A
THIRD TIER OF TELEVISION:
The Growth of 'Restricted Service Licence' TV in the UK - Trends and Prospects
Simon
Blanchard
May 2001
CONTENTS
Section
Number
1.1.
- 1.10. A New TV Sector 1.1. This
short report takes a look at the emerging sector of 'Restricted Service Licence
(RSL)' broadcast television stations in the United Kingdom. Since 1997 - using
new provisions in the 1996 Broadcasting Act - the Independent Television Commission
(ITC) has begun to issue licences for this new sector of smaller-scale and more
local TV stations. (A Short Chronology of this new sector is included as an
Appendix below). 1.2. By
late last year - when the ITC held a National Workshop on TV RSLs in Sheffield
- 8 stations were already on air, 8 more had been licenced, and a further 20
were ready to receive approval - making a prospective total of some 36 stations
on air by the Autumn of 2001 (1). Currently (as of mid May 2001) there are 9
stations broadcasting: Name 1.3. The
first objective of this Report is therefore to provide a short briefing on the
arrival of this new sector, and comment on its progress to date. To anchor this,
the report includes 'snap-shot' profiles of 3 of the stations: TV12 (Isle of
Wight), MATV (Leicester) and Channel 9 (Derry) (2). 1.4. This
is a very new tier of TV: one seeking to attract new audiences and carve out
a place for itself in a crowded and competitive TV market. The second objective
is therefore to look at the economic and managerial challenges facing these
stations, and examine their future prospects. 1.5. The
third and final objective is to look at the TV RSL 'space' from a wider public
policy standpoint: notably the complex agenda presented by the recent Communications
White Paper (3) and the very fluid regulatory and legislative context which
has followed it. 1.6. In
this context, I will suggest that there is a double opportunity. The first is
to enhance the stability and public service dimension of those existing and
prospective TV RSLs which have chosen to operate on a fully commercial, private
sector basis. As I shall argue below, the evidence suggests that they are delivering
significant additional choice to viewers, and hence deserve a more permanent
place on the TV landscape. 1.7. The
second opportunity is to promote extra diversity and audience choice in this
new TV space by creating a second and complementary 'non-profit' segment within
it. This would mean licencing a further nexus of 'community' TV stations: 'non-profits'
operating on a 'social economy' basis, and backed up by a Community Media Fund.
1.8. Taken
together, these proposals would greatly strengthen this new tier of TV, and
bring fresh energies into the culture of 'Public Service' broadcasting at a
critical time in its history. Acknowledgements
& Disclaimers 1.9. I
am grateful to the many individuals and organisations who helped me with information,
documents and discussion. Special thanks to: Erica Forsberg, Steve Harris, Paul
Meade, Jim Pearce, Hitesh Popat, Vinod Popat, Gary Porter, Ian Smith, Paul Topping.
Thanks also to Steve Buckley, Nicky Edmonds and Sylvia Harvey for comments on
the various drafts. Thanks to Sheffield Hallam University and the European Social
Fund for funding the study. Comments and feedback from readers are very welcome.
I can be reached by email at: essbee@europe.com. 1.10. The
views expressed in this Report are my own. The Report does not necessarily reflect
the views of Sheffield Hallam University, the Arts & Humanities Research
Board, the Community Media Association or the European Social Fund. Competing Models
of Broadcasting 2.1. When
we look back at the history of broadcasting - or indeed of any 'new technology'
- we find that it presents a host of challenges to those involved. In practice,
broadcasting is a highly contested arena - one in which a wide range of actors
(politicians, civil servants, existing media owners, manufacturers, new investors,
civic groups, etc) all struggle to understand, shape and define the possibilities.
2.2. The
conventions and 'common sense' of one era (about who can broadcast, by what
means, from what places, with what costs and benefits) have proved to be far
from fixed. Indeed, the history is one in which the prevailing wisdom is subject
to repeated challenge. 2.3. Until
the 1950s, the dominant framework for broadcasting policy in Whitehall was one
which prioritised an emphatically 'official' and strongly 'nationalised' model
of provision - embodied in the structure and outlooks of the BBC (4). 2.4. In
practice, this metropolitan, London-centric 'imperial monopoly' model of broadcasting
led by John Reith lasted only 3 decades. The arrival of commercial TV in 1955
brought new voices into the 'charmed circle'. 2.5. The
Independent Television network brought with it a new, more regionalised, quasi-federal
model of programming and transmission. At a 'deep structure' level, ITV's emergence
undermined some core assumptions of the inherited BBC model. In particular,
it showed that high quality and popular programmes could be made outside the
BBC, and that the Corporation's organisational architecture was neither 'natural'
nor 'inevitable'. 2.6. Paradoxically,
over the longer term these arguments about new voices would prove as effective
against ITV as they had been in its contest with the BBC's monopoly.
