ITV Plccorporate Responsibility Report 2007
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Smartglass International “Tunes In” to ITV Daybreak…
Project Case Study No. 19 SmartGlass International “tunes in” to ITV Daybreak… Client: ITV Daybreak Operator: GMTV Limited Daybreak is the weekday breakfast television programme Contract Size: £135k broadcast from 6:00am to 8:30am for the British commercial ITV Date: August 2010 network anchored by Adrian Chiles and Christine Bleakley. The ability to instantly switch the glass to maximize daylight when Daybreak took to the air on Monday 6 th September as the much- it’s really needed and to provide controllable solar shading during heralded replacement for breakfast TV show GMTV. More than peak light conditions is valuable and unique. This feature is one million people tuned in to see the launch of ITV's new especially useful for application in a television studio as it allows breakfast show - an improvement over its predecessor, GMTV. for maximum daylight to enter without compromising recording ITV said the show, which featured an interview with former Prime quality and controls room temperature which is also critical in this Minister Tony Blair, peaked at 1.5m viewers. ITV are one of the particular environment. UK’s largest broadcasting stations and reach approximately 13 million viewers a week with Daybreak regularly accounting for a Daybreak is broadcast from dawn meaning the levels of sunlight large proportion of this. entering the studio vary throughout the morning. When the sun is just rising over London the backdrop is in darkness, at this stage The Daybreak studio is located in the heart of London at South the glass is at its clearest state where it will allow for maximum Bank studios. -
DISCOVER NEW WORLDS with SUNRISE TV TV Channel List for Printing
DISCOVER NEW WORLDS WITH SUNRISE TV TV channel list for printing Need assistance? Hotline Mon.- Fri., 10:00 a.m.–10:00 p.m. Sat. - Sun. 10:00 a.m.–10:00 p.m. 0800 707 707 Hotline from abroad (free with Sunrise Mobile) +41 58 777 01 01 Sunrise Shops Sunrise Shops Sunrise Communications AG Thurgauerstrasse 101B / PO box 8050 Zürich 03 | 2021 Last updated English Welcome to Sunrise TV This overview will help you find your favourite channels quickly and easily. The table of contents on page 4 of this PDF document shows you which pages of the document are relevant to you – depending on which of the Sunrise TV packages (TV start, TV comfort, and TV neo) and which additional premium packages you have subscribed to. You can click in the table of contents to go to the pages with the desired station lists – sorted by station name or alphabetically – or you can print off the pages that are relevant to you. 2 How to print off these instructions Key If you have opened this PDF document with Adobe Acrobat: Comeback TV lets you watch TV shows up to seven days after they were broadcast (30 hours with TV start). ComeBack TV also enables Go to Acrobat Reader’s symbol list and click on the menu you to restart, pause, fast forward, and rewind programmes. commands “File > Print”. If you have opened the PDF document through your HD is short for High Definition and denotes high-resolution TV and Internet browser (Chrome, Firefox, Edge, Safari...): video. Go to the symbol list or to the top of the window (varies by browser) and click on the print icon or the menu commands Get the new Sunrise TV app and have Sunrise TV by your side at all “File > Print” respectively. -
BARB Establishment Survey Annual Data Report Volume 1
BARB Establishment Survey Annual Data Report Volume 1: Total Network & Appendices April 2011 to March 2012 BARB ESTABLISHMENT SURVEY OF TV HOMES Page 1 DATA PERIOD: ANNUAL April 2011 - March 2012 Contents Page Total Network (All Areas) Annual Data Tables 1 Introduction 2 Household Table 1: Social Grade 3 Table 2: Housewife Age 4 Table 3: Size of Household 5 Table 4: Presence of Children 6 Table 5: Number of TV sets in household 7 Table 6: Screen size 8 Table 7: Location of ANY set in household 9 Table 8: Recorders 10 Table 9: Other TV equipment 11 Table 10: Computers and Internet 12 Sets Table 11: Screen Size 13 Table 12: Location of set 14 Table 13: Recorders 15 Table 14: Other TV equipment 15 Table 15: Main Set Screen Size 16 Table 16: Main Set Recorders 17 Table 17: Main Set - Other TV equipment 17 Table 18: Other Sets (non-Main Set) Screen Size 18 Table 19: Other Set (non-Main Set) Recorders 19 Table 20: Other Set (non-Main Set) - Other TV equipment 19 Individuals Table 21: Age of Children 20 Table 22: Adults - Age 21 Table 23: Social Grade (Adults 16+) 22 Table 24: Working Status (Adults 16+) 23 Table 25: Males - Age 24 Table 26: Social Grade (Males 16+) 25 Table 27: Working Status (Males 16+) 26 Table 28: Females - Age 27 Table 29: Social Grade (Females 16+) 28 Table 30: Working Status (Females 16+) 29 Appendices Appendix A: Survey objectives Appendix B: The sample Appendix C: Fieldwork and results Appendix D: Definitions Appendix E: Number of televisions in the household Appendix F: Rounding Appendix G: Sample bases for the tables Appendix H: Multiple households at issued addresses Appendix I: Weighting Appendix J: The Questionnaire (March 2012) See also VOLUME 2 - BBC Areas VOLUME 3 - ITV Areas Introduction Page 2 This reports contains the weighted data results from the Establishment survey for the period April 2011 - March 2012 Data is presented at different levels Household Set Individual Accordingly; bases do vary. -
