A detailed analysis of the commissioning of independent radio programme productions by BBC network radio stations in the UK, written by Grant Goddard in July 2010 for the BBC Trust [edited by BBC Trust].
'Independent Radio Productions Commissioned By The BBC' by Grant Goddard [sub...Grant Goddard
A detailed analysis of the commissioning of independent radio programme productions by BBC network radio stations in the UK, written by Grant Goddard in June 2010 for the BBC Trust [submitted to BBC Trust].
The BBC operates several television networks and stations in the UK. It broadcasts major channels like BBC One, BBC Two, BBC Three, and BBC Four, as well as specialty channels focused on news, parliament, children's programming, and more. The BBC is funded primarily through television licensing fees paid by the public. Licensing fees make up the bulk of the BBC's income, which is then used to fund its television, radio, and online services.
'Virgin Radio: New Owner, New Name, New Beginning' by Grant GoddardGrant Goddard
- Bennett, Coleman & Company Limited (BCCL), India's largest media conglomerate, acquired Virgin Radio from Scottish Media Group for £53.2 million.
- As part of the acquisition, BCCL will re-launch the station under a new name and with a £15 million marketing budget later in 2008, as they did not acquire the rights to continue using the Virgin brand name.
- While Virgin Radio broadcasts nationally on AM radio, its audience is heavily skewed towards London, where it also broadcasts on FM radio. The acquisition value is largely due to the London-wide FM license, which BCCL intends to use to build a successful classic rock station in London.
The BBC is publicly funded through license fees voted on by Parliament, making it effectively a state institution. It held a television and radio monopoly in the UK until commercial competitors like ITV and Sky emerged. Sky was originally formed in 1990 by Rupert Murdoch and others to provide satellite television services. The BBC led technological innovations like the iPlayer and Ceefax teletext service. Sky offers on-demand and personal recording options to compete with BBC programming and services. Both organizations generate income through license/subscription fees and advertising to fund programming.
The document discusses ownership models, history, technologies, income, platforms & programs, and regulations & controversies of the BBC and Sky. Regarding ownership, the BBC is funded by a license fee voted on by Parliament, making it a public corporation accountable to the state. Sky was originally formed as a private company and consolidated itself quickly through acquiring broadcasting rights. Both organizations have faced criticism at various points in their histories for perceived political biases or anti-competitive practices.
Television broadcasting involves distributing audio and video content to a wide audience using electromagnetic waves, usually radio frequencies. In the UK, public service broadcasting refers to television and radio intended for public benefit rather than commercial interests, and certain broadcasters must fulfill public service requirements as part of their license. The BBC, as a public service broadcaster, produces television programs from its own studios and has operated a regular television service in the UK since 1936.
AS Media Ownership of the UK Radio Industry - Olivia Garneroliviagarnerasmedia
The Office of Communications (Ofcom) regulates radio broadcasting in the UK and oversees licensing. It examines complaints about content on licensed stations to determine if broadcasting codes were breached. The BBC, which is publicly funded through television license fees, owns the national BBC Radio stations and aims to serve the public interest through independent management. Other national stations are owned by large media companies, while regional and local stations are owned by both large corporations and smaller independent operators.
This report summarizes the findings of the BBC Trust's Editorial Standards Committee regarding programming on BBC World News between 2009-2011 that was funded or sponsored by third parties. The Committee found 15 out of 60 programs breached editorial guidelines due to conflicts of interest between sponsors and program content. In response, BBC management implemented new controls on funding and suppliers to safeguard impartiality and prevent future breaches.
'Independent Radio Productions Commissioned By The BBC' by Grant Goddard [sub...Grant Goddard
A detailed analysis of the commissioning of independent radio programme productions by BBC network radio stations in the UK, written by Grant Goddard in June 2010 for the BBC Trust [submitted to BBC Trust].
The BBC operates several television networks and stations in the UK. It broadcasts major channels like BBC One, BBC Two, BBC Three, and BBC Four, as well as specialty channels focused on news, parliament, children's programming, and more. The BBC is funded primarily through television licensing fees paid by the public. Licensing fees make up the bulk of the BBC's income, which is then used to fund its television, radio, and online services.
'Virgin Radio: New Owner, New Name, New Beginning' by Grant GoddardGrant Goddard
- Bennett, Coleman & Company Limited (BCCL), India's largest media conglomerate, acquired Virgin Radio from Scottish Media Group for £53.2 million.
- As part of the acquisition, BCCL will re-launch the station under a new name and with a £15 million marketing budget later in 2008, as they did not acquire the rights to continue using the Virgin brand name.
- While Virgin Radio broadcasts nationally on AM radio, its audience is heavily skewed towards London, where it also broadcasts on FM radio. The acquisition value is largely due to the London-wide FM license, which BCCL intends to use to build a successful classic rock station in London.
The BBC is publicly funded through license fees voted on by Parliament, making it effectively a state institution. It held a television and radio monopoly in the UK until commercial competitors like ITV and Sky emerged. Sky was originally formed in 1990 by Rupert Murdoch and others to provide satellite television services. The BBC led technological innovations like the iPlayer and Ceefax teletext service. Sky offers on-demand and personal recording options to compete with BBC programming and services. Both organizations generate income through license/subscription fees and advertising to fund programming.
The document discusses ownership models, history, technologies, income, platforms & programs, and regulations & controversies of the BBC and Sky. Regarding ownership, the BBC is funded by a license fee voted on by Parliament, making it a public corporation accountable to the state. Sky was originally formed as a private company and consolidated itself quickly through acquiring broadcasting rights. Both organizations have faced criticism at various points in their histories for perceived political biases or anti-competitive practices.
Television broadcasting involves distributing audio and video content to a wide audience using electromagnetic waves, usually radio frequencies. In the UK, public service broadcasting refers to television and radio intended for public benefit rather than commercial interests, and certain broadcasters must fulfill public service requirements as part of their license. The BBC, as a public service broadcaster, produces television programs from its own studios and has operated a regular television service in the UK since 1936.
AS Media Ownership of the UK Radio Industry - Olivia Garneroliviagarnerasmedia
The Office of Communications (Ofcom) regulates radio broadcasting in the UK and oversees licensing. It examines complaints about content on licensed stations to determine if broadcasting codes were breached. The BBC, which is publicly funded through television license fees, owns the national BBC Radio stations and aims to serve the public interest through independent management. Other national stations are owned by large media companies, while regional and local stations are owned by both large corporations and smaller independent operators.
This report summarizes the findings of the BBC Trust's Editorial Standards Committee regarding programming on BBC World News between 2009-2011 that was funded or sponsored by third parties. The Committee found 15 out of 60 programs breached editorial guidelines due to conflicts of interest between sponsors and program content. In response, BBC management implemented new controls on funding and suppliers to safeguard impartiality and prevent future breaches.
The document discusses television broadcasting in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. There are also many smaller independent production companies. The largest production companies have annual turnovers of £100-200 million. In 2008, the combined radio and TV industry contributed £3.2 billion to the UK economy, about 0.3% of total GDP. The BBC operates several international TV channels under its brand name through its commercial subsidiary BBC Worldwide. Domestically, the BBC operates 8 TV channels and over a dozen radio stations in the UK.
The document discusses the television broadcasting industry in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. It also discusses the large number of independent production companies. The BBC operates several international television channels under the BBC brand like BBC America, BBC Canada, and BBC HD. Within the UK, the BBC operates free-to-air channels like BBC One, BBC Two, BBC Three, and BBC Four.
The document discusses television and the BBC. It describes television broadcasting as distributing audio and video to a widespread audience using radio waves. It characterizes the BBC as a public service broadcaster in the UK, funded by television license fees. The BBC operates numerous television and radio stations, both nationally and regionally, as well as digital-only channels. It has a large international presence and owns interactive sites like BBC iPlayer.
