The Media in Wales: Voices of a Small Nation

Barlow, D.; O'Malley, T.; and Mitchell, P. (2005). The Media in Wales: Voices of a Small Nation. Cardiff: University of Wales Press. RAE2008

Mammon's Television?: ITV in Wales 1959-63

Medhurst, J. (2005). Mammon's Television?: ITV in Wales 1959-63. In C. Johnson and R. Turnock (Eds.), ITV Cultures: Independent Television over 50 Years (pp.88-107). Maidenhead: Open University Press. RAE2008

Media Literacy in Wales: a Critical Review of Industry and Education Policies

Griffiths, L.; and O'Malley, T. (2007). Media Literacy in Wales: a Critical Review of Industry and Education Policies. Cyfrwng. 4, pp.7-23. RAE2008

The Territory of Television: S4C and the Representation of the 'Whole of Wales'

Jones, E. (2007). The Territory of Television: S4C and the Representation of the 'Whole of Wales.' In M. Cormack and N. Hourigan (Eds.), Minority Language Media: Concepts, Critiques and Case Studies (pp.188-211). No. 138. Bristol: Multilingual Matters. RAE2008

An information system to exploit the use of metadata within film and television production

The television and film industries are used to working on large projects. These projects use media and documents of various types, ranging from actual film and videotape to items such as PERT charts for project planning. Some items, such as scripts, evolve over a period and go through many versions. It is often necessary to attach information to these “objects” in order to manage, track, and retrieve them. On large productions there may be hundreds of personnel who need access to this material and who in their turn generate new items which form some part of the final production. The requirements for this industry in terms of an information system may be generalized and a distributed software architecture built, primarily using the internet, to serve the needs of these projects. This architecture must enable potentially very large collections of objects to be managed in a secure environment with distributed responsibilities held by many working on the production. Copyright © 2005 by the Society of Motion Picture and Television Engineers, Inc.

A small screen alternative to stone and bronze: The Great War series and British television

This article examines the first major British television series about the First World War, The Great War (BBC, 1964), in terms of its cultural, historical and aesthetic significance. As a central component of the BBC`s 50th anniversary commemorative programme to mark the outbreak of war, the series was a major media event -a small-screen memorial cast in sounds and images instead of stone and bronze. This article looks at how the British television audience responded to this form of on-screen commemoration. Material for this article was derived from the series' extensive production records housed in the BBC Written Archives Centre at Caversham, Berkshire. This was supplemented by, among other sources, material from interviews and correspondence with several surviving members of the production team. This allows a broader understanding of the motivations of those involved in the production of a groundbreaking historical series, while acknowledging the wide-ranging nature of its audience. [From the Publisher]

Sign language in Spanish television. Study on reception

The present article analyses the preferences of the deaf who use sign language and are users of the TV interpretation service to sign language, as well as the characteristics with which TV channels provide that service in television in Spain. The objective is to establish whether the way in which the aforementioned accessibility service is provided matches the preferences of users or differ from them. The analysis presents the opinion on this service of the deaf that use the Spanish sign language as their first language for communication. A study has also been conducted on the programmes broadcast with sign language during week 10-16/03/2014. The main data collected reveal that the deaf are dissatisfied with broadcasting times. They ask for news programmes with sign language, they would rather have the interpretation carried out by deaf people who use sign language and they prefer that the interpreter is the main image on screen. Concerning the analysis of the programmes broadcast, the study shows that the majority of programmes with sign language are broadcast at night, they are entertainment programmes, the interpretation is carried out by hearing people who use sign language and that their image is displayed in a corner of the screen.

Addressing diversity and inclusion in the early years in conflict-affected societies: A case study of the Media Initiative for Children – Northern Ireland

This article reports on the development and systematic evaluation of an innovative early years programme aimed at encouraging young children to respect differences within a deeply-divided society that is emerging out of a prolonged period of violent conflict. The programme, the Media Initiative for Children – Northern Ireland, has been the product of a partnership between an US-based organisation (the Peace Initiatives Institute) and NIPPA – The Early Years Organisation and has been supported by academic research and the efforts of a range of voluntary and statutory organisations. It has attempted to encourage young children to value diversity and be more inclusive of those who are different to themselves through the use of short cartoons designed for and broadcast on television as well as specially-prepared curricular materials for use in pre-school settings. To date the programme has been delivered through 200 settings to approximately 3,500 pre-school children across Northern Ireland. This article describes how the programme was developed and implemented as well as the rigorous approach taken to evaluating its effects on young children’s attitudes and awareness. Key lessons from this are identified and discussed in relation to future work in this area.

