ITV

Tag: BBC

  • BBC reaches agreement with British trade unions

    MUMBAI: After extensive talks, UK pubcaster the BBC and British trade unions BECTU, NUJ and Unite have reached an agreement in principle in the current dispute. The pubcaster has, therefore, been able to avoid a strike. The unions had threatened strike action over plans to close 2,500 posts and make up to 1,800 staff redundant.

    The agreement is subject to acceptance by a consultative ballot of the joint unions’ membership.

    All the parties welcome the progress made so far on jobs, allowances and pensions, and will continue to work together to achieve an acceptable final settlement.

    BBC People director Stephen Kelly said, “The negotiations with the trade unions have been very constructive, given the complexity of the issues and the BBC’s financial position. We are hopeful that the proposed agreement will settle the dispute and enable the BBC to make the necessary changes required for the benefit of our audiences.”

    BECTU general secretary Gerry Morrissey said, “This set of negotiations with the BBC has been particularly difficult given the financial constraints on the BBC and the number of areas targeted for cuts, all of which impact significantly on many staff. After extensive talks overnight, we have an agreement in principle which we hope will pave the way for a final settlement of the dispute. Talks in BBC Vision will continue up until the opening of a consultative ballot in March.”

    NUJ general secretary Jeremy Dear said, “We’re pleased the imminent threat of compulsory redundancies has been addressed and that all staff required to work unpredictable hours will continue to get a fair deal. These negotiations now give us a basis on which we can address further changes proposed by the BBC.”

  • BBC DG Thompson calls for new dialogue to restore trust in British public life

    MUMBAI: BBC Director-General (DG) Mark Thompson is calling for a new dialogue aimed at restoring trust in British public life.

    In a speech in London, Thompson says that broadcasters have learned good lessons on the subject of trust. “Trust in the 21st century Britain is fragile for everyone. Trust in a given institution may be based on a great tradition and great inherited values, but it depends on what you do today. It has to be earned and earned again. And the higher the trust, the higher the public expectation,” he says.

    In considering what should be done about trust in public life, he rejects calls for tighter regulation of the press.

    Referring to a speech made by Tony Blair last June, Thompson says Britain’s former PM had been right to suggest that the relationship between the media and the public sphere in Britain had been damaged.

    But he adds, “It’s difficult to see how any new regulation consistent with press freedom could significantly address the ills he listed that day. And if my diagnosis of the problem is right, tighter regulation might actually increase rather than decrease public distrust.”

    Thompson calls for reflection on the issue from everyone: politicians, media and the public. At the same time, he says he does not want to lecture anyone in the ways they should change. Instead, it is important that someone make the first move, and “no one is better placed to do that than the BBC.”

    In addition to measures aimed at safeguarding trust following problems with interactivity and the documentary about the Queen, the BBC now aims to undertake a number of new initiatives which will:

    – Transform the way the BBC connects with British democracy – and all of its many democratic institutions – by establishing the world’s most creative multimedia portal that will offer comprehensive political coverage and analysis to every secondary school in the UK.

    – Build on the success of the BBC’s College of Journalism by working with partners such as the Reuters Institute, university departments and the media to provide open access to the corporation’s multimedia journalism resources and training.

    – Evolve and develop output to create more opportunities for in-depth multi-platform set-pieces on a range of major stories throughout the year.

    – Make output that explores ideas about policy and policy choices rather than simply react to what has been said, and also try harder to expose serious spin.

    One thing ruled out, however, is an end to tough political interviews.

    “It’s sometimes suggested that the solution to the problem of trust would be to tone down some of our interviewing. If only people like John Humphrys and Nick Robinson and Jeremy Paxman were less aggressive, the public’s confidence in politics and politicians would be restored and their cynicism would evaporate.

    “Well, not on my watch. I don’t believe that the public want to see less rigour in our questioning of politicians and other public figures: if anything, they want to see more,” he said.

    He also says that long-term research into attitudes on trust does not support the view that the public are more distrustful about those in public life.

    “British scepticism about those in public life is not a new phenomenon. Most people doubted politicians’ motives even in the ‘good old days.’ Ipsos-Mori’s work over a generation does not show clear evidence of a large-scale long-term decline, let alone a crisis. If anything, both ministers and journalists have seen a slight improvement in recent years – albeit bumping along a very low base.”

    “The British public do not believe that our political system is riddled with corruption – they’re actually rather less likely to say they think politicians are in it for selfish motives than citizens in many other western countries. Many of them do believe that, for whatever reasons, politicians and government ministers and officials cannot be relied upon to tell them anything like the whole truth.”