This document discusses a copyright case between ABS-CBN Broadcasting Corporation and Philippine Multi-Media System regarding PMSI's rebroadcasting of ABS-CBN channels without authorization. The key points discussed are:
1) ABS-CBN alleged that PMSI's rebroadcasting of its channels infringed on its broadcasting rights and copyright. PMSI claimed the rebroadcasting was allowed under the must-carry rule in NTC Memorandum Circular No. 04-08-88.
2) The IPO Director-General initially ruled in favor of PMSI, but ABS-CBN appealed. The Court of Appeals affirmed the IPO's decision.
3) ABS-CBN argues the must
The document discusses television broadcasting by the BBC in the UK. It provides information on various BBC TV channels including BBC One, BBC Two, BBC Three, BBC Four, and specialty channels like BBC Alba and S4C. It also discusses commercial TV channels in the UK like Channel 4 and Channel 5. The BBC is funded by television licenses rather than commercials, allowing it to provide programming without commercial interruption.
The document outlines the history of institutional issues in British television broadcasting from 1922 to the present day. It details key events such as the founding of the BBC in 1922 and the introduction of commercial broadcaster ITV in 1954, which increased competition for the BBC. More recently, satellite TV in the 1980s, digital broadcasting in the 1990s-2000s, and the rise of internet streaming have all provided new challenges and opportunities for traditional broadcasters in the increasingly competitive media landscape. Ongoing debates around the future role and funding of public service broadcasting, especially in relation to the BBC, demonstrate how the television industry in Britain continues to evolve.
Television broadcasting involves the distribution of audio and video content to audiences using electromagnetic waves. In the UK, public service broadcasters like the BBC are required to fulfill certain requirements in exchange for their license to broadcast. The average TV screen size has increased to 33 inches wide in the last 10 years. The BBC began television broadcasts in 1936 and operates numerous national and regional channels across different platforms. Digital terrestrial television in the UK includes channels from the BBC as well as Channel 4. The television license fee in the UK helps fund the BBC's television, radio, and online services.
Radio broadcasting involves transmitting audio data using radio to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include BBC Radio 1 for popular music aimed at youth, BBC Radio 2 for adult music, and BBC Radio 4 for spoken word programs. BBC regional stations provide local content for areas like Scotland, Wales and Northern Ireland. The BBC World Service broadcasts news in over 28 languages internationally. Funding the World Service through the television license fee provides a stable source of funding to plan future activities.
The document discusses the film industry in the UK and aims to improve support for British filmmakers. It summarizes the current state of the industry, including that television is the primary way films are viewed but broadcasters vary in their support of British films. The document recommends that major broadcasters like BBC, ITV, Channel 4, and Sky increase their commitment to screening and investing in British films. This would help nurture creative talent and build careers in the industry, benefiting both filmmakers and UK audiences.
The document discusses radio broadcasting and the BBC's radio services in the UK. It provides details on:
1) The BBC's national radio stations, including Radio 1 for popular music, Radio 2 for adult music, and Radio 3-5 for news, talk and various music genres.
2) The BBC's digital-only stations like Radio 1Xtra for urban music and Radio 6 for alternative music.
3) The BBC World Service which broadcasts news in 28 languages worldwide on shortwave radio, internet and satellites.
4) The BBC's regional radio stations in various areas and nations of the UK like Radio Scotland and Radio Wales.
5) The advantages of funding the BBC World Service
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC operates numerous national and local radio stations in the UK that cover a wide variety of genres. BBC radio stations are funded through television license fees paid by UK households rather than through advertisements. This allows the BBC to produce more specialized programming. The license fee also funds the BBC's domestic television and internet services.
The document discusses the film industry in the UK and the role of television broadcasters. It finds that television is the primary way films are consumed in the UK, but British films make up a small percentage of films broadcast on TV. The document recommends that major UK broadcasters like BBC, ITV, Channel 4, and Sky should increase their investment in and broadcasting of British films to better support the domestic film industry.
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include Radio 1 for popular music aimed at youth, Radio 2 for adult music, and Radio 3 for classical and world music. BBC stations are funded through television licensing fees and provide public service broadcasting without commercials. The BBC World Service broadcasts news and discussions internationally in over 28 languages.
1) The document summarizes information about TV licenses in the UK, including that people over 75 are entitled to a free license and blind people get a 50% discount.
2) It also provides details on how the BBC is funded, with the bulk coming from the TV license fee which is currently £150. The fee pays for a wide range of TV, radio, and online content from the BBC.
3) Additional context is given on the founding and purpose of the BBC as a public service broadcaster in the UK providing numerous TV and radio channels as well as online services.
The BBC is the British public service broadcaster. It operates several national and local radio stations across the UK. The national stations cover various genres of music and spoken word programs. They broadcast from bases in London and Salford but also produce content in other UK cities. The BBC also operates digital stations available online and through digital platforms. Additionally, the BBC World Service broadcasts news and programs internationally in 28 languages. The radio services are primarily funded through the television license fee paid by UK households.
The Canadian Radio-television and Telecommunications Commission (CRTC) regulates and supervises Canadian broadcasting and telecommunications. It was established in 1976 by combining the Canadian Radio and Television Commission and expanding its mandate to include telecommunications. The CRTC oversees broadcasting and telecom systems to ensure they serve the best interests of the Canadian public in both official languages. It licenses services, promotes Canadian content, and acts to ensure affordable access.
The BBC owns numerous television and radio stations that broadcast across the UK, including BBC One, BBC Two, Radio 1, Radio 2, and more. All of the BBC's stations have a public service mandate to broadcast programming that benefits the public, rather than focusing solely on commercial concerns. The BBC ensures its digital content is available to audiences however, wherever, and whenever they want. BBC local services and channel numbers on digital platforms provide regional programming and news for Northern Ireland, Scotland, and Wales.
Public service broadcasting is funded by television license fees and government grants. It aims to benefit the public without commercial concerns. Commercial broadcasting is funded through television and radio advertisements. It is owned by private corporations rather than the state. Subscription channels require paid television subscriptions and provide encrypted content through cable, satellite, or internet services. They began as additional multi-channel options and now include providers like Sky, Virgin Media, and BT Vision in the UK.
This document is an agreement between the British Secretary of State for Culture, Media and Sport and the British Broadcasting Corporation (BBC) that establishes the framework for the BBC's operations and obligations. Some key points:
- It defines the BBC's public purposes and outlines obligations around its UK public services, commercial services, funding, regulatory standards, and more.
- It requires the BBC to apply a "Public Value Test" when considering significant changes to its UK public services to assess public value and competitive impact.
- It addresses the BBC's role in supporting the UK's transition to digital television, referred to as "Digital Switchover," and related obligations.
- It outlines rules for the BBC around fair trading
The document summarizes the work experience of an individual at Shunhang Corp from 2012-2015. As a general engineer, their responsibilities included developing security products like encryptors for networks, a network security management platform based on cloud computing, planning and implementing security solutions, evaluating cooperation with partners, and consulting on domestic and overseas customer projects. They also worked on management and guidance of software projects for embedded devices and security from 2013-2015, developing security protocol stacks that were optimized for different hardware platforms and operating systems.
'Radio News: No. 11, 22 January 1993' by Grant GoddardGrant Goddard
Issue no. 11, dated 22 January 1993, of 'Radio News' weekly newsletter for the UK radio broadcasting industry, written and published by Grant Goddard in January 1993.
The document discusses television broadcasting in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. There are also many smaller independent production companies. The largest production companies have annual turnovers of £100-200 million. In 2008, the combined radio and TV industry contributed £3.2 billion to the UK economy, about 0.3% of total GDP. The BBC operates several international TV channels under its brand name through its commercial subsidiary BBC Worldwide. Domestically, the BBC operates 8 TV channels and over a dozen radio stations in the UK.
