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Radio Four has been described as 'the greatest broadcasting channel in the world', the 'heartbeat of the BBC', a cultural icon of Britishness, and the voice of Middle England. Defined by its rich mix, encompassing everything from journalism and drama to comedy, quizzes, and short-stories. Many of its programmes - such as Today ,The Archers, Woman's Hour, The Hitchhiker's Guide To the Galaxy, Gardeners' Question Time, and The Shipping Forecast - have been part of British life for decades. Others, less successful, have caused offence and prompted derision. Born as it was in the Swinging Sixties, Radio Four's central challenge has been to change with the times, while trying not to lose faith with those who see it as a standard-bearer for quality, authoritativeness, or simply 'old-fashioned' BBC values. In this first major behind-the-scenes account of the station's history, David Hendy - a former producer for Radio Four - draws on privileged access to the BBC's own archives and new interviews with key personnel to illuminate the arguments and controversies behind the creation of some of its most popular programmes. He reveals the station's struggle to justify itself in a television age, favouring clear branding and tightly-targeted audiences, with bitter disputes between the BBC and its fiercely loyal listeners. The story of these struggles is about more than the survival of one radio network: Radio Four has been a lightning rod for all sorts of wider social anxieties over the past forty years. A kaleidoscopic view of the changing nature of the BBC, the book provides a gripping insight into the very nature of British life and culture in the last decades of the twentieth century.
The BBC spends over £2 billion a year and the vast majority of its income comes from a compulsory levy, the television licence fee. The BBC is an organisation that aspires to and sometimes attains a leading role in the nation's cultural life. It is right that it should be subject to close public scrutiny and the Committee has been concerned with how the BBC can become more accountable to the public and to Parliament in ways that do not conflict with its independence.
The BBC spends over �2 billion a year and the vast majority of its income comes from a compulsory levy, the television licence fee. The Committee has been concerned with how the BBC can become more accountable to the public and to Parliament in ways that do not conflict with its independence. In the response the Secretary of State rejects one of the Committee's recommendations namely that the �5 premium payable on the quarterly budget scheme television licence be abolished. All members of the scheme will receive a letter at the point of annual renewal which will outline other payment methods which avoid payment of a premium.
The Annual Report and Accounts of the BBC for 1997/1998. Provides both Parliament and the licence payer with a full description of the Corporation's performance and activities during the year. Contains a record of the financial performance and a report on program output and places the BBC in the context of the industry and sets out the objectives.
Branding Television examines why and how the UK and US television industries have turned towards branding as a strategy in response to the rise of satellite, cable and digital television, and new media, such as the internet and mobile phone. This is the first book to offer a sustained critical analysis of this new cultural development. Branding Television examines the industrial, regulatory and technological changes since the 1980s in the UK and the USA that have led to the adoption of branding as broadcasters have attempted to manage the behaviour of viewers and the values associated with their channels, services and programmes in a world of increased choice and interactivity. Wide-ranging case studies drawn from commercial, public service, network and cable/satellite television (from NBC and HBO to MTV, and from BBC and Channel 4 to UKTV and Sky) analyse the role of marketing and design in branding channels and corporations, and the development of programmes as brands. Exploring both successful and controversial uses of branding, this book asks what problems there are in creating television brands and whether branding supports or undermines commercial and public service broadcasting. Branding Television extends and complicates our understanding of the changes to television over the past 30 years and of the role of branding in contemporary Western culture. It will be of particular interest to students and researchers in television studies, but also in creative industries and media and cultural studies more generally.