The much delayed arrival of Channel 4 in 1982 was driven through by a new generation
of programme-makers - ones who were keen to create a fourth channel which sat
outside the horizons of the 'cosy duopoly' of the BBC and ITV. 2.7. C4's
'producer-publisher' model was one which again broke with prevailing assumptions
about the production of TV. C4's outlook and structure was more pluralistic,
more open to a diversity of voices. In particular, it challenged the assumption
that 'good' TV could only come from an 'in house' cadre of full-time career
programme-makers - a sort of BBC inspired 'civil service'. C4 showed beyond
doubt that there were many ideas and perspectives 'outside the walls' of the
existing TV fortress (5). Incumbents and
Challengers 2.8. In
this way we can see how the structure of broadcasting is marked by repeated
challenges to the 'old order' by new entrants: new players who bring with them
new conceptions about how to organise production, and about what modes of operation
can be 'viable' (6). 2.9. How
then does the TV RSL sector fit into this history of incumbents and challengers
? This new sector can best be seen as posing challenges on 3 main fronts - geographical,
technological and economic. The geographical
challenge 2.10. As
we noted, broadcasting by tradition has been highly 'nationalised', and this
is reflected in the programme schedules, transmitter patterns and resource allocations.
2.11. Over
time, the level of absolute centralism has been eroded, but only within rather
drastic limits. ITV brought a greater degree of regionalism into the TV landscape
- to which the BBC responded -but there was no TV equivalent to the growth of
local radio from the 1960s (7). 2.12. Whatever
the merits of regional TV output, TV RSLs are based on the argument that there
is a missing 'third level' of TV production - not national or regional, but
emphatically local, providing programmes and building audiences which the existing
incumbents have failed to address (8). The technological
challenge 2.13. At
the heart of the classic BBC/ITV era of duopoly was a sense of TV production
as the prerogative of a relatively closed elite. In part, this outlook was framed
and sustained by the character of the technology. Much TV equipment was expensive,
highly specialised and relatively immobile. Technologies which fell outside
this paradigm -such as 16mm film or U-matic video - were kept at the margins,
labelled 'specialist', 'amateur, 'not up to broadcast standard' etc., and not
allowed to disrupt the prevailing institutional wisdom. 2.14. However,
from the 1970s onwards the increasing availability of relatively low cost TV/video
equipment has worked to erode this barrier to entry. By the late 1990s - after
some 20 years of expansion in the volume of production and the number of outlets
- the major manufacturers had been able to achieve dramatic reductions in price
in tandem with significant gains in performance. Broadcast standard production
values have now become available at much lower cost (9). The economic challenge 2.17. Embedded
in the 'national' model of TV production is a set of interlocking assumptions
about the 'necessary' relationship between programme costs and quality, and
between both these factors and the ability to attract an audience. Put simply,
network TV has been built on a high cost = high quality = mass audience model.
By implication, the obverse was held to be true, i.e. low cost = low quality
= small or no audience. In this model local TV was simply not a credible option.