The document discusses the television broadcasting industry in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. It also discusses the large number of independent production companies. The BBC operates several international television channels under the BBC brand like BBC America, BBC Canada, and BBC HD. Within the UK, the BBC operates free-to-air channels like BBC One, BBC Two, BBC Three, and BBC Four.
The document discusses television and the BBC. It describes television broadcasting as distributing audio and video to a widespread audience using radio waves. It characterizes the BBC as a public service broadcaster in the UK, funded by television license fees. The BBC operates numerous television and radio stations, both nationally and regionally, as well as digital-only channels. It has a large international presence and owns interactive sites like BBC iPlayer.
This document discusses a copyright case between ABS-CBN Broadcasting Corporation and Philippine Multi-Media System regarding PMSI's rebroadcasting of ABS-CBN channels without authorization. The key points discussed are:
1) ABS-CBN alleged that PMSI's rebroadcasting of its channels infringed on its broadcasting rights and copyright. PMSI claimed the rebroadcasting was allowed under the must-carry rule in NTC Memorandum Circular No. 04-08-88.
2) The IPO Director-General initially ruled in favor of PMSI, but ABS-CBN appealed. The Court of Appeals affirmed the IPO's decision.
3) ABS-CBN argues the must
The document discusses television broadcasting by the BBC in the UK. It provides information on various BBC TV channels including BBC One, BBC Two, BBC Three, BBC Four, and specialty channels like BBC Alba and S4C. It also discusses commercial TV channels in the UK like Channel 4 and Channel 5. The BBC is funded by television licenses rather than commercials, allowing it to provide programming without commercial interruption.
The document outlines the history of institutional issues in British television broadcasting from 1922 to the present day. It details key events such as the founding of the BBC in 1922 and the introduction of commercial broadcaster ITV in 1954, which increased competition for the BBC. More recently, satellite TV in the 1980s, digital broadcasting in the 1990s-2000s, and the rise of internet streaming have all provided new challenges and opportunities for traditional broadcasters in the increasingly competitive media landscape. Ongoing debates around the future role and funding of public service broadcasting, especially in relation to the BBC, demonstrate how the television industry in Britain continues to evolve.
Television broadcasting involves the distribution of audio and video content to audiences using electromagnetic waves. In the UK, public service broadcasters like the BBC are required to fulfill certain requirements in exchange for their license to broadcast. The average TV screen size has increased to 33 inches wide in the last 10 years. The BBC began television broadcasts in 1936 and operates numerous national and regional channels across different platforms. Digital terrestrial television in the UK includes channels from the BBC as well as Channel 4. The television license fee in the UK helps fund the BBC's television, radio, and online services.
Radio broadcasting involves transmitting audio data using radio to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include BBC Radio 1 for popular music aimed at youth, BBC Radio 2 for adult music, and BBC Radio 4 for spoken word programs. BBC regional stations provide local content for areas like Scotland, Wales and Northern Ireland. The BBC World Service broadcasts news in over 28 languages internationally. Funding the World Service through the television license fee provides a stable source of funding to plan future activities.
The document discusses the film industry in the UK and aims to improve support for British filmmakers. It summarizes the current state of the industry, including that television is the primary way films are viewed but broadcasters vary in their support of British films. The document recommends that major broadcasters like BBC, ITV, Channel 4, and Sky increase their commitment to screening and investing in British films. This would help nurture creative talent and build careers in the industry, benefiting both filmmakers and UK audiences.
The document discusses radio broadcasting and the BBC's radio services in the UK. It provides details on:
1) The BBC's national radio stations, including Radio 1 for popular music, Radio 2 for adult music, and Radio 3-5 for news, talk and various music genres.
2) The BBC's digital-only stations like Radio 1Xtra for urban music and Radio 6 for alternative music.
3) The BBC World Service which broadcasts news in 28 languages worldwide on shortwave radio, internet and satellites.
4) The BBC's regional radio stations in various areas and nations of the UK like Radio Scotland and Radio Wales.
5) The advantages of funding the BBC World Service
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC operates numerous national and local radio stations in the UK that cover a wide variety of genres. BBC radio stations are funded through television license fees paid by UK households rather than through advertisements. This allows the BBC to produce more specialized programming. The license fee also funds the BBC's domestic television and internet services.
The document discusses the film industry in the UK and the role of television broadcasters. It finds that television is the primary way films are consumed in the UK, but British films make up a small percentage of films broadcast on TV. The document recommends that major UK broadcasters like BBC, ITV, Channel 4, and Sky should increase their investment in and broadcasting of British films to better support the domestic film industry.
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include Radio 1 for popular music aimed at youth, Radio 2 for adult music, and Radio 3 for classical and world music. BBC stations are funded through television licensing fees and provide public service broadcasting without commercials. The BBC World Service broadcasts news and discussions internationally in over 28 languages.
1) The document summarizes information about TV licenses in the UK, including that people over 75 are entitled to a free license and blind people get a 50% discount.
2) It also provides details on how the BBC is funded, with the bulk coming from the TV license fee which is currently £150. The fee pays for a wide range of TV, radio, and online content from the BBC.
3) Additional context is given on the founding and purpose of the BBC as a public service broadcaster in the UK providing numerous TV and radio channels as well as online services.
The BBC is the British public service broadcaster. It operates several national and local radio stations across the UK. The national stations cover various genres of music and spoken word programs. They broadcast from bases in London and Salford but also produce content in other UK cities. The BBC also operates digital stations available online and through digital platforms. Additionally, the BBC World Service broadcasts news and programs internationally in 28 languages. The radio services are primarily funded through the television license fee paid by UK households.
The Canadian Radio-television and Telecommunications Commission (CRTC) regulates and supervises Canadian broadcasting and telecommunications. It was established in 1976 by combining the Canadian Radio and Television Commission and expanding its mandate to include telecommunications. The CRTC oversees broadcasting and telecom systems to ensure they serve the best interests of the Canadian public in both official languages. It licenses services, promotes Canadian content, and acts to ensure affordable access.
The BBC owns numerous television and radio stations that broadcast across the UK, including BBC One, BBC Two, Radio 1, Radio 2, and more. All of the BBC's stations have a public service mandate to broadcast programming that benefits the public, rather than focusing solely on commercial concerns. The BBC ensures its digital content is available to audiences however, wherever, and whenever they want. BBC local services and channel numbers on digital platforms provide regional programming and news for Northern Ireland, Scotland, and Wales.
Public service broadcasting is funded by television license fees and government grants. It aims to benefit the public without commercial concerns. Commercial broadcasting is funded through television and radio advertisements. It is owned by private corporations rather than the state. Subscription channels require paid television subscriptions and provide encrypted content through cable, satellite, or internet services. They began as additional multi-channel options and now include providers like Sky, Virgin Media, and BT Vision in the UK.
This document is an agreement between the British Secretary of State for Culture, Media and Sport and the British Broadcasting Corporation (BBC) that establishes the framework for the BBC's operations and obligations. Some key points:
- It defines the BBC's public purposes and outlines obligations around its UK public services, commercial services, funding, regulatory standards, and more.
- It requires the BBC to apply a "Public Value Test" when considering significant changes to its UK public services to assess public value and competitive impact.
- It addresses the BBC's role in supporting the UK's transition to digital television, referred to as "Digital Switchover," and related obligations.
- It outlines rules for the BBC around fair trading
The document summarizes the work experience of an individual at Shunhang Corp from 2012-2015. As a general engineer, their responsibilities included developing security products like encryptors for networks, a network security management platform based on cloud computing, planning and implementing security solutions, evaluating cooperation with partners, and consulting on domestic and overseas customer projects. They also worked on management and guidance of software projects for embedded devices and security from 2013-2015, developing security protocol stacks that were optimized for different hardware platforms and operating systems.