    He concludes that public trust is the life-blood of the BBC – which is why the corporation has taken its own problems with trust so seriously in recent months. But the BBC also could have a special role in addressing the wider question of public trust.

    “In my view, this is not a crisis – but it is a real problem with real consequences. It arises less from doubts about the motives of people in public life, and more from an anxiety about truth-telling and the gulf that exists between this country’s technocratic elite and much of its population.”

    The BBC cannot solve the problem on its own, he says, but can help kick start the process.

    “I don’t think there is anything more important that I can do in my time as editor-in-chief of this organisation.”

  • BBC takes issue with criticism from Afghan govt

    MUMBAI: UK pubcaster the BBC has strongly taken issue with criticism from the Afghan Ministry of Defence of its news coverage in Afghanistan.

    In a statement issued on 9 January 2008, the ministry had claimed that the coverage of the assault on Musa Qala in Helmand province was untrue and showed evidence of prejudiced reporting.

    The ministry criticised a report that said civilians had been killed in the assault in the town, and two other reports in which the BBC was alleged to have said that members of the Afghan National Army had been looting in the town.

    A BBC report did quote local people in Musa Qala, interviewed in the aftermath of the military operation to expel the Taleban, who said they had seen civilian casualties.

    The BBC report stated, “This is denied by the government and the Ministry of Defence, and [the civilian casualties] were impossible to verify in the time we had on the ground.”

    The pubcaster says that no report alleging looting appeared on the BBC output. The BBC notes that the ministry in Kabul has been unable to produce any evidence to support its allegations.

  • BBC to cap premium rate for programe phone-ins

    MUMBAI: UK pubcaster the BBC will introduce a new policy this week to bring greater clarity to audiences in the way programmes which use premium rate phone calls are priced.

    From this week, calls to BBC programmes using premium rate telephony are to be capped at 15 pence. The only exception to this will be in programmes directly related to a charity appeal, such as Comic Relief, Children in Need or Restoration.

    In these cases, as now, the audience will be given a clear indication that this is happening. The new policy of having just two premium call categories – one capped at 15p for all BBC programmes and the other for any charity appeals – will make it even clearer to audiences what to expect when they interact with BBC programmes in competitions or votes.

    At the moment a number of BBC programmes not directly related to a charitable appeal, such as Strictly Come Dancing, take the opportunity to raise a small additional sum for the charities by increasing the call price, usually by 10 pence. This will no longer happen under the new policy.

    BBC DG Mark Thompson said, “BBC programmes do not make money from premium rate calls and we’ve always told viewers and listeners the costs of calling to enter competitions or to vote. But I want this to be even clearer.

    “In future, audiences can be clear that these calls will be capped at 15 pence unless they are directly related to a charity appeal. I do understand that this will mean that slightly less money will go to the charities as a result of the new policy, but we’re already talking to them about other ways of supporting their work.”

    The new policy is part of a range of measures the Corporation, with the approval of the BBC Trust, is to take prior to the return of competitions on the BBC.

    A new Code of Conduct (bbc.co.uk/competitionspolicy) was announced last month.

    The code is the BBC’s undertaking to its audiences on the running of competitions and voting, and will be widely publicised to the general public.

    45 per cent (7,200) of applicable BBC staff have already attended the mandatory training course Safeguarding Trust which was launched in November following concerns over competitions and editorial breaches.

    A limited number of competitions will return to the BBC in a phased manner from January 2008, beginning with Goal Of The Month on Match Of The Day on BBC One and Pop Master on the Ken Bruce show on BBC Radio 2.

    A range of measures have been put in place prior to the return of competitions.

    These include:

    All staff involved in the running of a competition must have attended the BBC’s Safeguarding Trust training and the additional training this programme offers in running competitions and voting

    A reduction in the number of competitions to be held on BBC programmes

    Any proposed competition must have very senior level prior approval

    The competition must be supervised by an appropriate editorial figure, and this arrangement must be approved in advance

    A senior executive in each BBC Division will advise on any potential issues that may arise from competitions and how approval processes are being bedded down in their division

    All use of premium rate phone lines must have the prior approval of the BBC’s Editorial Policy Department

    BBC programmes are to make audiences aware of the new Code of Conduct on air.

    Thompson adds, “The public pay for the BBC, indeed they own the BBC, and quite rightly they have higher expectations of us than of any other broadcaster. Trust in our integrity, our determination to deal fairly and honestly with our audiences, is the most precious thing the BBC possesses.