2.18. The
TV RSLs sector is committed to re-writing these 'rules'. It is attempting to
show that there is space for a third tier of TV:one that delivers a distinctive,
localised schedule - a schedule which audiences will want to watch in sufficient
numbers to make it both economically viable and culturally relevant. 3.1. The
TV RSL story to date falls into 3 broad phases. The first phase can be termed
'pre-history', and covers the period from the early 1970s up until 1997 (see
Chronology for further details). Pre-History 3.2. This
phase has its roots in the growth of community and independent media culture,
early cable TV experiments, the emergence of the 'personal' computer and digital
media, and the dramatic expansion of the non-profit, social and voluntary sector
(10). 3.3. This
diverse constituency has grown rapidly over the last 30 years, alongside a parallel
expansion in the scale and scope of TV broadcasting. The arrival of Channel
4 in 1982 marked a key moment of conjunction between these 2 trends: providing
a new broadcast platform on which these new social and media voices could be
seen and heard. 3.4. The
added legitimacy and visibility which came with this new TV presence helped
underpin wider social changes, and contributed very noticeably to a renewal
and re-invention of the entire structure, routines and outlook of broadcasting
in the 1980s and 1990s (11). 3.5. That
said, despite these gains the organisational structure of broadcasting remained
resolutely centralist with limited regional variants, and overseen by a regulatory
culture which found it difficult to think outside the inherited duopoly model
of the BBC and its private sector counterparts. 3.6. As
a result, both those who were interested in a more truly local TV model, and
those who saw a role for an expanded 'non-profit sector' of media provision
were forced to re-group and re-state their case. 3.7. In
the late 80s and early 90s this produced a fresh wave of lobbying and interest
on 2 fronts: community radio and the proposals for a 5th TV channel. On the
radio front, the Community Radio Association (CRA) managed to secure Government
support for a new category of 'Restricted Service' (28 day) radio licences in
the 1990 Broadcasting Act. In the years that followed, the new Radio Authority
was to licence several thousand Radio RSLs all over the UK (12). 3.8. The
outcome as regards a proposed 5th Channel was to prove less encouraging. In
the early stages of debate, various proposals came forward in support of a local
or City TV model for Channel 5, but - once again - the weight of tradition worked
to favour a national and metropolitan solution (13). 3.9. In
the event, the failure to win the argument for a decentralised Channel 5 had
paradoxical effects. The campaigns in support of a localised C5 helped to keep
the arguments for local TV alive in the first half of the 1990s. By the time
it was clear that the localised C5 case was running aground the Radio RSL regime
had begun to prove its credentials. By the mid 1990s it was apparent that Radio
RSLs were a viable and popular mechanism for delivering a new segment of local
broadcasting. 3.10. The
policy implication was clear. If Radio RSLs were working so effectively then
there was a compelling case to allow an equivalent regime in television. After
a further wave of lobbying and debate the 1996 Broadcasting Act incorporated
a licensing regime for RSL TV - based directly on the provisions and phrasing
used for Radio. For the first time in the history of UK broadcasting there was
to be a new sector of local TV services (14). First Wave &
Changing Contexts 3.11. The
second phase in the emergence of TV RSLs covers the 4 years from the Spring
of 1997 until December 2000. During this time there were 2 processes at work.
The most obvious is the arrival of a first wave of TV RSLs getting on air -
8 stations by the end of 2000. 3.12. These
4 years proved to be a learning process for all concerned - the new stations,
the ITC, advertisers, etc. By this time the Community Radio Association had
become the Community Media Association, and it played a central role in the
formation (in May 1998) of a Local Independent TV Network (LITN) under its auspices.
The CMA and LITN held regular workshops to track progress, and were instrumental
in the ITC's decision (in September 1999) to extend the TV RSL licences from
2 to 4 years. By the time of the ITC Workshop in November 2000 it was
clear that the TV RSL sector was finding its feet, and was on the way to becoming
something more than an interesting but marginal ‘experiment’ (15). 3.13.
The second process at work during this time derives from the reform agenda of
the incoming Labour government. The Blair administration established a new Department
for Culture, Media and Sport, and set in train a wide-ranging review of media
and communications policy - culminating in the plans set out in the Communications
White Paper of December 2000. 3.14. This
context of policy review and renewal has brought added complexity to the TV
RSL agenda. The regulatory framework is being re-drawn, the existing ITV sector
is seeking to consolidate its structure and outputs, and there is a new climate
of sympathy for enhancing the scale and scope for ‘non-profit’ media. 3.15. This
new climate of support for ‘non profit’ media has come through most forcibly
on 2 fronts: debates about access to new media technologies, and the discussions
about ‘access’ (ie community) radio. 3.16. On
the new media front, the Government has shown a readiness to make the connections
between social cohesion, jobs and education, new media technologies (eg the
Internet, and IT more generally), the creative industries and neighbourhood
renewal. Emblematic of this was the publication in March 2000 of the Cabinet
Office sponsored report ‘Closing The Digital Divide’ (16) which explored these
connections in detail, and argued for a socially inclusive model of ‘digital
Britain’. 3.17. In
keeping with this new climate, in June 2000 the Radio Authority (RA) outlined
its views on the future for radio (17). At the centre of their vision was a
proposal that there should be a new tier of non-profit ‘Access’ radio stations,
together with a dedicated Access Radio Fund to support them. 3.18. The
RA’s plans represent a historic advance for the community media agenda. Whilst
there is much detail to be resolved, the plans have been incorporated in the
Communications White Paper, welcomed by the House of Commons Culture Committee,
and reinforced in the follow up consultations (18). 3.19. Welcome
in their own right, the RA’s proposals have inevitably also shed a new light
on the TV RSLs. As the CMA and others have pointed out, if Government and regulators
are seeking to consolidate the policy framework, then ‘joined up’ thinking would
suggest that there should be a non-profit ‘Access’ arena on the TV side (19).
