Production and Scheduling

Production

You must know the difference between 'producer broadcasters' and 'publisher broadcasters'. 

Producer Broadcaster: Typically this would include the BBC and ITV. Both companies are broadcasters and produce some of their own content.

Publisher Broadcaster: Typically this would include Channel 4 and C5, neither of whom make their own programmes. Both commission independent companies to make content for them.

There is an excellent guide made by Channel 4 about their commissioning process to be found here.

Remember that 25% of all output by the BBC and ITV companies has to be commissioned out to independents.  The increase in digital production has meant smaller independent producers have struggled to maintain profit in a landscape of smaller budgets. Mergers between the independents have mirrored the mergers between the ITV companies after 1990. This has led to 'super-indies' who have benefited from the economies of scale that merger brings. Companies like talkbackthames and Endemol and Ten Alps tend to produce programmes that have very similar content.

Scheduling

Scheduling is the point at which the production of television and consumption by an audience intersect. Once a particular slot within the schedule has been decided, the broadcaster will then market that programme in whatever way it sees fit.  The model that has dominated television has been the 'mixed schedule'. This kind of approach gives audiences a varied diet where they are likely to find something that appeals throughout the course of the day or the evening. Programmes within the schedule are structured to give viewers elements to hold onto. Certain programmes will go out at the same time of day for instance or be shown at the same time each week. This effect has sometimes been referred to as 'broadcast flow' and has a synergy where the sum of the whole experience is more than the sum of the individual programmes within the schedule.

However, in an increasingly digital world the trend has been towards 'narrowcasting' where tv companies identify specific 'niche' audiences to broadcast to. The same type of show may well be screened one after the other, or be shown at several points throughout the day, or be shown night after night at the same time.

An excellent example of a companies scheduling can be seen at the channel 4 website right here.

Here is the PowerPoint I used in class to introduce the theory behind narrative. Use this together with the links I gave youNarrative Theory

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Media Debates Exam Questions - Broadcasting

June 2008

How well does the British broadcasting industry serve the public?

Which has had the bigger impact on broadcasting in recent years: new technology or new regulations?

June 2007

Consider the developments in British broadcasting in recent years that have contributed to the industry's current position?

Discuss the impact of new technology and/or new regulations on the UK broadcast industry in recent years.

June 2006

To what extent have audiences benefited as a result of the 1990 Broadcasting Act?

Tomorrows TV

When you watch the special edition of 'The Money Programme' I want you to consider the following questions for discussion:

1. What do they say has led to the transformation of TV and what things have changed and what has remained the same?

2. How has the advertising revenue decline affected TV?

3. What alternative sources of funding are there?

4. What is 'Format TV'  and how has the UK led in the development of this system?

5. What is the future of production in 'Format TV' models?

6. What kind of deregulation will be needed to allow commercial broadcasters to survive?

7. How is merchanding important (particularly in regards to childrens programming)?

8. What radical new ways are there of looking at the piracy of digital content?

The Future of the License Fee

As you are well aware one of the hottest debates in the broadcasting world surrounds the BBC license fee and whether the BBC should be funded in alternative ways. In a fast changing broadcasting world where analogue television is in the twilight of its existence, the license fee is seen by many as draconian and well past its sell-by-date. To whet your appetite here are some links to sources of debate across the world wide web:

Emily Bell in 'The Guardian' in 2006

Ofcom view of a new PSB body in 'The guardian' - Jan 2009

How iPlayer viewers should have to pay in 'The Telegraph" - May 2009

License Fee evasion in 'The Guardian' - March 2009

Shot Types Video by OCR

For all of you tackling the unseen extract, the video is a reminder of all those pesky shot types. The video very clearly gives reasons why different shot types are selected by the director and the meanings they try to give to the audience. It's only about three and a half minutes long so give it a go!

G322 High Level Response

The high level response to Q1 and Q2 is excellent in most respects and is a clear 'A' grade. For question 2 the candidate produced a variety of exemplar information to support points made, and had a sustained discussion of digital technologies, distribution and promotion. Clear comparison was made to Hollywood output.