Parent Issues: How Life on Mars Negotiates a Television Generation Gap

In defining what he termed 'Television's Second Golden Age', Robert J.Thompson refers to characteristics such as being 'not regular TV', internal continuity, mixed genres but an aspiration towards 'realism', complex writing, self-consciousness and intertextuality. Such characteristics are displayed by the BBC series Life on Mars (2006-2007) which intermingles the Seventies tough cop show with psychological fantasy. This chapter examines the way that the series can be understood as a dramatisation of the negotiation that the creators undertook with their Seventies source material to update it for the values and qualities of contemporary television drama. It will emphasise the importance of television in the generation of the imagined 1973 and its characters, but also as an ongoing connection between the real and the imagined within the programme, including forming a breach of the boundaries between the two. Sam's actions within his Seventies world to remake it to include his own ideas of justice and due process while retaining the passion and freedom of action that the milieu provides will also be be examined in relation to the series' creators' needs to remake the Seventies tough-cop show in the light of modern social and media mores. The paper will also consider how Sam has to come to terms with his father's crimes, as the series' creators had to come to terms with the 'crimes' of taste, morality and approach of their 'parent' programmes from the Seventies' Golden Age.

Understanding Online Audio-Visual Content: A European Initiative, Media Literacy and the User

Recent debates about media literacy and the internet have begun to acknowledge the importance of active user-engagement and interaction. It is not enough simply to access material online, but also to comment upon it and re-use. Yet how do these new user expectations fit within digital initiatives which increase access to audio-visual-content but which prioritise access and preservation of archives and online research rather than active user-engagement? This article will address these issues of media literacy in relation to audio-visual content. It will consider how these issues are currently being addressed, focusing particularly on the high-profile European initiative EUscreen. EUscreen brings together 20 European television archives into a single searchable database of over 40,000 digital items. Yet creative re-use restrictions and copyright issues prevent users from re-working the material they find on the site. Instead of re-use, EUscreen instead offers access and detailed contextualisation of its collection of material. But if the emphasis for resources within an online environment rests no longer upon access but on user-engagement, what does EUscreen and similar sites offer to different users?

Personalising Crime and Crime-fighting in Factual Television:an Analysis of Social Actors and Transitivity in Language and Images

This article addresses the lack of work on media and crime in Critical Discourse Analysis (CDA), using an example of a factual television crime report. The existing research in media studies and criminology points to the way that the media misrepresents crime by distorting public understandings and backgrounding structural issues, such as poverty, which are related to crime thereby legitimising a criminal justice system that serves the interests of the powerful in society. Using social actor and transitivity analysis, this article shows how multimodal CDA can make an important contribution as it reveals the more subtle linguistic strategies and visual representations by which this process is accomplished, showing how each plays a part in the recontextualisation of social practice. This programme backgrounds which crimes are committed but foregrounds mental states and the neutrality of policing.

Gerações de ecrã em meio rural : estudo dos novos media no quotidiano rural português de três gerações

Desde finais da década de 50, com o aparecimento e progressiva disseminação da televisão pelas casas portuguesas (atualmente, numa parte significativa delas, existe em mais do que um compartimento); passando pelo computador, na década de 70; e, finalmente, a forma como, na década de 90, se iniciou o processo de distribuição do telemóvel, há toda uma história associada sobre a qual é importante refletir. No meio rural português, qual foi o caminho traçado pelos seus residentes até à “domesticação” (Berker, Hartmann, Punie, & Ward, 2005; Silverstone, Hirsch, & Morley, 1992) de cada um dos media – televisão, computador e telemóvel? Da utilização quase exclusiva em espaços públicos até à sua integração no espaço doméstico e nas dinâmicas familiares e sociais, houve um percurso percorrido quer pelos media, que vão sofrendo alterações constantes, quer pelos indivíduos que se vão adaptando a essas alterações, mas também exigindo que os primeiros se vão moldando às suas necessidades e exigências, fazendo, por isso, que nunca percam o epíteto de “novo”. A existência dos meios digitais tem ainda outras particularidades associadas: a sua presença diária e transversal em todos os contextos nos quais os indivíduos estão habitualmente inseridos – familiar, laboral/escolar e de lazer -, a ocorrência em todas as gerações familiares e, consequentemente, de um modo generalizado, em todas as idades. Os avós, os pais (e, ao mesmo tempo, filhos) e os filhos (e, ao mesmo tempo, netos) fazem uma utilização mais ou menos frequente, mas que não é inexistente, originando, por isso, a designação de gerações de ecrã. Interessa, pois, fazer o estudo dos usos e apropriações dos novos media pelas diferentes gerações, para uma análise intergeracional, mas, mais ainda, compreender as implicações que esses usos têm no meio rural, por ser fortemente considerado como uma zona em desvantagem quanto à proliferação dos media e das tecnologias de informação e comunicação, quando comparada com a urbana. Apresenta-se uma análise e reflexão sobre o modo como os novos media penetraram no quotidiano de três gerações familiares (avós, pais e filhos) e na forma como estas, residentes no meio rural português, transformaram a apropriação dos media num ato contínuo. Esta análise e reflexão fundamentam-se no levantamento bibliográfico sobre a problemática e os dados empíricos obtidos através da aplicação de uma metodologia triangular: focus groups, diários e inquéritos por questionário.