We return to these issues below. For present purposes, what matters is that
this non-profit agenda is now moving centre stage in the debates about the direction
of broadcasting policy, with inevitable impact on the future framework for TV
RSLs. A New Phase, Further
Changes 3.21. The
third phase of the TV RSL story - the current one - started in December 2000.
This month was notable on 2 counts: the publication of the Communications White
Paper, and the public launch of the Local Broadcasting Group (LBG). 3.22. The
White Paper has signalled the Government’s plans to reorganise the regulatory
structure, and its sympathy towards both the local TV agenda and the non-profit
sector. As a result, it is clear that the future framework for TV RSLs is likely
to be significantly different to the one in which they first emerged. 3.23. The
White Paper was launched on December 12th. The previous day saw the public announcement
of the formation of the Local Broadcasting Group (LBG). Backed by 2 media groups,
the LBG announced that - with ITC and DCMS approval - it had spent several million
pounds to acquire a large portfolio of TV RSL 'franchises' (36 at launch, over
40 by February 2001) and was now firmly in place as the largest investor/developer
in this arena (20). 3.24. LBG's
arrival in December 2000 was an important milestone. Like the ITC’s Workshop
the previous month, it was a clear signal that the TV RSL ‘space’ was not going
to remain as an experimental side-show. The first wave of TV RSLs had been driven
forward as predominantly small scale start-up businesses (only the Manchester
station - backed by The Guardian/MEN Group - fell outside this profile). 3.25. LBG's
arrival showed that the sector was now attracting the interest and resources
of more mainstream ‘deep pockets’ investors. As a symbol of business belief
in the mid term prospects for the RSL space, the new group was a welcome vote
of confidence. 3.26. That
said, LBG’s arrival has also brought obvious risks. The core objective for TV
RSLs - like their radio counterparts - has been to introduce added diversity
and pluralism into the broadcasting arena. Consolidating a large portfolio of
TV RSL licences under one roof inevitably raised doubts about the application
of a standardised format of ‘local TV’ that would not be in keeping with the
original intentions for the TV RSL framework. 3.27. LBG
themselves are emphatic that this is not the path they are planning to go down
(21), but - given the wider trends in TV - (intensified competition, reduced
schedule diversity, more ‘copy cat’ programming and format rivalry, etc) the
concern remains understandable (22). 3.28. As
we noted above, these recent developments have served to highlight the way in
which the TV RSL ‘space’ remains ‘under review’ - an arena in which a range
of rather different visions for ‘local TV’ are working to define the possibilities.
3.29. As
part of this context, we can now turn to a consideration of the economics of
the sector to date, and what the experience of existing TV RSLs can tell us
about future possibilities. 4.1. In
trying to reach an assessment of the experience of TV RSLs to date we need to
arrive at meaningful and relevant criteria. In brief, this means being clear
about what the first wave of stations have been trying to do, and the criteria
against which they are working. To put this another way, we need to try and
understand their ‘business model’. How do they hope to be viable, and what does
‘viable’ mean ? A range of investors have chosen to spend significant sums to
build and operate these new TV stations. How is this investment to be recouped
? 4.2. As
we have seen, LBG's multi-million pound investment in the sector indicates a
high level of confidence in the prospects for these licences. The company's
public statements have been marked by a tone of bullish optimism and references
to their plans to raise ''..up to ₤50m..'' to fund the roll-out of their
existing licences and the purchase of additional ones. 4.3. Even
so - as the 'dot com bubble' has shown in forensic detail - speculative investment
in new media ventures is invariably accompanied by up-beat assessments of viability.