'Radio News: No. 11, 22 January 1993' by Grant GoddardGrant Goddard
Issue no. 11, dated 22 January 1993, of 'Radio News' weekly newsletter for the UK radio broadcasting industry, written and published by Grant Goddard in January 1993.
The marketing department completed numerous projects in 2016 including redesigning newsletters, social media presence, client presentations, health coaching events, wellness materials, and the company website. Feedback from clients and brokers was overwhelmingly positive, with many commenting that Community Health Connections' marketing materials were among the best they had seen. Several new clients cited the improved marketing as a key reason for partnering with CHC.
Este documento describe las etapas de un proyecto tecnológico, incluyendo la identificación de oportunidades, el diseño, la organización y gestión, la ejecución y la evaluación y perfeccionamiento. Explica que un proyecto tecnológico es un plan para desarrollar o modificar un producto, servicio o proceso con el objetivo de mejorar la calidad de vida a través de la aplicación de conocimientos técnicos.
SECCIONSE, TABLA DE CONTENIDOS, TABLA DE ILUSTRACIONES, REFERENCIAS BIBLIOGRA...Geovanny Toapanta
Este documento proporciona instrucciones sobre cómo utilizar diferentes funciones en Microsoft Word como secciones, tablas de contenido, tablas de ilustraciones y referencias bibliográficas. Explica cómo crear secciones y cambiar sus formatos, cómo insertar una tabla de contenido automáticamente, cómo agregar títulos a ilustraciones para crear una tabla de ilustraciones, y cómo insertar citas bibliográficas y crear una bibliografía al final de un documento. El documento contiene varias imágenes que muestran ejemplos de
Este documento describe la simulación de los métodos iterativos de Jacobi y Gauss-Seidel para resolver sistemas de ecuaciones lineales. Explica cómo funcionan los métodos, incluido el cálculo de iteraciones sucesivas hasta alcanzar un error menor a un umbral. También incluye código en Fortran que implementa los métodos y un ejemplo numérico para ilustrarlos.
This document discusses quality control tools. It describes seven basic quality control tools: Pareto chart, check sheet, cause and effect diagram, control chart, histogram, scatter diagram, and flow chart. For each tool, it provides a brief definition and example use in quality control. The tools can be used to measure quality, identify sources of variation, and make process improvements.
(1) Este caso describe la historia clínica de un niño de 5 meses con anemia y problemas respiratorios. (2) Tras varias hospitalizaciones para tratar la anemia y bronquitis, se diagnosticó anemia de Blackfan-Diamond mediante un estudio de médula ósea. (3) El niño requirió transfusiones de concentrado de hematíes y otros tratamientos para controlar la anemia y problemas respiratorios asociados a su condición.
international human resource management - human resourceChirag Tewari
This document discusses international human resource management (IHRM). IHRM involves managing employees from three groups - parent country nationals, host country nationals, and third country nationals. There are different approaches to staffing like ethnocentric, polycentric, and geocentric. Ethnocentric approach involves limited autonomy for subsidiaries and key roles held by parent country employees. Polycentric approach gives more autonomy to subsidiaries and local hiring. Geocentric approach hires the best person regardless of nationality. IHRM is more complex than domestic HRM due to external cultural and institutional factors. Expatriate management involves high costs that must be carefully managed.
The document summarizes the IT outsourcing process undertaken by the BBC. The BBC, founded in 1920s as the national broadcaster of the UK, decided to outsource its IT functions in 2004 to reduce costs by 30-40 million pounds annually while gaining access to modern technology. A multi-phase selection process involved 70+ companies submitting proposals, with 9 shortlisted and finally SBS selected after demonstrating its understanding of public services and engineering capabilities on a test "Leo" project. The UK government approved the 10-year outsourcing contract with SBS in September 2004.
British Sky Broadcasting Group plc (Sky) is a UK-based satellite broadcasting, broadband, and telephone company headquartered in London. Formed through a 1990 merger, Sky is the largest pay-TV provider in the UK and Ireland with over 10 million subscribers. Sky produces their own TV shows like Mad Dogs and League of Their Own. Camera operators on set include camera men, directors, producers, and makeup/costume designers, while off set roles include writers and producers. A camera operator professionally operates film or video cameras.
P1 - Leaners explore UK TV broadcasting through a focused case study on a UK TV broadcasting including
A) - Operating Model
B) - Product Types
C) - Modes of Delivery
D) - Programme Content
E) - Production Process
F) - Audience Profile
G) - Distribution
H) - Regulating Bodies
UK television broadcasting was introduced by the BBC in the 1920s and has since expanded to include multiple channels from various broadcasters, with the BBC remaining the largest public service broadcaster, producing a wide variety of programming across genres which it distributes through television, radio, online and commercial services both domestically and internationally. The BBC is primarily funded through television license fees and governed by the BBC Trust to ensure its independence, producing content through a system of channels, regions, and production processes both filmed and live.
The British Broadcasting Corporation (BBC) is the largest public service broadcaster in the world. It operates primarily through funding from an annual television licence fee paid by viewers in the UK. The BBC provides television and radio channels for the UK and operates several international broadcast operations. It is headquartered in London and has major production facilities in Salford Quays, Belfast, Birmingham, Bristol, Cardiff, and Glasgow.
The document discusses various aspects of the BBC including its television channels and radio stations both domestically in the UK and internationally. It notes that the BBC operates 9 terrestrial channels in the UK, including BBC One, BBC Two, BBC Three, BBC Four, as well as specialty channels like BBC Parliament. Internationally, it operates channels like BBC World News and partners with other companies on channels like BBC America. The document also discusses the advantages of the BBC being funded through the television license fee, including multi-year funding certainty and a stable environment to plan services.
The BBC is mostly funded by license fees paid by UK residents who watch live TV and public funding from the government. License fees fund all parts of the BBC, including radio, TV and online services, and the amount is set by the government for six-year periods. While the crown publically owns the BBC, it is considered to be owned by UK taxpayers.
The BBC receives most of its funding from television license fees paid by UK households. It also generates revenue from commercial activities like BBC Worldwide. The license fee model allows the BBC to operate independently without commercial pressures and produce a wide variety of programming for UK audiences. In contrast, other UK broadcasters like ITV and Channel 4 earn income from advertising, product placements, sponsorships and partnerships to supplement their funding. The BBC does not carry commercial advertising on its core public services.
The document provides background information on BBC Four, including its main objectives to inform, educate and entertain audiences through a diverse range of programming focusing on arts, culture, music, drama and documentaries. It discusses BBC Four's public purposes of stimulating creativity, bringing the UK and world together, promoting education and learning, and reflecting UK nations and communities. A SWOT analysis identifies BBC Four's strengths as its strong brand, diverse programming, financial resources, experienced team, and role in cultural excellence and global representation. Weaknesses include its niche audience and cuts to budget. Opportunities exist in new talent and formats, while threats include competition and changing media landscape.
The BBC is the largest public service broadcaster in the UK, employing over 20,000 staff. It is funded through an annual license fee paid by UK households. The BBC offers a wide range of TV and radio channels, websites, apps and other services to inform, educate and entertain audiences of all ages and interests across the UK and internationally. It aims to represent all parts of society respectfully and remain impartial on political and social issues.
The BBC was formed in 1922 and began outside broadcasts and expanding its radio coverage throughout the 1920s. The BBC Trust was established in 2007 as an independent part of the BBC to make decisions in the interests of license fee payers. The BBC is primarily funded through an annual television license fee paid by UK households and uses this funding to provide extensive radio, television and online services covering the UK and broadcasting in over 28 languages worldwide.