G322 High Level Response

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G322 Low Level Response

The response by the student is a grade 'E' and is typical of this level in both Q1 and Q2. Question 2 is a very general explanation with minimal exemplification. Minimal use of appropriate terminology.

G322 Low Level Response

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Examiners Comments on the G322 January 2009 Paper

The comments for question 2  are summarized by the following:

1. Institutions shape and distribute products in order to meet the demands of their audiences and to make a profit.

2. Focus on the question rather than regurgitate the case study.

3. When studying 'Working Title' it is a good idea to have knowledge of several films rather than just one or two.

4. A contrast between British production practice and Hollywood production practice is a good idea.

5. You need to know concepts such as synergy, cross-media convergence, technologies and audience consumption to illustrate your conceptual understanding of the topic.

6. Manage time carefully to avoid short answers to question 2.

Please make sure you look at the downloadable PDF files of the exemplar work. One of the responses is a high level ('A' Grade) response and the other is a low level ('E' Grade) response.

FDA Guide to UK Film Distribution 2008

It is a bit awkward to print this out but spend some time reading it and you will be rewarded. Save the trees!

FDA Guide 2008

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Film Distributors' Association

I think it is worth emphasising the importance of this site. It is really good. It is really good. It is really good.

Below is an excerpt on digital film distribution, the rest can be found by clicking here.

"Practically since the birth of cinema at the end of the 19th century, films have been produced, circulated and screened on celluloid stock.

More recently, digital soundtracks have enhanced the audio experience, while computer graphics imagery (CGI) is often added in post-production to realise spectacular effects. Today, most films are edited and mastered on digital equipment; a few, such as George Lucas's latest Star Wars episodes, are even shot using high-definition digital cameras, rather than being photographed on film.

Yet across the world, the standard format for presentation remains 35mm celluloid, which delivers superb quality to audiences.

Now the cinema industry stands on the threshold of a great, rolling transition from celluloid to digital, which is expected to gather momentum over the decade ahead. In time, digital technologies are likely to exert as profound an impact on the cinema sector as on the broadcast and other media sectors.

Digital or D-cinema has already been piloted in the UK for ten years. Disney/Pixar's Toy Story was supplied and presented digitally (on a Texas Instruments DLP prototype) at London's Odeon, Leicester Square, in 1995. But only a handful of cinemas have had digital projectors whilst further quality advances were achieved. Now, with D-cinema giving state-of-the-art clarity on screen, audiences may be unaware that they are watching a digital, as opposed to a film, presentation.

A great deal of work has been undertaken around the world, but especially by the studios' Digital Cinema Initiative, to develop global standards for D-cinema. The general aim is to ensure that digital content can be distributed and played anywhere in the world - as is the case, of course, with a 35mm print. The new technologies and components should be based on open, as well as compatible, standards that foster competition among equipment and service providers. The hardware should be capable of easy upgrades as further advances occur."

Also make sure you download and have a look at their PDF file in the separate post.

British Broadcasting Legislation

Here is the PowerPoint I used in the lesson as promised.

British Broadcasting Legislation

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Top 11 Comic Book Heroes

Here is a list of top 11 comic book heroes as nominated by our very own hero Phil 'The Crow' Perrins.

What do you think? Do you have any other suggestions?

11. Kevin Spacey - Kex Luther (Superman)

10. Alfred Molina - Doc Ock (Spiderman 2)

9. Kelsey Grammar - Hank McCoy (X-Men 3)

8. Christopher Reeve - Superman

7. Brandon Lee - Eric Draven (The Crow)

6. Liam Neeson - Ra'S al Ghul (Batman Begins)

5. Robert Downey Jr - Tony Stark (Ironman)

4. Hugh Jackman - Wolverine

3. Heath Ledger - The Joker (Batman: The Dark Knight)

2. Christian Bale - Batman 

1. Patrick Stewart - Professor Xavier (X-Men Trilogy)

Plenty of controversy here I'm sure.