Such optimism is suggestive of an investment climate, but cannot realistically
be taken at face value. We need to examine the grounds on which such a positive
assessment might be made, and to look at the experience to date (23). 4.4. Considered
in this light, it is not difficult to identify the broad outlines of the business
model on which the first wave of TV RSLs have been operating, and which LBG
will clearly also adopt. 4.5. Put
simply, TV RSLs are 'free to air' TV licences using local chunks of analogue
broadcast spectrum. Like their ITV counterparts, they aim to put together a
TV programme schedule which attracts audiences on a scale which will be of interest
to advertisers and sponsors. 4.6. In
this regard, the key question for the existing TV RSLs is their viability as
an advertising medium. TV RSLs are not subscription-based, nor are they 'pay
per view'. Their business viability depends entirely on the extent to which,
over time, they can balance programme expenditure with adequate advertising
revenues. 4.7. How
then might we arrive at a view about the prospects for these stations as an
advertising vehicle ? In what follows, we look at 4 types of evidence. The first
is what we can learn from the UK's other advertising supported local broadcasting
sector - namely commercial local radio. Secondly we look at the broader trends
in the so-called 'smaller media' segment of the advertising economy. 4.8. Thirdly,
we look at the experience of 3 TV RSLs already on air - namely TV12 (Isle of
Wight), MATV (Leicester) and Channel 9 (Derry) - and consider what lessons they
may offer. Finally, we take account of the perspective of TMH - a company which
has been working to sell the TV RSLs as a medium to advertisers. The Growth of
Commercial Local Radio 4.9. Started
under the aegis of the Independent Broadcasting Authority (IBA) in the mid 1970s,
and now overseen by the Radio Authority (RA), the commercial local radio sector
has grown dramatically over the last quarter century. According to the RA there
are now 250 stations across the UK, covering 98% of the UK population (24).
4.10.
With almost 40% of the radio audience in 1999 (see Table 1) commercial radio
generates substantial advertiser revenues. According to the Radio Advertising
Bureau, total advertising expenditure on commercial local radio in the year
to February 2001 amounted to £494m (25). 4.11. The
rise of the commercial local radio sector is encouraging for TV RSLs on 3 counts.
Firstly, it shows that it is possible to build a very significant media business
sector out of localised broadcasting. Secondly, it shows that mainstream advertisers
and agencies now accept that such broadcasting has a place as part of their
marketing campaigns. Thirdly, it suggests that the distinctive visual appeal
of TV broadcasting should give the TV RSL stations an opportunity to build a
new advertising market segment. Advertising Trends
in the 'Smaller Media' Segment 4.12. Local
radio's growth has been part of a broader trend showing rapid and above average
growth in what the Advertising Association (AA) terms 'smaller media'. According
to the AA, over the period from 1985-1999 total advertising spend grew by 73%
in real terms. However (as Table 2 shows) spend on the smaller media segment
(outdoor & transport, cinema and radio) grew by almost 180%. Spend on radio
as a whole (including national stations such as Classic FM) more than trebled,
the spend on cinema almost quadrupled, and the spend on outdoor and transport
media more than doubled. 4.13.
Again, these broader trends lend support to the prospects for advertising on
TV RSLs. National network TV has an obvious appeal for major brands and sponsors,
but not everyone needs or can afford the costs of this type of 'mass market'
promotion. Hence the expansion of the 'smaller media' segment. The growth of
these lower cost options is also clearly related to broader business trends
since the 1970s - notably the growth of the small business sector, greater brand
awareness, the liberalization of advertising by the professions, expansion of
the services sector and so forth. All these trends have helped to accelerate
the growth of commerce, and hence the demand for new channels for product and
service promotion (26). RSLs On Air: TV12,
MATV, Channel 9 4.14. Short
profiles of these 3 stations are included as Appendices below. Readers are also
referred to each station’s website (listed in their profiles) which provides
additional detail on their schedules, staffing and programmes. 4.15. All
3 stations have now been on air long enough to have moved beyond their launch
phases into a more stable and regular pattern of operation - thus allowing a
degree of meaningful comparison. 4.16.
As might be expected, the 3 stations are not just very different in their geographic
and social context - they also diverge notably in such matters as staffing levels,
schedule ‘mix’ and volume of local production. 4.17. Whilst
detailed data is limited, all 3 stations have clearly been able to build a substantial
local audience and viewer profile, and - on the back of this - all three report
both a growing volume of local advertiser business, and an emerging segment
of ‘name brand’ national advertisers (especially of the ‘direct response' type).