The document provides an overview of the history of television broadcasting in the UK from the early years in 1936 to the present multi-channel environment. It discusses the following key points:
- In the early years from 1936-1955, TV was only available to the metropolitan middle class and was disrupted during WWII. The BBC only had one channel.
- From 1955-1982, commercial independent television was introduced alongside the BBC. Color transmissions began in 1967 and were fully switched over by 1985.
- In 1982, Channel 4 was established as the first public organization not under the BBC and aimed to reach a more diverse audience.
- From 1990 onward, digital broadcasting provided more variety in channels alongside computer services
The BBC has led technological revolutions in broadcasting through services like iPlayer and Ceefax. John Linwood, the BBC's chief technology officer, aims to reform outsourcing practices and spearhead the corporation's technology direction. The BBC uses robotic cameras in its newsrooms and studios to repeat shots smoothly. It also uses its Red Button service to integrate TV, online, and iPlayer content without leaving the program being watched. However, the BBC's experiments with 3D TV were deemed a flop by consumers as the experience was seen as too chaotic.
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10. 3. THE RADIO BROADCASTING MARKET
The BBC has the greatest share of the United Kingdom radio marketplace, in terms of both
listening and expenditure. Commercial radio has existed since 1973, most significantly in
local markets where it has proven popular. Compared to some traditional media, radio’s
performance in maintaining its audience in recent years has remained relatively robust,
though the economic model for commercial radio is presently under stress from both
structural and cyclical economic factors.
Figure 1: shares of radio listening (% of total adult hours listened)
1993 Q4
BBC Radio
BBC Network Radio
1995 Q4
1997 Q4
1999 Q4
2001 Q4
2003 Q4
2005 Q4
2007 Q4
2009 Q4
54.9
44.0
47.2
37.1
47.9
38.3
51.3
40.5
53.4
42.0
52.9
42.0
55.1
44.0
55.4
45.4
55.2
46.7
analogue stations
digital stations
44.0
37.1
38.3
40.5
42.0
41.0
1.0
42.4
1.6
43.6
1.8
44.4
2.3
BBC Local/Regional
Commercial Radio
National Commercial
10.9
42.6
8.0
10.1
49.7
10.7
9.6
49.5
10.0
10.8
46.7
8.3
11.3
44.6
7.8
10.9
45.3
9.6
11.1
42.8
10.1
10.0
42.4
11.3
8.5
42.6
10.4
8.0
10.7
10.0
8.3
7.8
7.2
2.4
7.7
2.4
7.7
3.6
6.7
3.7
34.7
2.5
39.1
3.1
39.5
2.6
38.4
2.0
36.8
2.1
35.7
1.9
32.7
2.1
31.1
2.2
analogue stations
digital stations
Local Commercial
Other
11
source: RAJAR
32.2
2.2
In terms of audiences, the BBC presently accounts for 55% of all radio listening, of which the
greater part is attributed to the BBC’s five analogue national Networks (44% of all radio
listening). Commercial radio accounts for 43% of all radio listening, of which local radio is the
most significant part (32% of all radio listening). 12 Consequently, the BBC has the greatest
share of listening to national radio stations, whilst commercial radio has the greatest share
of listening to local radio stations.
Figure 2: radio industry funding (£m per annum)
year
2003
2004
2005
2006
2007
2008
BBC radio expenditure (£m)
585
607
626
614
653
643
Commercial radio revenues (£m)
543
551
530
512
522
505
1,128
1,158
1,156
1,126
1,175
1,148
TOTAL (£m)
13
source: Ofcom
In 2008, the BBC accounted for 56% of UK radio industry funding, a proportion that has
increased steadily as a result of the decline in commercial radio sector revenues from a peak
in 2004. 14 In 2009, commercial radio revenues fell by 10% year‐on‐year, which is likely to
have further widened the difference in funding between the two sectors. 15
Although the revenues of the BBC and commercial radio sectors are relatively balanced,
their operational structures are very different, resulting in very different flows of funds. The
BBC dominates the market in national radio with its five analogue Networks, whereas
commercial radio dominates the local radio market with more than 300 locally licensed
stations. The cost structures of radio broadcasting stations comprise mostly ‘fixed costs’
11
RAJAR
RAJAR, Q4 2009
13
Ofcom, The Communications Market 2009, August 2009, p.149, para. 3.1.1
14
ibid.
15
Radio Advertising Bureau
12
10
11. (which vary little by audience size or market size), resulting in very different expenditure
allocations as a result of commercial radio’s considerably larger number of station
operations compared to the BBC.
Figure 3: key flows of radio sector value (£m in 2007/8)
BBC radio
production (£m)
transmission (£m)
general & administrative (£m)
rights (£m)
sales & marketing (£m)
EBITDA (£m)
16
source: Value Partners
405
47
91
?
?
0
commercial
radio
98
61
190
46
114
42
In 2007/8, the greatest proportion (68%) of the BBC’s funding for radio was allocated to
programme production, whereas the greatest proportion of the commercial sector’s
revenues (55%) was allocated to administrative, marketing and sales costs. 17 As a result, the
BBC’s total expenditure on radio production was four times greater than that of the
commercial sector, despite commercial radio being required by the terms of its licenses to
produce approximately seven times more hours of output than BBC radio. 18
Figure 4: average costs of radio programme production (2007/8)
BBC radio
commercial
radio
programme costs (£m per annum)
405
75
number of radio stations
54
315
total hours output per annum
369,189
2,759,400
production costs per hour (£)
1,097
27
19
source: Grant Goddard [commercial radio hours output are estimated]
Of commercial radio’s £97.5m per annum expenditure on production, £22.9m was allocated
to the production of radio advertisements, leaving the remaining £74.6m per annum
estimated as commercial radio’s expenditure on programmes. 20 BBC expenditure on
programmes was estimated to be £405m, demonstrating the significant difference that
exists between the BBC and commercial radio sectors in terms of programme production
budgets. On an average hourly basis, it was estimated that the BBC spent 40 times more
(£1,097 per hour) than commercial radio (£27 per hour) on programme production in
2007/8.
This substantial gap between the average radio production costs per hour of the BBC and
commercial radio helps explain their markedly differing approaches to programme
production. Much of commercial radio output comprises music recordings interspersed with
live talk from a presenter, whereas much of the BBC’s output (particularly on its national
Networks) consists of pre‐recorded, crafted programmes produced by a production team
over a period of days or weeks.
16
Value Partners, UK Radio – Flow of Funds, 4 March 2009, pp.8‐9 [although BBC radio ‘cost of content’ was cited as £351m for
2007/8 in: National Audit Office, The Efficiency Of Radio Production At The BBC, 13 January 2009, p.12, Figure 3]
17
ibid.
18
Ofcom issues licenses for the commercial radio sector that mandate each station’s broadcast hours (most require 24 hours a
day)
19
Data sources: Value Partners, BBC Annual Report, Ofcom [The £405m BBC production cost figure used here was cited by
Value Partners, although the BBC Annual Report 2007/8 cited £459.9m]
20
Value Partners, UK Radio – Flow of Funds, 4 March 2009, p.73
11
12. 172
143
126
122
106
150
107
200
50 231 206 218
271
432
317
1,000
300
315
288
272
268
255
248
242
746
677 682
548
388
100
205
177
250
226
300
261
350
310
Figure 5: number of analogue commercial radio stations and total commercial radio sector
revenues (£m at 2009 prices)
750
712 734
683
628 619
600
557
480
500
506
326
250
0
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1994
1993
1992
1991
1990
0
num ber of analogue local com m ercial radio stations [left axis]
com m ercial radio revenues (£m @ 2009 prices) [right axis]
21
source: Ofcom, Radio Advertising Bureau
During the last decade, the gap in the funds available for expenditure on programme
content between the BBC and the commercial radio sector has been widened. This was the
result of continuing expansion in the number of operational commercial radio stations,
combined with a decline in aggregate sector revenues since 2004 in real terms. Although
some local commercial stations have closed as a result of financial difficulties, the sector as a
whole remains relatively large and is dependent upon diminishing revenues.
