May 032012
 

Local Television - Coming Soon?

Television broadcasting is a tricky business. It requires a large amount of money, expertise and commitment to ensure that it gets to air. The large UK national players – the BBC, ITV and Sky – pour-in billions of pounds to keep the programmes updated on our screens, while also competing in a super-competitive international environment that requires a clear commitment to deliver content that appeals to some very board audiences. So why would anyone want to set-up a local television station that broadcasts to a limited locality, say a city, all on a shoestring? I went to Liverpool John Moores University to find out more about what’s happening with the proposals for local television in the United Kingdom.

According to The Guardian “Local TV may be coming to a small screen near you soon – but only if you are in one of the 20 towns and cities unveiled by the government as one of the “pioneers” of the new service.” There are twenty cities that have been earmarked for the potential launch of local television, including London, Manchester, Newcastle, Edinburgh and Cardiff. According to The Guardian, Jeremy Hunt, Minister for Culture Media and Sport, argues that “Local TV will be a fundamental change in broadcasting in this country, meeting a real demand for local news and content.”

Today’s conference in Liverpool, ‘Getting the Picture – Making Local TV Happen,’ brought together a wide range of people from the media communities, broadcasters, educators and community groups, to discuss if local television has a future and what form it should take? It was commonly agreed that we are at a significant moment where the proposals for local television have the potential to become a great opportunity, but the question raised was what are the issues that are likely to face anyone seeking to do so?

In putting together a bid for a local television service are we going to be able to learn anything from elsewhere? What would the likely cost-base look like? How much local content can actually be produced and to what standard? Can bidding consortiums partner with Higher Education to share resources and students to do the work? What would the funding mechanisms be? Will advertising pay for running local television stations? What would content look like?

In terms of the lessons from elsewhere, Ruth Spratt, former MD for Channel M gave a brief yet vivid account of how a local television channel might operate. At it’s peak Channel M had 300,000 viewers per week, and brought in a peak revenue of £4 million. At a cost of £1,000 – £2,000 per hour, Channel M worked across many platforms to serve Manchester with local commercial content. However, once the station was sold by the Guardian Media Group to Trinity Mirror, the impetus for the station as a developing business was lost. Channel M closed in 2012. Citing distribution issues as the main challenge facing Channel M, Ruth suggested that the hardest problem was ensuring that people could actually receive the service. Ruth explained that the proposed digital licences are now the key to ensuring the success of local television, as long as there is some investment in an audience management system that is fit for purpose.

The issue I wanted to find out more about was ‘Is local TV community TV?’ After five years experience establishing DemonFM as a community radio station, where the volunteers in the station produce and manage all of the content that is broadcast. I wanted to know if a similar model is expected from local television, or will local television be following a more commercial model?

Jaqui Devereux, who runs the Community Media Association, argued that what makes community media special is the way that people produce media that speaks for people themselves – while being more than a basic user generated content experience. Jaqui suggested that there are some important lessons for local television that can be offered by community radio. The more local a station is the more there is a compelling reason to listen to a stations programming. The more local people are involved in making the content of a station the stronger the bond of trust with the audience, and therefore the greater chance that the station has of reaching listens that might otherwise be hard to get.

Debra Davis has many years experience working for City TV Broadcasting in Canada, offering local television services. Debra suggested that the strongest unique selling point that a local television service has to offer is how it represents it’s home city. According to Debra the city becomes the brand and gives the strongest sense of why people want to listen. As long as people can access local news first on their local television station, Debra argued, they will watch the station.

Sky News was represented by Simon Bucks, who talked us through the experiment that Sky are undertaking in Tyne and Wear, where they are running a local television news service that is specific to that region. Simon suggested that one of the frustrations that people express about local media is that things often happen which they only find about afterwards. Sky’s willingness to invest in this more local service has the potential to be an important part of their commercial portfolio, but overall they are hoping to offer their customers a ‘better and broader experience for its customers’.