4.18. In
looking at the 3 stations it is clear that all of them have identified the decisive
‘anchor’ role played by the early evening news slot. This has long been a weak
spot in the BBC/ITV schedules: regional ‘opt outs’ cannot provide a strongly
local news agenda (27). As a result, all three stations have been able to offer
a genuine viewer alternative, and have used this to build local profile and
word of mouth (28). 4.19. So
far, of the 3 stations Channel 9 is the only one which reports a volume of advertising
income on a scale which takes it past the ‘breakeven’ point (a milestone it
reports reaching in the Summer of last year). For the other 2 stations, published
accounts indicate that they are still running at a deficit - as might be expected
in early stage businesses in a new industry sector (29). 4.20. C9’s
early move into recoupment is an encouraging signal that commercial viability
can be achieved. Given the Belfast-centred traditions of the BBC and Ulster
Television it is not surprising that the citizens of Derry have welcomed C9’s
more local TV voice. It may also be of relevance that the C9 schedule ‘mix’
is by a large margin the most extensively localised of the 3 stations considered
here. The Sales Agency
Perspective 4.21.
TMH Media Services are a sales agency based in Colchester. They have been involved
in the task of presenting the TV RSLs as a group advertising medium to media
buyers and agencies. Though the stations are clearly well placed to market their
airtime to local clients, TMH have assisted with representation at the national
client and buyer level (30). 4.22. TMH
are of course keen to see the stations develop a common audience research framework,
and emphasise the added credibility and commercial weight this would bring the
sector (31). 4.23. In
the interim, TMH have helped the stations to draw in some national airtime sales
in the ‘direct response’ category (ie Claims Direct, Direct Line, etc) - where
the client can monitor audience response directly without relying on audience
survey data. More generally, they expect the stations to accrue more business
as they grow in numbers and hence in general media visibility. Viability &
Diversity 4.24. Taking
all this evidence together, it suggests that this emergent commercial model
for TV RSLs can be viable, and that it can deliver a significant degree of additional
‘public service’ to its audiences. 4.25. Moreover,
the model can evidently sustain - at least so far - a diversity of station structure,
operations and output. This variety is one of the sector's strengths: allowing
stations to adjust their operational 'mix' in a way which is flexible and locally
sensitive. 4.26. In
other words, the TV RSL experience to date does not indicate that commercial
realism must dictate a standardised 'path to viability' nor a set pattern of
programming. As we noted earlier, the history of TV in the UK does not support
the idea of a single 'correct' or uniquely viable model of programme provision
- quite the contrary. It looks as though this rubric will hold as true for this
third tier of TV as it has for its precursors. 5.1. As
we have seen, the TV RSL ‘space’ remains under review, caught up in the policy
cross-currents of the White Paper and the changes under way in related media
sectors, notably radio. In this final section we look briefly at these ‘next
stage’ issues, and make some suggestions for future policy. 5.2. As
noted in the Introduction, there are opportunities here on 2 fronts. The first
is to make revisions to the operating context for existing and prospective TV
RSLs operating on a commercial basis - to give them further stability, and reinforce
the ‘public interest’ dimension of their work. 5.3. The
second opportunity is to promote further diversity and audience choice in this
new tier of TV by establishing a second and complementary ‘non-profit’ segment
within it, backed up by a Community Media Fund. Enhancing The
Existing Commercial TV RSL Framework 5.4. There
are at least 3 dimensions along which it would be possible to strengthen the
current framework - all of which go ‘with the grain’ of developments to date,
take account of new realities, and will strengthen the best elements of what
is already in place. We take them in turn. Acknowledging
The Public Service Dimension 5.5. The
regulatory framework could be revised to take proper account of the way in which
TV RSLs are already - to a notable degree - ‘public service broadcasting (PSB)’
operators. As the White Paper indicates, a place as part of the PSB ‘family’
brings with it a mixture of benefits and obligations. Nonetheless, the evidence
we have considered suggests that the TV RSL sector is fully capable of meeting
sensibly drawn PSB criteria. Extending The
Licence 5.6. The
current TV RSL licences are 4 years. On the evidence to date, this will not
be long enough to allow most stations to reach operating break even and recover
sunk costs. There have already been calls to extend the length of the licence,
and the case for doing so seems compelling. A more adequate licence period would
also be part of the process of acknowledging that this sector cannot continue
to be regarded as a ‘temporary’ sideshow. A Stronger Voice
In Both Analogue & Digital Planning 5.7. Government
and industry are committed to moving TV onto a wholly digital basis over the
next decade, subject to a number of public interest safeguards (32). 5.8. At
present, in the analogue context, TV RSLs are at the very bottom of the spectrum
planning hierarchy (33). In contrast, the ‘transition to digital’ has been seen
to offer TV RSLs the prospect of a less marginal place in the broadcast landscape.