Figure 6: number of analogue local commercial radio stations and commercial radio
volume of radio listening (million adult hours per annum) by year
172
177
205
226
242
248
255
261
268
272
288
310
315
317
300
350
300
250
106
107
122
126
143
200
100
50
40,000
30,000
20,000
9
16
19
19
19
19
26
33
38
42
48
49
49
50
60
76
150
50,000
10,000
0
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
0
num ber of analogue local com m ercial radio stations [left axis]
volum e of listening to com m ercial radio (m illion hrs/annum ) [right axis]
22
source: JICRAR/RAJAR, Ofcom
In commercial radio, there exists an almost direct relationship between the volume of
listening a station attracts and the amount of revenues generated. Even before the current
advertising downturn impacted the sector, commercial radio’s listening had already
demonstrated slow decline for almost a decade. Consequently, it was inevitable that
revenues would also decline.
21
John Myers, An Independent Review of the Rules Governing Local Content on Commercial Radio, April 2009, p.23, Figure 4
[updated, 2009 number of stations estimated]
22
Ofcom & JICRAR/RAJAR [2009 number of stations estimated]
12
14. 90.3
91.3
91.3
90.9
92.4
93.1
92.5
92.6
91.2
92.6
84.1
86.0
85.8
86.2
85.2
86.2
87.0
91.3
90.3
86.5
88.8
87.9
90
90.7
90.7
91.6
90.6
89.5
89.8
92.0
92.0
91.7
95
93.4
92.6
91.2
91.9
91.4
Figure 8: weekly reach of all radio by age group (% of age group)
85
80
15-24
25-34
Q4 1999
35-44
Q4 2001
45-54
55-64
Q4 2005
Q4 2003
Q4 2007
65+
Q4 2009
28
source: RAJAR
Audience data demonstrate that the weekly reach of the radio medium is declining
significantly amongst the 15‐24 year old age group, and that two age groups – 15‐24 and 25‐
34 year olds – have fallen below 90% during the last decade.
Figure 9: average hours listened to all radio per listener by age group (hours per week
within age group)
25.7
26.9
26.9
26.1
25.2
24.9
27.5
27.2
26.6
25.8
25.0
25.6
18.2
20.0
20.9
22.3
22.0
22.5
21.7
21.7
16.1
20
20.6
21.8
21.5
19.6
18.3
25
23.8
23.1
23.7
23.9
23.2
22.5
25.3
26.0
25.7
25.5
30
15
15-24
Q4 1999
25-34
Q4 2001
35-44
Q4 2003
45-54
Q4 2005
55-64
Q4 2007
29
source: RAJAR
65+
Q4 2009
Audience data also show that, within all adult age groups, the time spent listening to radio
has been in decline, most noticeably in the 15‐24 and 25‐34 year old age groups.
From this evidence, one might conclude that the radio medium is beginning to lose traction
amongst the younger adult age groups. However, it should be noted that the RAJAR data
cited here exclude:
• ‘Listen again’ on‐demand usage delivered via IP
• Time‐shifted listening accessed by ‘podcast’ download
• Listening to non‐broadcast ‘radio’ services such as Last.fm and Spotify.
28
RAJAR
RAJAR
29
14
15. Figure 10: total audio consumption by platform and age group (% of total audio consumed)
100
2
75
3
14
12
81
20
4
16
4
5
6
82
85
82
45-54
55-64
65+
7
11
34
38
50
76
60
55
25
0
15-18
live radio
15-24
25-34
non-radio
35-44
catch-up radio
podcasts
unclassified radio
30
source: BBC Audio & Music
The 15‐24 and 25‐34 year old demographics are the most likely sections of the adult
population to be consuming traditional radio in non‐linear ways, and to be consuming non‐
broadcast ‘radio’ services via the internet. This was confirmed by BBC research which took a
wider definition than RAJAR of ‘radio listening’. It found that, amongst 15‐18 year olds,
traditional live radio now accounts for only 55% of their total audio consumption, whilst 38%
of listening is sourced from ‘non‐radio.’ 31 However, podcasts and ‘listen again’ (or ‘catch‐up’)
consumption remain only a very small proportion of total audio usage across all age groups.
Figure 11: total audio consumption by age group and gender (average hours consumed per
day per head)
5
15-18
3.8
4.1 4.2
4.1
3.7
3.6
3.7 3.7
4.4
3.9
3.9
3.5 3.7
3.8
Female 25-34
3.6 3.7
4.0
Female 15-18
3.6
Women
4 3.8
4.0
3.8
3.4 3.3
3.6
3
2
1
Female 65+
Female 55-64
Female 45-54
Female 35-44
Female 15-24
Male 65+
Male 55-64
Male 45-54
Male 35-44
Male 25-34
Male 15-24
Male 15-18
65+
55-64
45-54
35-44
25-34
15-24
Men
Total
0
32
source: BBC Audio & Music
Once all sources of audio consumption are measured, as opposed to only traditional live
broadcast radio (as in the RAJAR survey), it is evident that the time spent listening to all
‘audio’ remains robust and the volumes are remarkably similar between adult age groups
and genders.
30
Margo Swadley, BBC Audio & Music, Is radio dead? Share of Ear Research, April 2009, p.18
ibid., p.18
ibid., p.11
31
32
15
21. • The majority of businesses generated revenues of less than £500,000 per annum
• 83% of radio programme sales derived from the BBC
• BBC Radio 4 alone generated 45% of commissioning revenues. 47
The second survey by the Radio Independents Group focused more on qualitative responses
to questions about the commissioning processes and it found, amongst other things, that:
• 9 out of 10 members had pitched programme ideas to BBC Radio 4, the majority in every
commissioning round
• Around a quarter of members had pitched ideas regularly to commercial radio. 48
In 2008, a report commissioned by the BBC from PriceWaterhouse Coopers concluded that:
• In the absence of BBC commissioning, the size of the independent radio production
sector would be negligible
• There is little commissioning by commercial radio stations from the independent radio
production sector
• Expenditure by the BBC on independent radio productions accrues an economic benefit
to these producers. 49
The dependence of independent radio producers upon the BBC for commissions is starkly
different from the situation in the television medium, where the BBC generates only about
20% of the independent television production sector’s revenues. 50
In 2007, an expansion in the demand for independent radio productions had been
anticipated, following the award by Ofcom of the licence for a second national digital radio
multiplex to 4 Digital Group, whose majority shareholder was Channel 4 television. The
group’s plans included the launch of eight new national radio stations, and its prospectus
stated:
“Channel 4's biggest ambition is to do for radio what it has done for TV. If the commissioning
structure of radio can be changed in line with these ambitions, then the radio audience will
grow as new talent and creativity is encouraged in the medium.” 51
The 4 Digital Group licence application promised:
"Currently, commercial radio offers few opportunities for independents; producers must rely
on the BBC as the sole commissioner for many genres. Channel 4 Radio Limited intends to
change that by commissioning independents to produce many of the distinctive elements
within key day‐parts and built‐programmes across its three new services. Over 25 years,
Channel 4 Television has built a remarkable relationship with the independent television
production sector – nurturing and developing companies in every region and nation of the UK
and providing a platform for a genuine diversity of voices. That approach and experience will
inform Channel 4 Radio Limited’s relationship with independent radio producers. Channel 4
Radio Limited’s presence in the independent commissioning market will be at least as great
as the BBC’s, creating a more open, competitive and creative environment for producers." 52
47
Radio Independents Group, RIG Membership Survey: Analysis & Report, January 2009
Radio Independents Group, Survey of Radio Commissioning Procedures, 2008
49
PriceWaterhouse Coopers, The Economic Impact Of The BBC On The UK Creative Economy, Main Report, July 2008, p.116,
para 11.3.2
50
Deloitte, The Economic Impact Of The BBC: 2008/09, 2010, p.58, para. 6.3
51
http://www.channel4.com/culture/microsites/W/wtc4/scheduling/4radio.html
52
ibid.
