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

Recommendations

Info

A FUTURE FOR PUBLIC SERVICE TELEVISION It is important to remember too that commercial operators produce their public service content only because it is part of a commercial strategy and on some level makes commercial sense, as something that gains a strong audience (as of course public service television can), builds their reputation, or works as a loss leader. Ofcom has noted that the multichannel sector’s new UK programming “tends to be in only a few commercially attractive or strategically important genres (either in terms of profitability or brand enhancement), such as news, entertainment and comedy”. 267 We are glad that commercial multichannel operators are making this content, but it is not something for which they should be additionally rewarded, as it is always done in their shareholders’ interests. Nor should the existence of this kind of programming outside the public service broadcasting system be used as a pretext for cutting the funding of public service television within it or for weakening the regulation in place to secure it. We also believe that the context set by the public service broadcasters encourages the provision of this sort of programming. The fact that Sky has invested in a news channel and ensured that its output is of a high standard cannot be separated from the environment created by the public service system, where the impartiality of news has long been written into the law and spirit of broadcasting, and where BBC and ITN had already established the template for high-quality news provision. Likewise, Sky’s investment in arts programming might not have been so lavish or have happened at all were it not for the BBC’s example. Public service television can in fact support an environment in which commercial operators can flourish. Susanna Dinnage, the head of Discovery UK, told us that her channel thrives in a public service environment for a variety of reasons: the public service broadcasters keep people actively engaged in television, enhance the reputation of British television, serve up a diverse offering, lead and curate audiences to find content in new ways, and help to develop a strong creative community. According to Dinnage: “If we didn’t have a strong PSB [system], there wouldn’t be as much commissioning – there is an amazing correspondence between the pace of growth in PSB and commercial industries.” 268 Local TV Another part of the multichannel landscape worth mentioning is Local TV, which has been rolled out in 20 locations since the launch of Grimsby’s Estuary TV in November 2013, with another 14 stations set to launch. There are now local channels in major cities such as London, Birmingham and Manchester, as well as in smaller places such as Preston (That’s TV) and Norwich (Mustard TV). 269 The channels are granted a licence by Ofcom to broadcast on Freeview on a prominent slot (channel 8 in England, 23 in Scotland and Wales), and can also negotiate carriage on Sky or Virgin, as well as streaming their output on their own websites. Some are backed by significant media groups: STV operates the Edinburgh and Glasgow services, while London Live is part of Lebedev Holdings, the owner of the Evening Standard newspaper. But licensees are “varied in type and size” and can be not-for-profit ventures or commercial partnerships. 270 267 Ibid. 268 Comments to Inquiry’s advisory committee, April 26, 2016. 269 For full details, see the Local TV Network website. 270 See Ofcom’s Update on Local TV in the UK, September 15, 2014. 94
CONTENT AND PLATFORMS IN A DIGITAL WORLD Under the 2012 parliamentary order establishing Local TV, services must meet the needs of their areas – by bringing social or economic benefits or catering for local tastes, interest and needs, broaden the range of television programmes available in that area, and increase the number and range of the programmes about that area or made in that area. The programmes are supposed to facilitate civic understanding and fair and well-informed debate through coverage of local news and current affairs, reflect the lives and concerns of communities and cultural interests and traditions, and include content that informs, educates and entertains and is not otherwise available through UK-wide TV services. 271 It is worth noting that there is no reference here to programme quality, nor to minimum quantities of specific types of output. The exact nature of programming commitments is decided by negotiation with Ofcom. The rollout of the Local TV network has been funded using money from the BBC licence fee 272 , but the channels are not otherwise subsidised and are expected to be financially sustainable 273 . It is too early to make a firm judgement about Local TV as it is a relatively new – and still evolving – experiment. There are doubts about the long-term viability of the business model: Ofcom has commented that it is “very unlikely that all channels will succeed”. 274 We are also sceptical that it represents a significant contribution to public service television; it is no substitute for the kind of regional programming that continues to be provided by the BBC and ITV. We note that Ofcom has allowed some licensees to cut the amount of local programming they put out 275 but we have also heard some positive opinions in the course of gathering views for this report. 276 Public service content outside the television world 277 As we outlined in detail in Chapter 3, there has been a major shift in recent years in viewing habits, with more and more people watching material on-demand, not just through catch-up services such as the BBC iPlayer but also online. Greater broadband speeds have facilitated the viewing of audiovisual material through an internet connection. At the same time, the technical and financial barriers to making such content have fallen. Anyone with a smartphone can make a video. Alongside the amateurs, all sorts of professional organisations have embarked on making content. Video production and programme making skills are no longer the preserve of professional broadcasters or even of large production studios. Every newspaper, advertiser, campaigning group, agency, corporation and brand is now in the content creation game. So too are the UK’s many and diverse cultural institutions. Ranging from national organisations established in statute to diverse local, regional and charitable establishments, they could prove to be key contributors to a more plural, diverse and dynamic public service media landscape in the future. Many of these institutions, some of which long 271 The Local Digital Television Programme Services Order 2012, Statutory Instrument 2012, no 292. 272 The BBC agreed to make £25m available but not all of this has been spent. 273 Ofcom, Update on Local TV in the UK. 274 Ibid. 275 See for example, William Turvill, ‘Ofcom allows six local TV services to cut back on local programming, news and current affairs’, Press Gazette, October 8, 2015, John Reynolds, ‘Ofcom allows five local TV stations to cut local programming commitments’, Press Gazette, April 13, 2016. 276 At our Edinburgh event, Stuart Cosgrove was very positive about Local TV in Edinburgh and Glasgow, for example. 277 This section draws heavily on Andrew Chitty’s paper, ‘Beyond Broadcasting: Public Service Content in a Networked World’, delivered at the Inquiry’s ‘Concepts of Public Service’ event, British Academy, March 3, 2016. 95
Page 1 and 2:
A FUTURE FOR PUBLIC SERVICE TELEVIS
Page 3 and 4:
Contents Foreword by David Puttnam
Page 5 and 6:
To instruct democracy, if possible
Page 7 and 8:
Welcome Television is leading a cha
Page 9 and 10:
CONTENT AND PLATFORMS IN A DIGITAL
Page 11 and 12:
PSB channels 71.9% All other channe
Page 13 and 14:
Page 15 and 16:
Why television matters Television i
Page 17 and 18:
Page 19 and 20:
1982 1990s 2012 The BBC-ITV duopoly
Page 21 and 22:
Page 23 and 24:
Time for action Today’s policymak
Page 25 and 26:
Page 27 and 28:
Page 29 and 30:
Basic principles At the core of pre
Page 31 and 32:
Page 33 and 34:
Page 35 and 36:
Page 37 and 38:
Page 39 and 40:
The multichannel revolution Perhaps
Page 41 and 42:
Page 43 and 44: CONTENT AND PLATFORMS IN A DIGITAL
Page 51 and 52: The BBC For most people, the BBC is
Page 67 and 68: Channel 4 If the BBC is the most im
Page 71 and 72: Only 8% of Channel 4’s total spen
Page 79 and 80: ITV and Channel 5 The focus of atte
Page 85 and 86: The changing face of ITV 1993-2002
Page 91 and 92: New sources of public service conte
Page 93: 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 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Conclusion Television is changing.
Page 155 and 156:
Recommendations General The UK’s
Page 157 and 158:
Page 159 and 160:
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 167 and 168:
Page 169 and 170:
Page 171 and 172:
Page 173 and 174:
Public service broadcasting, public
Page 175 and 176:
Page 177 and 178:
Inquiry events Do we still need pub
Page 179 and 180:
Acknowledgements Inquiry Report Con
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?