5.9. Recognising
this, the Communications White Paper notes that: ''...the increased
availability of spectrum after switchover may enhance the potential for further
RSL services in the future. A post-switchover plan will therefore be developed
to give RSL organisations a clearer indication of long-term prospects for local
television services..'' (34). 5.10. In
itself, this commitment is welcome, and provides a marker for future discussion.
Nonetheless, current indications are that the timetable for ‘transition’ looks
rather more uncertain - and potentially more protracted - than was previously
envisaged (35). 5.11. In
practice, however this ‘transition’ process unfolds, the accelerating scale
and scope of this new sector is such that it clearly deserves a more considered
‘place at the table’ in the analogue present: one which matches its prospective
contribution to the digital future. Extending Diversity:
A New ‘Non-Profit’ TV RSL Sector 5.12. As
we suggested above, broadcasting history is marked by repeated challenges to
the prevailing ‘conventional wisdom’. In this respect, the TV RSL space is no
different to its predecessors: the arrival of a new cadre of commercially oriented
local TV stations is bringing added choice, but the model which underpins it
is not the only way to deliver local TV. Greater Pluralism 5.13. There
are several strands to the argument in favour of a more pluralist agenda for
TV RSLs. The first is one which recognises the public interest case for the
greatest practical degree of media diversity - an argument which the White Paper
accepts, and which is given added impetus by current trends towards TV industry
concentration. Non-Profit Sector
Capacities & Examples 5.14. The
second strand of argument comes from a recognition of the explosive growth in
the scale and scope of the ‘non-profit’ sector, especially its media segment.
Across a wide range of media and in many varied settings the ‘social economy’
sector is already a substantial provider of media pluralism. Given these
existing capacities and skills, there are grounds for optimism that the sector
has the resources and energy to sustain a new arena of ‘non-profit’ TV RSLs.
5.15. Moreover,
this confidence is not just hopeful speculation: there are working examples
already in place of how ‘non-profit’ TV can draw new audiences and contribute
to community renewal. To take just one example, Channel 7 - a cable channel
broadcasting to about 70,000 viewers in Grimsby, Cleethorpes, Immingham and
Scunthorpe - is doing pioneering work to harness local TV as an engine of learning,
social cohesion and business development. A short profile of its operations
by John Trevitt (the Channel’s Director) is included as an Appendix below . The Access Radio
Precedent 5.16. The
third part of the case comes from the recent decisions by the Radio Authority
to move forward (with the Government’s support) with the development of a ‘non-profit’
radio sector. As the ‘Access Radio’ pilot schemes get under way, the logic and
arguments which have been accepted in the local radio broadcasting arena can
fairly be said to apply with equal if not greater force in the local TV context.
The Case From
‘Convergence’ 5.17. The
fourth strand of argument in favour is the White Paper’s call for an approach
to media regulation which takes a broader, more ‘joined up’ view of policy and
planning. This ‘convergence and connectedness’ argument is at the heart of the
White Paper, and underwrites its vision for an OFCOM with the remit and powers
to survey the entire field. 5.18.
Moreover, as part of the preparations for OFCOM’s arrival, the various existing
agencies (OFTEL, the ITC, the Radio Authority, the Broadcasting Standards Commission,
the Radiocommunications Agency) have drawn up a ‘Memorandum of Understanding’
in which they undertake to ‘develop a common strategic vision’ and ‘develop
policy issues together where there are common interests’ (36). 5.19. In
this respect, the ‘non-profit media’ agenda is clearly a strong instance in
which the scope for greater coordination and consistency seems very evident. 5.20. Debate
on the White Paper has already noted the obvious risks that the structure for
OFCOM will be ‘convergent’ in name only - reproducing existing agency mindsets
and leaving the policy framework locked inside current departmental ‘silos’.
