A FUTURE FOR PUBLIC SERVICE TELEVISION CONTENT AND PLATFORMS IN A DIGITAL WORLD

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A FUTURE FOR PUBLIC SERVICE TELEVISION and the London Film School, is prohibitively expensive for the vast majority of people. Universities offering one-year Masters courses are now attempting to deliver a ‘film school experience’ without film school prices although, even with the existence of the BAFTA scholarship programme and the government’s postgraduate loan scheme, they remain a route that is not universally accessible. However, given that the Masters degrees have become a more recognised unit for media teaching and training, we now need to think of innovative ways of increasing funding opportunities and of opening up these programmes to a wider range of groups: for example those who do not live near a campus, those with young families, and those who need to balance study with continued working. We believe that the industry could still do more to help underwrite the costs of high-quality Masters provision given the value it receives from the many writers, directors, producers and crew who enter its ranks from higher education. We also believe that higher education institutions themselves could also do more to make their programmes accessible to those from non-traditional backgrounds. 504 There are many reasons why the university sector has inherited the mantle of film and television teaching and training, and many benefits in terms of its links to related fields of study like visual arts and theatre, its commitment to a critical, reflective practice and its encouragement of innovative thinking. While most postgraduate programmes have highly-qualified staff with relevant industry experience and a curriculum that focuses both on established genres and formats as well as more critical and experimental approaches, there is now increasing pressure on Masters courses to deliver more narrowlydefined training, to provide regular access to the latest equipment and skills, and to impose nigh-on constant production scenarios. There is a danger that, under-funded by a government that appears determined to treat tertiary education as a service industry, many of these Masters courses will become cheap training schools that simply tick boxes and do not innovate or hothouse vital new talent from diverse sectors and backgrounds. Just as it is crucial for HE programmes to engage with industry, it is equally crucial that industry collaborates with academia in a mutually supportive and constructively critical way – through joint research and projects – so that screen programmes are in constant dialogue with all parts of the industry. If the government wishes to expand the creative industries in the UK, then it ought to address the need for additional mechanisms by which the industry can facilitate such relationships and best contribute to the teaching and training that is required to take these vital industries forward. In conclusion, at a time of enormous change and volatility within the television ecology, we need more than ever an overarching strategy 504 For example, the retreat-based MA screenwriting programme at Royal Holloway, University of London which, by allowing part-time block attendance, was able to raise the application rate of older students, students already working in the media industries seeking to re-train, those with families, and those from more diverse class and ethnic backgrounds. 150
CONTENT AND PLATFORMS IN A DIGITAL WORLD concerning entry into and training within the screen industries. As Creative Skillset argues: A holistic and collaborative approach across not just PSBs but all screen-based industries is increasingly vital to ensure that the Creative Industries’ talent base can compete globally. This requires upskilling and re-skilling with an integrated view and a systematic approach to tackling barriers to entry and enabling progression within an ever more casualised workforce. 505 We fully agree with this statement and would suggest that, as a key industry body in this area, Creative Skillset is in a perfect position to bring all interested parties together and to coordinate the most effective plan for talent development. 504 Creative Skillset, submission to the Inquiry. 151
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A FUTURE FOR PUBLIC SERVICE TELEVIS
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Contents Foreword by David Puttnam
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To instruct democracy, if possible
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Welcome Television is leading a cha
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CONTENT AND PLATFORMS IN A DIGITAL
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PSB channels 71.9% All other channe
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Why television matters Television i
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1982 1990s 2012 The BBC-ITV duopoly
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Time for action Today’s policymak
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Basic principles At the core of pre
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The multichannel revolution Perhaps
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The BBC For most people, the BBC is
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Channel 4 If the BBC is the most im
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Only 8% of Channel 4’s total spen
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ITV and Channel 5 The focus of atte
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The changing face of ITV 1993-2002
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New sources of public service conte
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Page 99 and 100: CONTENT AND PLATFORMS IN A DIGITAL
Page 103 and 104: Television and diversity We have ea
Page 107 and 108: THE PEOPLE SHOULD BE TELEVISED If t
Page 115 and 116: Nations and Regions Public service
Page 129 and 130: Content diversity One of the key wa
Page 135 and 136: Sports content now accounts for som
Page 145 and 146: Talent development and training In
Page 149: CONTENT AND PLATFORMS IN A DIGITAL
Page 153 and 154: Conclusion Television is changing.
Page 155 and 156: Recommendations General The UK’s
Page 161 and 162: Appointing the BBC board Sir David
Page 163 and 164: APPLICATION OF THE NOLAN PRINCIPLES
Page 165 and 166: BAFTA members’ survey delivered i
Page 173 and 174: Public service broadcasting, public
Page 177 and 178: Inquiry events Do we still need pub
Page 179 and 180: Acknowledgements Inquiry Report Con
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A FUTURE FOR PUBLIC SERVICE TELEVISION CONTENT AND PLATFORMS IN A DIGITAL WORLD

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