From Callaghan to Credit Crunch
From Callaghan to Credit Crunch: Changing Trends in British Television News 1975-2009 Steven Barnett and Gordon Neil Ramsay, University of Westminster, and Ivor Gaber, University of Bedfordshire January 2012 Table of Contents Executive Summary ................................................................................................................................ 2 1. Introduction ..................................................................................................................................... 5 2. Methodology ................................................................................................................................. 11 3. Results I: Overall News Trends .................................................................................................... 14 4. Results II: Subcategory Analysis .................................................................................................. 25 5. Qualitative Analysis ...................................................................................................................... 27 6. Conclusions ................................................................................................................................... 33 Appendices ............................................................................................................................................ 36 Acknowledgements This study has been funded by the Leverhulme Trust. We are very grateful to the Trust for enabling us to continue our analysis and provide the -
Scotland's Home of News and Entertainment
Scotland’s home of news and entertainment Strategy Update May 2018 STV in 2020 • A truly multi-platform media company with a balanced profit base across broadcast, production and digital o Expect around 1/3rd of profit from sources other than linear spot advertising (vs 17% today) • A magnet for the best creative talent from Scotland and beyond • A brand famous for a range of high quality programming and accessible by all Scots wherever they are in the world via the STV app • One of the UK’s leading producers, making world class returning series for a range of domestic and international players • Working in partnership with creative talent, advertisers, businesses and Government to drive the Scottish economy and showcase Scotland to the world Scotland’s home of news and entertainment 2 We have a number of strengths and areas of competitive advantage Strong, trusted brand Unrivalled Talented, connection with committed people Scottish viewers and advertisers Robust balance sheet and growing Scotland’s most returns to powerful marketing shareholders platform Settled A production relationship with business well ITV which placed for incentivises STV Profitable, growing “nations and to go digital digital business regions” growth holding valuable data 3 However, there is also significant potential for improvement •STV not famous for enough new programming beyond news •STV brand perceived as ageing and safe BROADCAST •STV2 not cutting through •News very broadcast-centric and does not embrace digital •STV Player user experience lags competition -
The Factory, Manchester
THE FACTORY, MANCHESTER The Factory is where the art of the future will be made. Designed by leading international architectural practice OMA, The Factory will combine digital capability, hyper-flexibility and wide open space, encouraging artists to collaborate in new ways, and imagine the previously unimagined. It will be a new kind of large-scale venue that combines the extraordinary creative vision of Manchester International Festival (MIF) with the partnerships, production capacity and technical sophistication to present innovative contemporary work year-round as a genuine cultural counterweight to London. It is scheduled to open in the second half of 2019. The Factory will be a building capable of making and presenting the widest range of art forms and culture plus a rich variety of technologies: film, TV, media, VR, live relays, and the connections between all of these – all under one roof. With a total floor space in excess of 15,000 square meters, high-spec tech throughout, and very flexible seating options, The Factory will be a space large enough and adaptable enough to allow more than one new work of significant scale to be shown and/or created at the same time, accommodating combined audiences of up to 7000. It will be able to operate as an 1800 seat theatre space as well as a 5,000 capacity warehouse for immersive, flexible use - with the option for these elements to be used together, or separately, with advanced acoustic separation. It will be a laboratory as much as a showcase, a training ground as well as a destination. Artists and companies from across the globe, as well as from Manchester, will see it as the place where they can explore and realise dream projects that might never come to fruition elsewhere. -
