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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
Abstract only
Lez Cooke

audience in all its social, cultural and ethnic diversity. In the rapidly changing ecology of British broadcasting, independent production companies now provide a progressive counter balance to the more conservative regional drama produced by the national broadcasters, the popularity of which was confirmed in a report from the media regulator Ofcom in April 2006 which revealed that regional audiences often have a preference for programmes made in their own region, as The Guardian reported at the time: Viewers show strong loyalty to their regional identity. The Cornwall

in A sense of place
“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
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
Derek Paget

’s television industry regulator. This body’s attention had been drawn to the company’s bad practice by a series of articles in the Guardian, which concluded that the makers of a primetime independent television documentary, The Connection, originally screened in 1996, had faked scenes. A swingeing fine was imposed on the network responsible.2 Late in 2003, print journalism in its turn was rocked by an ethical scandal. It was revealed that one of the world’s foremost newspapers, the New York Times, had published a series of articles plagiarised by one of its journalists

in No other way to tell it
Robin Nelson

televisionviewing. Given that wealthy demographics are likely to be college-educated, a more sophisticated product is required to attract them and “must-see” television accordingly replaces LOP. The capacity to bypass regulators allows subscription channels to offer a more risky television. Whilst in some instances this descends into pornography, an upside of the subscription channels’ market position in respect of drama is distinctive, edgy series (see Chapter 4). Television’s pleasures As the medium has become more diverse, the range of pleasures afforded by television has

in State of play
Steve Chibnall

revisit the ethical dilemmas posed in I Aim at the Stars. 10 As in many post-war science fiction texts, science is seen as a dangerous and unstable force which has the potential for life enhancement (the enzyme growth-regulator which is the film’s Hitchcockian MacGuffin) or destruction (the bomb in Hathaway’s skull). Scientific laws and discoveries owe no national allegiances – ‘science has no nation’, Hathaway maintains – but

in J. Lee Thompson