Changes to media consumption affecting production methods

Semi-converged media brands who have content on television and online need converged production teams and practices. The case study of BBC Children's 'Level Up' provides evidence and a useful illustration.

Children's television: the soft underbelly of public service broadcasting

The provision of children's content should be a key constituent of the public service brand, but has often been viewed as a programme category at risk. Certainly in many countries children's television has moved from the 'scarcity' associated with terrestrial provision, to the 'plenty' of digital (see Ellis 2000). However in spite of a range of dedicated public service children's channels in Europe (CBeebies, Kika, Z@ppelin), domestically produced children's television in Europe is notoriously under-resourced if not marginalised. There is a pronounced reliance on imports (particularly on commercial television) notwithstanding the launch by US-owned multinationals (Disney, Nickelodeon, Cartoon Network) of localised versions of their children's television channels in many European countries. Within the broader context of global developments in children's media, this paper starts by outlining the recent and rapid crisis in British children's television and the factors that caused it. This was a crisis, which caught broadcasters and producers by surprise in the middle of 2006, but reflects many of the challenges faced by the children's television sector in other countries. It clearly demonstrated how a combination of the lack of regulatory protection, a change in commercial priorities among broadcasters, advertising restrictions, budgetary pressures and the competitive environment at home and abroad all combined to reinforce the trend towards a contraction of domestic production. The crisis also served to underline the dominance of the BBC - both as a representative of public service principles, and as the dominant producer and commissioner in the market. With the reasons underpinning the crisis explained, the paper will then analyse how the children's television community responded to the crisis and with what effect. Based on interviews, contemporary accounts and documentary evidence the paper will chart the converging and diverging views of broadcasters, producers, regulatory authority Ofcom, and a range of advocacy groups which represent children's interests and the industry. What arguments were elaborated in favour of protecting children's television as an integral part of the public service media brand? Can lessons be learned about how best to ensure the origination of children's media within a public service environment? Can developments in the UK be used to provide insight into how children's media might develop further?

The BBC's role in the changing production ecology of pre-school television in Britain

This paper examines the changing production ecology of British pre-school television in light of developments since the mid-1990s and the specific role played by the BBC. Underpinning the research is the perception that pre-school television is characterised by a complex set of industry relationships and dependencies that demands content which needs to satisfy a wide range of international circumstances and commercial prerogatives. For the BBC this has created tension between its public service goals and commercial priorities. Pre-school programming began in Britain in 1950, but it was not until the mid-1990s that Britain emerged as a leading producer of pre-school programming worldwide with government/industry reports regularly identifying the children’s production sector as an important contributor to exports. The rise of pre-school niche channels (CBeebies, Nick Junior, Playhouse Disney), audience fragmentation and the internationalisation and commercialisation of markets have radically altered the funding base of children’s television and the relationships that the BBC enjoys with key players. The international success of much of its pre-school programming is based on the relationships it enjoys with independent producers who generate significant revenues from programme-related consumer products. This paper focuses on the complex and changing relationships between the BBC, independent producers, and financiers, that constitute the production ecology of pre-school television and shape its output. Within the broader setting of cultural production and global trends the paper investigates the following questions: 1) In the light of changes to the sector since the mid-1990s, what makes pre-school television significant both generally and as an ideal public service project? 2) What is the nature of the current funding crisis in British children’s television and what implications does this crisis have for the BBC’s involvement in pre-school television? 3) How is the Corporation reacting to and managing the wider commercial, cultural, regulatory and technological forces that are likely to affect its strategies for the commissioning, production and acquisition of pre-school content?