Davina Abrahams. Production Manager
020 8747 1203 | [email protected] | www.chapterspeople.co.uk DAVINA ABRAHAMS. PRODUCTION MANAGER COMMERCIALS PRODUCTION CO. PRODUCT/ TITLE PRODUCER DIRECTOR ROLE ICONOCLAST Macmillan Jane Lloyd Jonathan Alric PM BISCUIT Sheba Sam Chitty Michael Downing PM ICONOCLAST Nike Genevieve Jenn Nkiru PM BISCUIT Duracell Simon Eakhurst Big Red Button PM ICONOCLAST Miller Jane Llyod Paul Gore PM STINK FILMS Vans James Greenall Felix Brady PM BISCUIT Cazoo Nick Goldsmith Aaron Stoller PM PULSE Peloton Tim Nunn Ryan Booth PM CANADA Google Tom Birmingham Manson PM RADICAL MEDIA Samsung Paz Parasmand Josh & Xander PM CAVIAR Virgin Trains Kwok Yau Keith Schofield PM BISCUIT LNER Kwok Yau Andreas Nilsson PM THE SWEETSHOP Natwest Jane Lloyd Mark Albiston PM BISCUIT Hiscox Tom Birmingham The Glue Society PM INDEPENDENT Babbel Giles Skillicorn Jake Dypka PM BISCUIT Currys / PC World ‘Christmas’ Kwok Yau Andreas Nilsson PM CAVIAR Dove Scott O’Donnel Lucy Luscombe PM BISCUIT Stella Artois ‘Holidays’ Emma Butterworth Big Red Button PM BISCUIT RNIB Emma Butterworth Big Red Button PM BISCUIT Direct Line ‘IT Queen’ Emma Butterworth Big Red Button PM CAVIAR Dove ‘Reactions’ & ‘Tender Love’ Scott O’Donnell Lucy Luscombe PM SOMESUCH Toyota ‘Just Go’ Scott O’Donnell George Bellfield PM BISCUIT Snickers ‘Rap Battle’ Kwok Yau Andreas Nillson PM UNIT 9 Finish ‘Power Gel’ Scott O’Donnell Cole Paviour PM UNIT 9 Vanish ‘Landfill’ Scott O’Donnell Greg & Jacob PM BISCUIT Vodaphone ‘Interstellar’ Sam Chitty Jeff Low PM BISCUIT Camelot ‘Sofa’ Kwok Yau Clay Weiner PM -
Bbpi 2015 Booklet Final Web2
Talent. Success. Leadership inspired TALENT . SUCCESS . LEADERSHIP FOREWORD Chair of the Judging Panel Mr Iqbal Wahhab OBE Thirty years ago my first job was as a trainee reporter for The Asian Times. Arif Ali, the publisher, was fond of saying that minorities in the UK had to have the right to be “as good, as bad and as indifferent as everyone else”. It’s fair to say that some in the British Bangladeshi community have in the past condemned themselves in the last two categories. But whilst our youngsters face big challenges with toxic combination of criminalisation and radicalisation, we do ourselves a disservice by not celebrating the increasing number of good news stories and successes we have amongst us. From the East End of London, Sabirul Islam chose to put his entrepreneurial skills to great use and over the last year has become a global brand. Also from the east end and also now on the international stage is former extremist Ed Husain The word “inspiration” in the title of who travels the world speaking to Ayesha and Abdal’s great project governments about how we need to needs a catalyst to trigger it and go about making the world a safer that involves mentoring. Where we place for us all. have succeeded, let’s bring others into our workplaces whether that’s a In Manchester Iqbal Ahmed big City firm, a television company or continues to grow his giant a football club. commercial empire, worth more than the rest of us put together I’d If everyone on this list mentors one imagine. -
ITV Plc Corporate Responsibility Report 04 ITV Plc Corporate Responsibility Report 04 Corporate Responsibility and ITV
One ITV ITV plc Corporate responsibility report 04 ITV plc Corporate responsibility report 04 Corporate responsibility and ITV ITV’s role in society is defined ITV is a commercial public service by the programmes we make broadcaster. That means we and broadcast. The highest produce programmes appealing ethical standards are essential to to a mass audience alongside maintaining the trust and approval programmes that fulfil a public of our audience. Detailed rules service function. ITV has three core apply to the editorial decisions public service priorities: national we take every day in making and international news, regional programmes and news bulletins news and an investment in and in this report we outline the high-quality UK-originated rules and the procedures in place programming. for delivering them. In 2004, we strengthened our longstanding commitment to ITV News by a major investment in the presentation style. Known as a Theatre of News the new format has won many plaudits and helped us to increase our audience. Researched and presented by some of the finest journalists in the world, the role of ITV News in providing accurate, impartial news to a mass audience is an important social function and one of which I am proud. Our regional news programmes apply the same editorial standards to regional news stories, helping communities to engage with local issues and reinforcing their sense of identity. Contents 02 Corporate responsibility management 04 On air – responsible programming – independent reporting – reflecting society – supporting communities – responsible advertising 14 Behind the scenes – encouraging creativity – our people – protecting the environment 24 About ITV – contacts and feedback Cover Image: 2004 saw the colourful celebration of a Hindu Wedding on Coronation Street, as Dev and Sunita got married. -