    “The BBC has followed a policy of confronting problems, disclosing everything and giving the public a clear explanation of what we are doing to get things right. Early indications are that our audiences approve of what we’ve done. After an understandable dip, our ratings for trust are recovering.”

  • BBC invites pitches for youth shows in UK

    MUMBAI: Finding original drama for a younger audience remains an ambition for UK pubcaster the BBC. It has invited a range of in-house and independent production companies to pitch two series for young audiences to be broadcast on BBC Three and BBC Switch in the UK.

    The shows will air in 2009 and have a fully integrated multimedia campaign to run alongside the series.

    BBC Three controller Danny Cohen says, “Building loyalty with young viewers is crucial to BBC Three. Developing a slate of returnable, authentic and youthful drama can play a vital role in this.”

    BBC Switch controller Andy Parfit says, “BBC Switch is a distinctive offer for UK teenagers across BBC Radio, TV and on the web. Producing originated British drama for this audience is key for us and I welcome the opportunity to work with Danny on this important collaboration.”

    The series will follow in the footsteps of other recently-commissioned dramas which will include Spooks Liberty, P.A.s and Things I Haven’t Told You.

  • BBC’s Upstaged invites public to make a show of themselves

    MUMBAI: UK pubcaster BBC appeals to all UK residents to participate in its new show Upstaged. The show is open to anyone across the UK who thinks they are interesting enough to keep the nation entertained for eight hours.

    What contestants do is completely up to them – the more unusual, wilder and wackier, the better, says a release.

    As long as the online community vote to include them in the show, they can do whatever they want. By visiting bbc.co.uk/upstaged, potential contestants can find out more about this unique new show and get details about how they can apply to take part.

    Even if they just have an idea that they think might be interesting, they can drop the Upstaged team a line via the website to let them know about it.

    The eight-week programme will see the first five weeks exclusively shown on the BBC Three website, with the final three weeks being accompanied by coverage on BBC Three.

    The entertainment takes place in two huge 15 x 25 ft glass boxes, both in full public view in the Millennium Square in Bristol, which will double up as stages, performance spaces, exhibition spaces or platforms.

    So from artists to musicians, from sculptors to those needing a venue or soapbox, Upstaged is the place to be. In a twist from other shows, who goes in and who goes out – and ultimately who wins – is entirely in the hands of the online community.

    This method of programme-making involving both TV and an online community empowers the public to effectively make their own show by deciding what they watch and when they watch it. Upstaged is produced by Initial West, part of Endemol UK.

  • BBC Trust sets strategic priorities for UK pubcaster

    MUMBAI: The BBC Trust has published final remits to guide the BBC in meeting each of the six public purposes laid down in the Charter.

    In a letter from the BBC Trust Chairman to BBC DG Mark Thompson, Sir Michael Lyons said, “As we discussed on several occasions… the BBC faces a complex set of demands. It is therefore important for the Trust to set clear priorities and realistic expectations informed by our research.”

    The six public purposes, which the BBC is required to promote through all its output, are:

    – Sustaining citizenship and civil society 
    – Promoting education and learning 
    – Stimulating creativity and cultural excellence 
    – Representing the UK, its nations, regions and communities 
    – Bringing the UK to the world and the world to the UK 
    – Emerging communications 

    Earlier this year, after consulting widely on draft priorities in each of these areas, the Trust highlighted “innovation and distinctiveness” as the single biggest issue for all audiences and published research showing there was demand for more new programmes and fresh ideas from BBC television. This remains the Trust’s top priority and, to ensure a proper understanding of what people want in response, they commissioned some in-depth analysis, a summary of which is also published today.

    Lyons said, “What we have learned is that audiences do not want a radical change of direction from the BBC: there is support for programming in every genre, and they value the familiar BBC classics that no one else offers. It seems that, although there is more choice of channels across UK television as a whole, people nonetheless perceive there to be less choice of programmes and they are keen to see the BBC give greater prominence to the range of its high quality work. That said, this is not just about perception. People do expect the BBC to avoid well-trodden paths, and they are clear that their expectations of the BBC are different from other broadcasters.”

    Among several priorities singled out by different audience groups as important and not necessarily in need of improved BBC performance, the Trust also highlighted news and current affairs, formal education for children, and serving audiences in the devolved nations and those in areas further away from the South-East, as top priorities for the BBC.