48
21
25. 12.0
11.8
12.5
14
12.8
Figure 17: percentage of programme expenditure attributed to independent radio
productions broadcast on BBC Network Radio by year (%)
12
10
6.0
5.9
6
6.2
5.8
8
4
2
% of eligible ouput
% of total broadcast output
66
source: BBC Audio & Music
2008/9
2007/8
2006/7
2005/6
2004/5
2003/4
2002/3
2001/2
2000/1
1999/2000
0
Although the proportion by volume of independent radio productions on BBC Network Radio
has increased, the proportion by expenditure has remained static, measured both in terms
of eligible output and total broadcast output.
These data provide an outline of the structure of the independent radio production sector.
In order to build up a more detailed picture, a quantitative survey of the businesses
operating in independent radio production was conducted for this report.
65
Ibid.
ibid.
66
25
27. a broader strategy for the comedy genre has re‐surfaced, this time in the form of a cross‐
media BBC ‘Comedy Network’ that would provide a co‐ordinated approach to
commissioning across all television and radio channels. 70
[ ]
In the present commissioning systems for independent productions, each Network has
produced its own set of explanatory documents, available publicly from the BBC
Commissioning website, that describe the individual systems and programme needs, from
which the following narrative is summarised. 71
Additionally, a ‘Statement of Operations for Radio’ has set out an overview of the BBC
commissioning system for radio programmes. It includes the following explanations:
Eligible hours:
• “Not all types of output constitute ‘eligible hours’. News programmes, repeats and
continuity announcements, for example, are currently excluded …
• From April 2006, the 10% Quota Requirement was extended to eligible hours on the five
Nations networks and also to live sports programming
• From 1st April 2007, eligible hours on the five national digital networks will also be
subject to and included in the calculation of the 10% Quota Requirement
• The Quota Requirement may be met from anywhere within the eligible hours of the radio
portfolio. In practice, each network is generally asked to meet or exceed the target
percentage.” 72
Principles Underpinning Commissioning:
• “Commissions seek to bring audiences and the Licence Fee payer great programmes
which represent the best possible value for money
• The BBC believes this is best achieved by a combination of in‐house productions and
Independent Productions, with an element of competition between the two sectors
• In some cases, the BBC will commission directly from its in‐house production base
• The BBC is committed to a fair and equal treatment of all potential bidders and a
transparent commissioning process
• All eligible suppliers will be treated equally and provided with equivalent information, so
none gains an unfair advantage
• Commissioning decisions will be based solely on creative merit of the proposal and the
value for money offered to the audience and the Licence Fee payer.” 73
Statement of Operation:
• “Networks may operate a list of registered suppliers from whom all Independent
Productions are commissioned
• Some programmes may be commissioned through an invitation to tender to a number of
suppliers selected by objective criteria
• The aim is always to find the most efficient, effective and fair way to identify and
commission the best ideas
70
BBC Trust, Service Review: BBC Radio 2 and BBC 6 Music, February 2010, p.31, para.85
http://www.bbc.co.uk/commissioning/
72
BBC Audio & Music, Commissioning: Statement of Operation for Radio, [undated], pp.1‐2
73
ibid., p.3
71
27
28. •
•
Encouraging producers to devise and submit more proposals than can be reasonably
considered is a waste of time and money, both for them and the BBC
It is also pointless to invite proposals from individuals or organisations unable to
demonstrate the ability to deliver what the BBC requires.” 74
Categories of Commissions:
• “Universal or ‘Open’ slots: … open to all and enable the commissioner to seek proposals
from the widest range of potential producers
• Open to External Suppliers Only: … in‐house departments are excluded. In addition, some
stations may limit these slots to suppliers on a registered supplier list or to selected
suppliers (where appropriate due to the specific needs/experience of a production)
• Limited to Selected Suppliers: … it may be desirable to limit bids to suppliers who have
experience of a particular genre, access to key talent and/or other specialist skills.
Proposals will then be invited from a suitable range of producers who meet the
requirements
• Topical Commissions: Networks involved in current affairs programming routinely leave
some slots unfilled until close to transmission, against the need to transmit topical
programmes at short notice. … Networks may approach suppliers with a known capacity
or expertise in order to meet programme requirements which arise at short notice.” 75
The commissioning procedures for each Network are summarised in turn:
Radio 4
According to the BBC, “Radio 4 is the network with the most pre‐recorded ‘built’
programmes and provides a significant opportunity for the development of creativity and
best value through competition.” 76
Radio 4 only commissions programmes from independent producers that are included on its
‘Registered Supplier List’. The four‐page application form to be considered for inclusion on
this List explains:
“Please note that only companies with significant experience in production at network level
can be considered for registration.” 77
In fact, the List is not a single list, but a set of seven Lists delineated by programme genre:
‘general features’, ‘documentaries’, ‘science and natural history’, ‘drama’, ‘comedy’, ‘single
voice readings’ and ‘political talks.’ The application form advises:
“Within the supplier list, we also operate an eligibility list, restricting specialist genres to
suppliers with relevant expertise.” 78
As a result, an independent radio producer can be eligible for inclusion on one Radio 4
Supplier List, but not on another, dependent upon whether Radio 4 considers that, within a
specific genre, an independent producer has demonstrated:
• “Relevant expertise
74
ibid., pp.3‐4
ibid., pp.4‐5
76
ibid., p.5
77
BBC Radio 4, Application Form For The Radio 4 Supplier List, 22 February 2010, p.1
78
ibid.
75
28
29. • Significant experience in production at network level.” 79
Furthermore, acceptance of a supplier onto a specific List is time limited:
“If a supplier fails to win a commission in 3 successive rounds, Radio 4 reserves the right to
drop them from the list.” 80
According to Radio 4, existing suppliers and new applicants are assessed against the
following set of criteria that have been agreed with the Office of Fair Trading:
• “Our editorial and schedule requirements
• Our editorial judgement on quality
• Proven ability to deliver the desired genre
• A degree of innovation
• A company’s ability to meet the BBC’s regulations, such as on Rights and Health and
Safety
• Risk appraisal
• Track record in budget management and meeting delivery deadlines
• The appeal of talent.” 81
It is understood that the involvement of the Office of Fair Trading derived from a supplier
complaint during the 1990s. However, it is self‐evident that the criteria and the ability to be
accepted onto and to remain on a Supplier List continue to be based upon considerably
subjective criteria, exemplified by the use of phrases such as ‘relevant expertise’, ‘significant
experience’, ‘proven ability’, a ‘track record’ and, most notably, ‘our editorial judgement on
quality’.
Furthermore, the requirement that an applicant must have “significant experience of
production at network [radio] level” could appear akin to a ‘Catch 22’ condition. As long as
Radio 4 continues to be the only BBC Network broadcasting some programme genres, how
would it be possible for a new independent supplier to offer previous production experience
in that genre at Network Radio level … unless they have experience as a former Radio 4
producer?
Some stakeholders in the independent radio production sector suggested, during the course
of consultations, that Radio 4’s use of Supplier Lists demonstrates that considerable effort is
exercised in this ‘gatekeeper’ role, which they believed could be more productively
redirected towards attracting the UK’s best and creative ideas for on‐air execution.
