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Derek Paget

-transmission’. Calling this ‘one of the liberal­isings of regulation’, he told me: the new situation is a huge bonus to us, it avoids what lawyers used to call prior restraint – at the same time you do have to second guess as you go along what the regulator’s position might be two months down the track. But, although the print media have tended to call the new system ‘self-regulation’, McBride demurs from this view, alleging that some of the problems with docudrama have simply been moved elsewhere: There is an independent regulator who can visit substantial sanctions on you. So some

in No other way to tell it
Jonathan Bignell and Stephen Lacey

’ authored series ran up against the limits of this kind of ‘progressive’ intervention. The withdrawal of the programme’s sponsor, regulators’ investigations of complaints from interest groups about its sexual explicitness, and the question of who its audience may have been and how the programme may have addressed that audience, are considered. While Queer As Folk remains a landmark television drama in the ventilation of questions of sexuality and representation, attention to the text itself is insufficient without an understanding of the conditions that brought it to

in Popular television drama
Abstract only
Foundational matters

concerned to promote competition. At the same time, managers and fund investors were engineering cash extraction so that in the privatised UK water industry, for instance, the regulator allowed all the profits to be distributed as dividends, while investment was financed by adding debt. If we turn to outsourcing of public services in areas like health, justice or welfare administration, this is complicated by the involvement of large conglomerates, under financial market pressure for growth. In search of revenue growth, they move into new activity areas until their luck

in Foundational Economy
“Edgy” TV drama Queer as Folk, Sex and the City, Carnivàle
Robin Nelson

first instance to try out challenging production ideas. Even established institutions such as the BBC have been able through the new Freeview, digital provision with its new channels (BBC3 and BBC4) to test the water in respect of drama which might well not have been commissioned for mainstream channels. Russell T. Davies’s Casanova (Spring, 2005) and Simon Ashdown and Jeremy Dyson’s Funland (Autumn, 2005), transmitted on BBC3, are cases in point. Where mainstream, terrestrial channels are governed by regulators (FCC in the USA and Ofcom, the successor to ITC, in the

in State of play
Chris Morris and comedy’s representational strategies
Brett Mills

parodying news programmes and current affairs series he has repeatedly refused to accept the distinction commonly held between factual and fictional media which, while constantly critiqued, is nevertheless routinely upheld by broadcasters, audiences and regulators. He has similarly refused to accept the conventions of what can and cannot be joked about, particularly in a social arena such as television. In examining whether Morris’s output can be deemed ‘experimental’, both its form and its content need to be explored. More fundamentally, it is helpful to interrogate

in Experimental British television
John Corner

business, including the contest for party support and the management of foreign policy and warfare, the more widespread becomes the need to persuade, to gain acceptance if not agreement. Strategies of publicity and promotion are part of the attempt to retain informational control in conditions of greater political visibility for political managers, where even the negative informational regulator of censorship and methods of direct coercion may have been reduced in their scope and effectiveness. However, before looking in more detail at the conditions of modern political

in Theorising Media
Robin Nelson

broad categories: · economic (notably advanced capitalism) · political (government policies, ideologies) · institutional (corporations, companies, conglomerates, regulators) · aesthetic (compositional traditions in the arts and media) · technological (opportunities and constraints informing both product and its location in a media hierarchy) They play out respectively in estimations of TV drama in such matters as: · prizing the expensive simply because it costs a lot; modes of funding to mobilise product; profit or “not-for-profit”; ratings; advertising revenue

in State of play

next section, by the use of power against other stakeholders and by the devices of financial engineering which utility regulation never considered. This confusion about the object of regulation was bound to end badly for the rest of us because the economists as regulators were watching prices and investment while the managers and fund investors were manipulating cash extraction. The results were quite surreal in the case of UK water and sewerage, which was privatised in 1989 under the regulatory agency Ofwat. 2

in Foundational Economy
Abstract only
Scott Wilson

of authentic commodification’ (7). What is inauthentic commodification? Choosing to sponsor the wrong beer? Listening to the wrong albums, sampling a bad beat? This shift is a symptom of supercapitalism in which the economy establishes the conditions of social life in which the market becomes the main regulator, the so-called bottom line. Social bonds are established and dissolved according to the laws of exchange. Indeed, since social bonds have to be created in this sphere dominated by exchange, representation is replaced by an aesthetic dominated by presentation

in Great Satan’s rage
Abstract only
Sarita Malik and Darrell M. Newton

independent filmmaking, meant that it could offer a new form of cultural support to Black British film and programme-makers.30 Given the stealthy rise of commercial imperatives for ‘serving audiences’, reference should also be made here to the currently very fragile relationship between BAME audiences and PSB provision. A 2015 report by the UK media regulator, Ofcom, identified a marked concern among minority audiences about the ways in which they are represented on television, which suggests a deep sense of dissatisfaction and Introduction 9 exclusion.31 Further, when

in Adjusting the contrast