  • BBC appoints Val Gooding as non-executive director

    MUMBAI: UK pubcaster BBC has appointed Val Gooding as an additional non-executive director to the executive board. Gooding joins the board on 1 January 2008.

    The appointment has been made by the BBC Executive Board with the approval of the BBC Trust. BBC DG Mark Thompson says, “I am delighted that someone of Val Gooding’s calibre has agreed to join us as a non-executive director. Her impressive track record both in general management in large organisations and in bringing customer focus to decision-making will complement the contribution made by the other non-executive directors.”

    Gooding said, “I am looking forward to making a contribution to BBC at this time of significant change and opportunity.”

    Gooding has been chief executive of UK health insurer Bura since 1998 and is also a non-executive board member of Standard Chartered and J Sainsbury.

  • Kenya’s Yunasi is BBC’s Next Big Thing

    MUMBAI: Yunasi, a nine-piece band from Kenya, has topped a list of thousands of musicans from around the world to win BBC World Service’s The Next Big Thing 2007.

    The global music talent search received entries from over 88 countries and Yunasi was chosen as the winner by an all-star jury after playing live at the BBC’s famous Maida Vale studios in London.

    Yunasi, one of Africa’s leading Afro-fusion bands, won with ‘Ndi Ndi Ndi,’ which wowed both the judges and audience at the final.

    The Nairobi-based band flew to London for the final to play at BBC World Service’s 75th Anniversary Concert on Saturday (15 December) with some of the biggest names in music at London’s indigO2.

    ‘Ndi Ndi Ndi’ is about the dangers of drinking too much. It aims to appeal to both the young and old and is a manifestation of Kenyan Sesube music – a mixture of Sega, Isukuti and Benga styles.

    Yunasi’s vocalist said, “Winning the BBC’s Next Big Thing 2007 is a dream come true for us. After ten years of hard work, this will help us attain international recognition; we are on top of the world.”

    Music industry experts including Talvin Singh (singer/super producer Madonna and Jay-Z), Tahita Bulmer (New Young Pony Club), Nile Rodgers (Chic/producer David Bowie, Diana Ross, Halo 2) and William Orbit (producer Robbie Williams and Sugababes) were on the jury which judged the final.

    Orbit says, “I was blown away by the standard of all the artists. If I paid money to go and see any of them, I know I wouldn’t be disappointed. We were all exhilarated by the experience and impressed by the general unjadedness of the occasion, both in front of the cameras and behind them. Some shows are about humiliation but this was about real talent. There was also a spirit of unity between the bands that I felt was important.”

    The standard was so high that the runners-up place was split between Vrelo (Serbia) and Jeremie Johnson (United Arab Emirates).

    The other finalists included Hraun from Iceland and Maya McCallum Et La Toy Factory from France.

    The final five had been selected by a panel of music journalists and experts from a group of 20 acts, who were chosen from the entries submitted via the BBC’s website and a worldwide roadshows.

    The programme’s executive producer Simon Pitts said, “I’m just amazed at the number of entries and the standard – it gets higher every year. The music is so exciting and we just want to get these sounds heard by as many people as possible.”

    The Next Big Thing is part of a season of programmes from BBC World Service, Free To Speak, themed around freedom of media and information, to celebrate BBC World Service’s 75th Anniversary.

  • BBC gets into festive mood with ‘Shrek The Halls’

    MUMBAI: The loveable green ogre, and star of one of the most successful film franchises of all time, Shrek now comes to the TV screen in his first Christmas special for UK pubcaster The BBC’s channel BBC One.

    BBC One will air Shrek The Halls on Christmas Eve. Just when Shrek thought he could finally sit back, relax and enjoy with his new family, the most joyous of all holidays arrives.

    It’s Christmas Eve, and everyone is filled with holiday cheer, except for Shrek. He isn’t exactly the picture of yuletide joy, but for the sake of Fiona and the kids; he tries to get into the spirit of things as only an ogre can.

    Unfortunately, everyone seems to have their own ideas about what Christmas is all about, so when Donkey, Puss In Boots, the Gingerbread Man and the whole gang try to join in on the fun, Shrek’s plans for a cosy family celebration end up spiralling into one truly unforgettable Christmas.

    Directed by Gary Trousdale, Shrek The Halls stars the voice talents of Mike Myers, Eddie Murphy, Cameron Diaz and Antonio Banderas, all returning to the characters they created and continue to bring to life in the trilogy of Shrek films.

    With a screenplay by Gary Trousdale, Sean Bishop, Theresa Cullen and Bill Riling, Shrek The Halls is produced by Gina Shay and Teresa Cheng, with Aron Warner executive producing.