Response to House of Commons DCMS Select Committee Inquiry on the Impact of Covid-19
Response to House of Commons DCMS Select Committee inquiry on the Impact of Covid-19 June 2020 Introduction 1. TAC (Teledwyr Annibynnol Cymru) represents the independent television production sector in Wales. Our sector is a highly important element of the creative industries in Wales and the UK overall, providing economic, social and cultural benefits through supplying creative content. There are around 50 companies in the sector, ranging from sole traders to some of the leading players in the UK production industry. They produce content for the BBC, ITV, Channel 4, Channel 5 and Sky as well as other commercial broadcasters. They produce almost all of the original television and online media content for the Welsh-language broadcaster S4C, and a variety of radio productions for UK-wide networks. 2. In recent years, Wales’ reputation as a centre of first-class drama production has grown significantly with productions such as 15 Days, Un Bore Mercher / Keeping Faith, Bang, Craith / Hidden and Y Gwyll / Hinterland. Our sector also offers a great deal of expertise in genres such as factual documentary, children’s programmes, sport and entertainment. Overseas programme and format sales have increased, and our members are also experienced in international co-productions. Answers to Specific Committee Questions What has been the immediate impact of Covid-19 on the sector? 3. As with all industries, the TV production sector has faced significant challenges due to the impact of Covid-19 and the introduction of necessary social distancing measures. Productions have been cancelled or postponed and a wide range of programme genres have been affected. -
Werner Herzog Interview with a Legend
July/August 2019 Werner Herzog Interview with a legend David Harewood | Alex Scott | The South Bank Show CREATE MAXIMUM IMPACT WITH MUSIC A collection of epic music composed, recorded and produced specifically for film trailers and broadcast programming, from stirring emotional drama to apocalyptic action. AVAILABLE FOR LICENCE AT AUDIONETWORK.COM/DISCOVER/MAXIMUMIMPACT FIND OUT MORE: Rebecca Hodges [email protected] (0)207 566 1441 1012-RTS ADVERTS-MAX_IMPACT-V2.indd 1 25/06/2019 09:31 Journal of The Royal Television Society July/August 2019 l Volume 56/7 From the CEO We have just enjoyed We had a full house as some of televi- creative icon, Werner Herzog. His new two outstanding sion’s most successful storytellers BBC Arena film, focusing on his rela- national RTS events, shared their approaches to their craft. tionship with Bruce Chatwin, is some- the RTS Student Tele- I am very grateful to the event’s joint thing to look forward to this autumn. vision Awards and a organisers, Directors Cut Productions, Don’t miss Simon Shaps’s incisive live South Bank Show Sky Arts and Premier. review of a new book that analyses the special devoted to the I am thrilled that Alex Scott found the recent battle to own Sky, and Stewart art of screenwriting. Many thanks to time to write this edition’s Our Friend Purvis’s account of how the politics of all of you who worked hard to make column. The Women’s World Cup Brexit are challenging news broadcast- these happen. Congratulations to all really did capture and hold the pub- ers and what impartiality means in a the nominees and winners of the lic’s imagination: England’s semi-final fragmenting political landscape. -
The National Trust for Talent? NESTA and New Labour's Cultural Policy
This is a repository copy of The national trust for talent? NESTA and New Labour’s cultural policy. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/79076/ Version: WRRO with coversheet Article: Oakley, K, Hesmondhalgh, D, Lee, D et al. (1 more author) (2014) The national trust for talent? NESTA and New Labour’s cultural policy. British Politics. ISSN 1746-918X https://doi.org/10.1057/bp.2013.34 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ This is an author produced version of a paper published in British Politics. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/79076/ Paper: Oakley, K, Hesmondhalgh, D, Lee, D and Nisbett, M (2014) The national trust for talent? NESTA and New Labour’s cultural policy.