Inevitably, because the BBC is the only broadcaster of some radio programme genres, it is
not competing with other broadcasters to attract potential suppliers. As a result, it is
understandable that much effort could become focused on limiting the inflow of creative
ideas, rather than on the potential ‘opportunity cost’ of not having commissioned
programme ideas that, if they were not made for BBC radio, might be unlikely to be made at
all.
Radio 4 also offers additional opportunities for external programme commissions:
79
ibid.
ibid.
ibid.
80
81
29
30. “Unlike other networks, Radio 4 has a formal commitment to a minimum of 10%
independent production, coupled to a 10% Window of Creative Competition (WoCC) which is
open to both independent and in‐house producers.” 82
In total, 118 suppliers are currently listed in Radio 4’s ‘Register of Independent Production
Companies’, of which 71 received commissions in 2008/9. 83 Geographically, 58% of the
companies on the Register are based in London, with a further 16% based in Southern
England, 12% in the remainder of England, 7% in Scotland, 6% in Wales and 1% in Ireland. 84
Within Radio 4, decisions to commission external producers are made by four
commissioners, each working across a group of genres, who also have responsibilities for
commissioning in‐house productions. Thus, there is no single external commissioning ‘touch
point’ for Radio 4, and independent producers whose work crosses several genres are
required to deal with separate departments.
Registered suppliers are sent copies of the guidelines for each commissioning round, held in
Spring and Autumn. 85
Batch Commissioning
From April 2009, Radio 4 introduced a ‘batch commissioning’ initiative which represented a
significant change for independent producers. According to Radio 4, ‘batch commissioning’ is
the process of “tendering volumes of business in some slots (batching), rather than
commissioning numerous individual programmes on a piecemeal basis.” In its proposal
document, Radio 4 argued that ‘batch commissioning’ is “not a new idea”, but rather “a
familiar and tested system in the commissioning of Radio 4 [book] readings.” 86
Part of the BBC rationale for ‘batch commissioning’ appeared to be an attempt to reduce the
number of suppliers who pitch ideas to Radio 4 and who are subsequently commissioned.
Radio 4 noted:
• “As the number of suppliers rises and available business is progressively subdivided, even
fewer suppliers can hope to win a significant share of commissions
• We expect batching will generate more effective editorial focus by encouraging more
creative relationships with key suppliers
• Reduce transaction effort.” 87
However, Radio 4 was sensitive to the outcome of a reduction in its number of suppliers:
• “There is a risk of losing diversity of output
• There will still be large areas of output open to normal competition through
commissioning rounds
• We do not see batching as a way of concentrating all our business in a few super
indies.” 88
Another part of the rationale was to reduce the costs of external commissions, at a time
when Radio 4 programme budgets are evidently being reduced year‐on‐year:
82
BBC Audio & Music, Commissioning: Statement of Operation for Radio, [undated], p.5
BBC Audio & Music, data supplied to the author
84
BBC Audio & Music, Register of Independent Production Companies, 9 February 2010, pp.1‐8
85
http://www.bbc.co.uk/commissioning/radio/network/radio4.shtml
86
BBC Radio 4, Radio 4 batch commissioning plan, presentation for BBC Fair Trading, 13 March 2009, pp.1‐2
87
ibid., p.1
88
ibid., p.2
83
30
31. •
“Internal BBC pressure to maximise efficiency also requires us to ask whether our
commissioning process could not be getting better value for money from reduced
resources
It will save significant management time, making better use of limited resources
Less time filtering dross, more for refining gold
Better deals through bigger contracts.” 89
•
•
•
Radio 4 was also keen to stress the advantages of ‘batch commissioning’ for suppliers:
• “More mature independent [production] sector
• More secure business planning
• Ability to commit to staff and training
• More constructive, creative editorial relationship with Radio 4
• All editor‐supplier conversations will be focused and creative
• Suppliers will save very substantial time currently spent in fruitless development.” 90
Radio 4’s argument for ‘batch commissioning’ was supported by the citation of selected
data:
• The growth of its approved supplier list from 71 companies in 2001/2 to 125 in 2008/9
• The growth in independent commissioning from 10% of eligible hours in 2001/2 to 13%
on 2008/9. 91
Figure 18: value of BBC Radio 4 commissions from independent producers (£ ‘000 per
annum) and number of companies on Radio 4 Supplier List by year
8,000
120
120
6,000
95
100
125
135
140
80
4,000
71
60
40
2,000
20
2008/9
2007/8
2006/7
2005/6
2004/5
2003/4
2002/3
2001/2
2000/1
0
1999/
2000
0
num ber of Radio 4 approved suppliers [left axis]
Radio 4 value of independent com m issions (£ '000) [right axis]
92
source: BBC Audio & Music
Radio 4 argued that “this expansion [in supplier numbers] is disproportionate to the growth
in indie commissioning.” 93 However, as demonstrated in Figure 18, it appears that the
annual value of Radio 4 independent commissions has increased roughly in line with the
number of suppliers on the Radio 4 Supplier Lists. There appears to be little evidence of a
disproportionate growth in supplier numbers.
Additionally, Radio 4’s proposal document noted that a small number of companies had
received a significant proportion of its commissions in 2007/8:
89
ibid., p.1
ibid., pp.1 & 6
91
ibid., p.3
92
BBC Audio & Music, data supplied to the author
93
BBC Radio 4, Radio 4 batch commissioning plan, presentation for BBC Fair Trading, 13 March 2009, p.3
90
31
32. • “68 indies got 328 commissions = c. £7m
• Top 10 by number = 48% of total value
• 48 got 5 or fewer
• 21 companies got just 1
• 10 got less than £10k.” 94
Inevitably, the introduction of ‘batch commissioning’ will concentrate an even greater
proportion of these commissions in the hands of fewer suppliers, which seemed to be one of
the policy objectives.
The initial proposal was to apply ‘batch commissioning’ only to 14% of Radio 4’s
independent programme commissions by value (11% by hours). 95 However, in future, if the
initiative were to be extended to a greater proportion of the Network’s output, it would be
likely to further reduce the number of external suppliers to Radio 4. At present, of the
National Networks, Radio 4 exhibits the greatest diversity of suppliers of independently
commissioned programmes.
Radio 3
Radio 3 operates two commissioning rounds annually, one for drama (plus the series ‘The
Wire’) and the other for its remaining genres. There is no Supplier List in operation, and
independent producers register to be sent commissioning round information and editorial
briefs. 96
Radio 2
Radio 2 stated that:
“The majority of programmes – the core output – are long‐running strands which are
produced either by Radio 2 producers or a small group of Independent companies. When the
strands produced by Independents come up for renewal, they are put out for tender using the
process described below. Commissioning rounds take place twice a year to complement the
core output. It is within these rounds that ideas are sought for a wide range of
documentaries, specialist music, comedy, event and other programming. Readings are
commissioned alongside special events or seasons.” 97
Commissioning rounds are held in Spring and early Autumn, for which information is sent to
prospective producers who ask to be added to the mailing list.
In addition to its regular commissions, Radio 2 has introduced a scheme called ‘Ideas
Welcome’ which, it explained:
“[is] designed to allow for ideas that carry an ambition that works beyond the traditional
commissioning brief format [and] continues to evolve, [so] we look forward to receiving ideas
that will work beyond the traditional commissioning parameters, whether it be a new
season, a live music event, or a pan‐BBC or BBC Audio & Music initiative.” 98
94
ibid., p.3
ibid., p.3
96
http://www.bbc.co.uk/commissioning/radio/network/radio3.shtml
97
http://www.bbc.co.uk/commissioning/radio/network/radio2.shtml
98
BBC Radio 2, Commissioning Details: Commissioning Year 2010/2011: Main Round, p.4
95
32