Moving on to the second session the question was raised about how higher education institutions might work as partners in local television consortia. David Hayward from BBC Academy School of Journalism gave an overview of his experience travelling around the UK talking to different media and journalism courses. David suggested that there is a great upsurge in local media across the UK, but that this upsurge is primarily based online and uses social media. As a consequence, according to Dave, higher education has a ‘massive role to play’ in supporting local television, to some extent filling-in the role that local newspapers used to occupy. According to David ‘micro blogging can create a powerful local media’. The role of the BBC, therefore, is to support innovation and to champion new techniques for news production and new ways to tell stories.

Jamie Conway from Element TV reminded the conference that it’s essential that both industry and education providers should look at the ‘skills and nurture the talent’ of our young people. Many agreed that the partnership between HE and local television providers should not exploit students as a free resource, whereby learners provide the back-bone of the work but don’t get any of the reward for their work. Managing the relationship between the learning experience and the commercial imperative needs more support and careful planning from education providers. Why aren’t more business schools involved in local media partnerships, so that sales, marketing and management techniques for media can be better exploited and managed?

There is a lot to think about coming out of this event. Questions about true localism and financial sustainability are just some of the most obvious. What type of content will be developed and where will innovation come from? How will programme makers be held accountable to their viewers and what professional standards will the work to? If the local television moment is going to arrive there needs to be much more sessions like this where people can talk about a mixed model of development. To summarise the key issues we discussed local television is about:

Content, collaboration and partnership.
Don’t work in isolation, share and work with local businesses.
Be ambitious – ignore the naysayers.
Have a very clear partnership agreement at the outset.

I’ll update this blog later after talking to more people, thinking about the potential opportunities for De Montfort University.

Apr 302012
 

This is an experiment in running a survey using WordPress.

BSc RP&T Survey

Progress:

Do you feel happy with the level of challenge of your learning?

Do you feel happy with the support you have received from tutors?

Are you happy with the feedback you received from your tutors?

Do you feel happy with your access to equipment and studios?

Did the module handbook give you enough information about what was required?

Please complete each question

Apr 272012
 

Carina Tillson - Head of Compliance Global RadioThe final DMU #RadioLab Lecture for this session was given by Carina Tillson of Global Radio, who guided DMU radio students and volunteers for DemonFM through the minefield that is compliance and broadcast regulation in the UK. Effortlessly engaging and brimming with examples of why community radio stations need to take compliance seriously, Carina mapped-out the scope of regulation for radio broadcasters, from the application process to the complaints process, and often what happens when things slip between.

Carina is Head of Compliance at Global Radio, and as such is responsible for over 2500 hours of broadcast content each week – a mighty task by any standards. This content is split across national network stations, such as Capital, Heart, Classic FM and LBC. Carina’s philosophy is that everyone at a station is responsible for ensuring that the stations stays on the right side of the law and the broadcast code. It doesn’t matter which department you work in, radio is a team effort, and so everyone should be listening-out for issues that might damage the trust that a station has built with it’s audience.

Carina Tillson Setting Up In an increasingly competitive jobs market, Carina’s advice to the students and volunteers at DMU focused on a couple of key points: be better at your job than everyone else; make the most of your opportunities; and look for ways that you can get an edge on the other candidates. According to Carina students and volunteers at DemonFM will never get a better chance to gain as much experience as they can while running a community radio station. The privilege of making shows that say something about you as a person is enormous, but there is a heavy burden of responsibility to make sure that you get it right and do it properly. Breaking the trust of the listener can have lots of consequences, so use it wisely, was Carina’s message.

Carina was impressed that so many of our volunteers on DemonFM know their way around the broadcasting code, and where able at one point to recite it back! Ultimately, Carina argued, it is down to the individual presenter to take responsibility for their output, but the general rule can be summed up in four words – don’t be a dick!. If you want to avoid the Ofcom Sanctions Panel, then a station can take prudent steps to ensure that their content is free from the potential to cause offence and harm, and if it is not able to guarantee that content won’t cause offence that it at least is broadcast at a time when children won’t be listening.

