 NegotiateD DepenDencies ................................................................................... 14 1.3.2 The Networked Brokerage Model of Producing .................................................. 14 1.3.3 Diasporic Networks ............................................................................................. 14 1.4 Methodologies ......................................................................................................... 15 1.4.1 The protocols for the case studies ...................................................................... 15 1.4.2 The deployment of Network Theory in the analysis ........................................... 20 2.0 Literature Review .......................................................................................... 25 2.1 Studies of Television Institutions .............................................................................. 26 2.2 Studies of Production Cultures ................................................................................. 32 2.2.1 MeDia LaBour Studies .......................................................................................... 33 2.2.2 ProDuction Culture StuDies ................................................................................. 36 2.3 Studies of Producers ................................................................................................. 43 2.4 Conclusion ................................................................................................................ 48 3.0 Contexts 1: Historical .................................................................................... 51 4 3.1 The BBC between the Wars: Independence Within the Constitution ......................... 51 3.2 The Independent Television Authority: A skunk by any other name ......................... 53 3.3 Channel 4: A free market of ideas ............................................................................. 57 3.4 Independent Production: The conception of a sector ................................................ 61 3.5 Conclusion: The Necessary Imaginary of Independence in British Broadcasting ........ 67 4.0 Contexts 2: Contemporary ............................................................................. 68 4.1 Policy Frameworks and Independent Production ...................................................... 68 4.2 Independent Television Production: Economic categorisation and discontinuity ...... 73 4.3 Defining independent television production culturally ............................................. 79 4.4 Conclusion ................................................................................................................ 83 5.0 Preamble to the Case Studies ........................................................................ 86 6.0 Case Study 1: “Fresh air and a prayer.” GRACE Productions. Micro- Independent ............................................................................................................ 88 6.1 Becoming an Independent Producer ........................................................................