Homework on PSB

What is Public Service Broadcasting? By one definition it is “all the programmes that we think should be on TV but no-one actually wants to watch”! That generally covers productions that are expensive but have a public value: children's programmes, news and current affairs, education and factual programmes (including religion) that are supposed to be good for us. We all agree that our cultural life would be poorer if none of these programmes appeared on TV. But who should pay for them and – given that they are usually audience-killers not audience-builders - which broadcasters should be required to host them in their schedules?

Under the existing system of PSB there are four terrestrial channels with a PSB remit. These are the BBC, ITV, C4 and Five. All of them are spending less and less on PSB as time goes on.

You are going to have to develop an overview of PSB by doing the following:

1. Review the slideshow on the 'History of the BBC' as already stated below.

2. Consider the future of PSB in the UK by looking at the shake up as suggested by Ofcom in the link in the post below.

3. Write notes on the handout I gave you on "Public Service Broadcasting and the Future of the BBC" by David McQueen.

In the mean time also look at these two videos by David Attenborough and Stephen Fry:

David Attenborough

Stephen Fry

In order to get something that you can usefully use for revision, your best bet is to create your own blog to store all your notes and thoughts. These can be multimedia. I can also look at the blogs in order to check on your work and leave comments if appropriate. Failing this then create a MS Word document, but this is very much the poor relation!

Broadcasting - Legislation, Ownership and PSB

First of all have a look at a history of the BBC at the slideshow already published.

This is essential background stuff for this unit.

Legislation

You have to know the following acts of Parliament in terms of their legacy for the history of British broadcasting. I have included a link to help you find information with each piece of the legislation.

Peacock Committee 1986

Broadcasting Act 1990

Broadcasting Act 1996

Communications Act 2003

Hutton Enquiry 2004

Ownership and Public Service Broadcasting

The central debate is about public service (largely the BBC) versus commercial 'independent' broadcasting (as represented by ITV/ SKY for instance).

A lot of what you need about the independent sector as realised by the ITV companies and Channel 5 surrounds the Broadcasting Act of 1990 and the deregulation that followed. Most of the information you need for the impact in the early years after deregulation will be served by reading pp 202-209 of David McQueen - 'Television: A Media Student's Guide'.

You will have to know about the recent Ofcom PSB review that was delivered in January of this year:

Ofcom PSB Review January 2009

A guardian article about the same review:

Guardian Article

And lastly a Stephen Fry speech from May 2008 about the BBC and the future of public service broadcasting in the UK. Worth a look at.

Stephen Fry Speech

History of the BBC

History of the BBC

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AS Media Institutions and Audiences

The case study is the examination of a UK Film Production Company

The OCR specification says: 

"One compulsory question to be answered by candidates based upon a case study of a specific media industry, from a choice of six topic areas offered by OCR. Centres should choose one of the following topic areas, in advance of the examination. Through specific case studies of the centre’s choice, candidates should be prepared to demonstrate understanding of contemporary institutional processes of production, distribution, marketing and exchange/exhibition at a local, national or international level as well as British audiences’ reception and consumption. There should also be some emphasis on the students’ own experiences of being audiences of a particular medium. 

I have decided to undertake a case-study with you looking closely at British film production company  'Working Title Films' exploring the company's releases over the last 5 years and in particular looking at the recent release 'The Boat that Rocked'.

http://www.theboatthatrocked.co.uk/

Make sure you look at the different types of trailers that exist. Different audiences have different trailers made for them. See if you spot the differences and why they exist.

There are a variety of other sources that you can look at - click on the titles to take you directly to the place where you can find the information:

A History of Working Title films

Film Education Pack on "The Boat that Rocked"

IMDB Information

Screen Online Information

You will also find some really useful information on British film distribution by visiting the website of the Film Distributors Association. They have the main site here and a sister site with all-sorts of nice videos to look at here. Also ensure you look at the website of the UK Film Council.