It was refreshing to hear the rules for broadcasting explained with such passion and knowledge. Keeping trust with your listeners is not something to be taken lightly, but has to be nurtured and protected at all times. Carina gave us a clear account of our responsibilities then urged us to make the most of our creative freedom.

Sound WomenCarina gave a massive plug for Sound Women, the newly established group that promotes the interest of women in the radio and audio industries. More information can be found at www.soundwomen.net.

Apr 222012
 

Neil Tennant and Chris Lowe, Pet Shop Boys wrote this song and gave it to Morten Harket of A-ha fame. While the production might be underpowered (a lush strings orchestration would be welcome), the song has a sweep and grace that grows on each listen. It’s a great song that deserves more attention. If this is the standard of the tracks Neil and Chris are giving away, imagine what the new album will be like?

Apr 012012
 

How else can the machinations of the Plantagenet dynasties, that forged the central heart of English identity be played out, other than on an epic scale and against a sweeping backdrop of war, betrayal, megalomania and religious fervour? These are the themes that are so ably dealt with in BBC Radio Four’s Plantagenet series, part of the Classic Serial strand on Sunday afternoons. The latest episodes in the series of audio dramas, written by Mike Walker, and inspired by Holinshed’s Chronicles, are dealing with the later monarchs in the Plantagenet sequence, and tell the story “from the greatest glory of the line in the reign of Henry the fifth, to the brutal infighting of the Wars of the Roses”.

Luke Treadway is superb as Prince Hal, delivering a captivating performance of a young king that is both ruthless and merciless. Hal is all too aware of what it means to be a king, both the mythical and the real role. And yet Hal is presented here with a ruthless determination not to vary from the trajectory on which he is propelled. His choices are calculated and weighed in the context of the doctrine of divine providence that confers kingship on him, and which Paul Moriarty, as Hal’s father, Henry IV, compels him to take up. Hal later recalls his father’s words, is he a changeling? Was he once whisked away by the fairies and replaced by something altogether non-human? Monarchal? Dedicated to the cause of forming a nation and ruling it? Treadway’s voice captures the youthfulness of Prince Hal, while hinting at the conviction of a leader who is certain that his kingly role goes beyond merely earthly considerations, and instead would resonate with vibrant symbolism for centuries to come.

While the epic sweep of the historical events that form the backdrop for this story would overwhelm a lesser telling, the intimate relationships and alliances here are told through conversations, recollections, interjections and debates. Hal’s conscience is questioned not only by his wife Catherine, regally played by Lydia Leonard, but explicitly and didactically by Sir John Oldcastle, brilliantly played by Nicky Henson. The earthiness of the decisions, the options facing Hal, the need to listen to his individual conscience and explore the alternatives on his route, seem very real and very pressing. Indeed, they resonate in many ways with current pre-occupations and events in modern day politics and statehood matters. The evocative realisation of the battle scenes, the incidental characterisation of the soldiers and guards who play the supporting characters, are given as much focus as the main protagonists through which the story is told. The surgery scene on the battlefield to remove an embedded arrow-head from the young princess’ skull had me squirming. All credit to directors Jeremy Mortimer and Sasha Yevtushenko for creating a sound-world and performances that are both intimate and yet give a wider sense that the rivers through which these characters flow are tumultuous and arduous. Every ounce of passion that goes into making this series is there to listen to. Now it’s time for the BBC to give it more publicity.

Mar 262012
 

For Labour to start making headway against this inept Tory government, there is a simple slogan we can adopt: Worse, Not Better.

Cameron: NHS – Worse Not Better

Osborne: Economy – Worse Not Better

Cable: Jobs – Worse Not Better

May: Crime – Worse Not Better

Gove: Schools – Worse Not Better

It’s time to challenge to these chancers on the basis of their competence and the outrageous lies they told to get elected. They aren’t making things work, they are running the country into the ground.