Humans/Channel 4 Fact file

Ideological Perspectives
Funding
Associated Channels
Scheduling
Notable Releases
Ownership

 Ideological Perspectives
Channel 4 was set up with a unique model as a ‘publisher-broadcaster’, meaning that we do not have any in-house production, but instead commission content from production companies throughout the UK.
We are a self-sufficient business that reinvests all profits back into programmes, at zero cost to the taxpayer. A ‘Robin Hood’ model of cross-funding means programmes that make money pay for others that are key to delivering our remit but that are loss-making e.g. News and Current Affairs.

Our twin goals as a content provider and business are to fulfil our remit and to be commercially self-sufficient.

"The public service remit for Channel 4 is the provision of a broad range of high quality and diverse programming which, in particular:
  • demonstrates innovation, experiment and creativity in the form and content of programmes;
  • appeals to the tastes and interests of a culturally diverse society;
  • makes a significant contribution to meeting the need for the licensed public service channels to include programmes of an educational nature and other programmes of educative value; and
  • exhibits a distinctive character."[11][27]

 Funding
During the station's formative years, funding came from the ITV companies in return for their right to sell advertisements in their region on the fourth channel.
Nowadays it pays for itself in much the same way as most privately run commercial stations, i.e. through the sale of on-air advertising, programme sponsorship, and the sale of any programme content and merchandising rights it owns, such as overseas sales and video sales. For example, as of 2012 its total revenues were £925 million with 91% derived from sale of advertising.[36] It also has the ability to subsidise the main network through any profits made on the corporation's other endeavours, which have in the past included subscription fees from stations such as E4 and Film4 (now no longer subscription services) and its "video-on-demand" sales. In practice, however, these other activities are loss-making, and are subsidised by the main network. According to Channel 4's last published accounts, for 2005, the extent of this cross-subsidy was some £30 million.[37]
The change in funding came about under the Broadcasting Act 1990 when the new corporation was afforded the ability to fund itself. Originally this arrangement left a "safety net" guaranteed minimum income should the revenue fall too low, funded by large insurance payments made to the ITV companies. Such a subsidy was never required, however, and these premiums were phased out by the government in 1998. After the link with ITV was cut, the cross-promotion which had existed between ITV and Channel 4 also ended.
In 2007, owing to severe funding difficulties, the channel sought government help and was granted a payment of £14 million over a six-year period. The money was to have come from the television licence fee, and would have been the first time that money from the licence fee had been given to any broadcaster other than the BBC.[38] However, the plan was scrapped by the Secretary of State for Culture, Media and Sport, Andy Burnham, ahead of "broader decisions about the future framework of public service broadcasting".[39] The broadcasting regulator Ofcom released its review in January 2009 in which it suggested that Channel 4 would preferably be funded by "partnerships, joint ventures or mergers".[40]

Associated Channels
Scheduling


 Notable Releases












Ownership


Comments

Post a Comment

Popular posts from this blog

Part One Music Videos: Riptide- Montage editing, hard jump cuts, contrasting shots with juxtopositioning Mise-en-scene Horror iconography, lighting - references horror genre - subversive Binary oppositions - Levi Strauss.
Read more

How does the front cover of the set edition of Woman reflect the socio-historical context in which it was made?

Image
How does the front cover of the set edition of Woman reflect the socio-historical context in which it was made? On the one hand I would say that the front cover of Woman magazine reflects the socio-historical context in which it was made because of the fact that the main image of the woman that is used on the front cover is a woman that would appeal to the target audience at the time the magazine was published. This is because most women at the time this magazine was issued would, stereotypically, have been housewives and very domesticated. They would have often taken care of activities such as: washing, cleaning, cooking and they were also seen as very maternal and, therefore, loving and caring for their children. The main image of Woman magazine appeals to this demographic because of the fact that she represents the ideal woman at this time. This is because of the fact that she is wearing practical clothes so that she can clean and cook easily and she is also wearing make
Read more
Image
The contents page of the "Womans" magazine creates many assumptions about the target audience for the magazine. This is because  Betty Friedan (American feminist) said that advertisements portrayed women in a particular way: "Women are shown solely as: men's wife, mother, love object, dishwasher, cleaner and never as a person". How does the magazine's contents page reflect: Codes and conventions of the sub-genre of magazine? Social and cultural context of the magazine? The target audience? The contents page of the "Woman's" magazine creates many assumptions about the target audience for the magazine. This is because the contents page displays all of the articles that will be featured throughout the magazine. Most of the headings are very stereotypical of women at this time because they are things such as: beauty, cookery, fashion, home and knitting. This means that the magazine assumes that women would naturally enjoy and w
Read more