    For director Gary Trousdale, it was an honour to be entrusted with “the crown jewels of the company. When people find out you’re at DreamWorks, that’s the first thing they ask you – ‘So, did you do Shrek?’ And now, to have the opportunity to add to the Shrek legacy … that’s really quite a thrill. It’s something else.”

    Shrek’s evolution from motion picture to television screen is natural and seamless, according to producers Gina Shay and Teresa Cheng. Cheng, a longtime ‘DreamWorker’ said, “With Shrek The Halls, we approached it as a 22-minute film. All of the artistic quality that has made the three Shrek films so popular is present in this holiday special.”

    Shay, a veteran of traditional and digital animation, with years of experience producing for Nickelodeon Movies and Paramount says, “The only difference, for us, is the size of the frame. We have a lot of the same animators and artists who worked on the three films working on this … and how could you even think about doing a continuing chapter in the story of Shrek without Mike, Eddie, Cameron and Antonio?

    “All of the hallmarks of the feature films – the irreverent humour, signature characters, strong story, heart, great animation and production value – are all here. We wanted to create a story that goes beyond the expected Christmas situations and themes. Our hope is that it speaks to anyone who has ever held or witnessed a crazy family gathering.”

    Much like the films, the centre of the story is a traditional one … only Shrek-ed up. Trousdale remembers, “When we were developing the story, we were sitting around trying to figure out what would make this holiday special … special. And the suggestion came up for us to tell Twas The Night Before Christmas – only in an ogre way. That was the kernel of our idea, which eventually grew.

    “It’s about Shrek trying to have his own, special family Christmas, and because ogres aren’t usually big on celebrating, he tries to copy it from a textbook. Then, along the way, Donkey, Puss In Boots and the Gingerbread Man each tell their own versions of the story. They butt their way in, sort of saying, ‘no, no, no, you’re doing it all wrong – this is how you do Christmas’. Of course, each family does it differently, and each way is just as valid.”

    Within Shrek The Halls, the man behind the ogre, Mike Myers, also found the themes of family particularly resonant: “The special is really about family, on many levels. I mean, I love my own family, and I love the values and the relationships present in the Shrek films. It’s ultimately about love: loving yourself, loving your family. It may sound a little trite, but families come in all shapes and sizes – sometimes your friends are your family, and your family are your friends.”

    Eddie Murphy brings his trademark sparkle and sass to Donkey, who serves as both Shrek’s friend and advisor and sometimes biggest detractor. “Their friendship isn’t always smooth sailing,” notes Murphy. “But it isn’t ever really intentional. Donkey only wants to help. He’s an enthusiastic, eager guy, and he loves Christmas – for him, it’s the best thing ever.

    “And that means it’s gotta be big, maybe even overdone. He wants Shrek to groove on Christmas just like he does, and he wants him to get it right … all for Shrek’s sake, of course. He’s gonna save the day and make it a holiday to remember for his best friend and his new family. Course, he comes on a little strong, like a freight train, and ends up running straight through the holiday. But it’s a train powered by love, you know?”

    For Cameron Diaz, remembering the Christmas specials she grew up loving added to her joy in working on Shrek The Halls. She says, “I remember watching A Charlie Brown Christmas and Rudolph The Red-Nosed Reindeer every year when they came on. They were characters that you really loved … just like Shrek has become. I’m not sure if kids in countries outside of the US loved Charlie Brown or Rudolph like we did, but Shrek is known and loved around the world.

    “And I think it’s wonderful to take that character and Princess Fiona and Donkey and Puss In Boots and everybody and put them in a holiday story. I think there are a lot of people who find themselves in the families we create as adults, who now have to forge their own traditions, and that’s what Shrek is doing. He has to accept who he is and be accepted for who he is – and a Christmas special is a perfect way to tell that story.”

    In Shrek’s panic to come up with the perfect family celebration for him, Fiona and the babies, he is lucky enough to purchase the last available copy of Christmas For Village Idiots In Duloc.

    When Donkey sees the swamp house decked out in garlands of swampland creatures and other “individual” touches, his somewhat commercialised sensibilities are shocked, and in his (and his friends’) efforts to “help” Shrek, they end up sabotaging all of the first-time father’s efforts.

    “It literally becomes a madhouse Christmas … and it’s about Shrek learning that however disastrous anything turns out to be, it’s really about just being together – the good, the bad and the ugly – and him coming to terms with that,” concludes Trousdale.