5.21. To
this degree, the recent inter-agency Memorandum is a step in the right direction,
but the non-profit media agenda will be a crucial test case of whether the ‘pathfinder’
process for OFCOM can deliver a truly reformed and convergent approach - possibly
(as the CMA suggest) by creating a Community Media division within OFCOM. A Community Media
Fund 5.22. As
a further instance of the need for a more inclusive agenda, we can point to
the logic of the case for a Community Media Fund. As part of the new Access
Radio project, the Radio Authority have outlined proposals for a Radio Fund
to assist the development of these new stations. 5.23. Again,
if the logic is worked through, and the case for ‘non-profit’ local TV is taken
up, then the case for funding to support this further initiative will be equally
strong (37). 5.24. In
these circumstances, the case for bringing these distinct funding streams together
under one roof will become very compelling: it would make no sense to keep proliferating
separate funds for different strands of the ‘non profit’ media sector. 5.25. Lastly,
as well as the arguments from logic & simplicity, there is a further and
more decisive reason for a Community Media Fund. As this report has tried to
indicate, the local TV story is one which shows very vividly how media &
communities can revitalise each other. A Community Media Fund would anchor this
work, and provide a flagship for the benefits of a ‘converged’ framework. 1. These figures
are from a presentation by Anthony Hewitt, ITC Deputy Director - Cable, at the
ITC National Workshop on Local TV, Sheffield, 2 November 2000. At present (May
2001) the ITC’s estimate of 30+ stations on air by Autumn 2001 looks rather
optimistic. Nonetheless, a total of 30-40 stations on air within the next 2
years seems achievable. For further details on the TV RSL licences, see the
relevant sections of the ITC website, especially: www.itc.org.uk/licensing/rsls/index.asp www.itc.org.uk/divisions/eng_div/transx/r_s_l.htm 2. The case studies
for TV12 and MATV are based on short research visits by the author to each station.
For C9, the case study draws on two sources: firstly, a series of extended telephone
interviews by the author with the Station Manager, secondly, a corroborative
discussion with Steve Harris (MD for MyTV Ltd - holders of the TV RSL licence
for Portsmouth/Southampton/ Bournemouth) who visited C9 in early May. Again,
usual disclaimers apply. 3. See DTI/DCMS
(2000). 4. On the distinctive
organisational ethos of the BBC, see Hood (1993). 5. On the ways
in which C4 challenged the existing duopoly models, see Blanchard & Morley
(1982), and Catterall (1999). 6. The ways in
which successful industry players can be outflanked by new business models which
re-write the prevailing 'rules' is a central theme in Christensen (1997). For
a recent study of the UK TV industry which highlights competitive dynamics,
see David Graham Associates (2000) and the comments in Graham (2000). 7. On this topic
see Harvey and Robins (1993). 8. For a summary
of the case for local TV by its most determined advocate, see Rushton (1997). 9. For a brief
survey by one of the major manufacturers, see Panasonic (2000). 10. On these trends,
see Blanchard & Harvey (1982), Langlois (1992), Salamon (1994), Kendall
(2000). On the policy dimension to these new sectors, see Najam (1999). 11. For a commentary
on C4’s influence and changes in the broadcaster-audience dynamic, see Jackson
(2000). 12. On the Radio
RSLs see the reports on the Radio Authority website (www.radioauthority.org.uk). 13. On C5, see
Blanchard (1990), Cornford & Robins (1991), and the ITC’s Annual Reports.
C5 launched in Spring 1997 as a London-based service. 14. See Rushton
(1997) for details. 15. Paul Gardiner,
ITC Head of Engineering, estimated at the Sheffield Workshop (November 2000)
that careful spectrum management might allow for a total of 70-80 TV RSLs across
the UK. On the view of TV RSLs as an experiment, see the ITC RSL Guidelines,
ITC (1999), Paragraph 2, which refers to '..the experimental nature of RSLs..'. 16. See DTI (2000). 17. See Radio
Authority (2000) for details, and the subsequent speech by the Authority’s Chairman
Richard Hooper to the CMA Annual Conference in October, Hooper (2000). 18. For the welcome
from MPs, see House of Commons (2001). For further discussions about the plans
for ‘Access’ Radio, see Radio Authority (2001a) and Radio Authority (2001b). 19. For the CMA’s
case that there should be a more broadly drawn ‘Community Media’ (rather than
just Community Radio) approach to policy, see their recent Manifesto: CMA (2001).
20. See VFG (2000a)
for the Press Release announcing the public debut of the LBG. LBG is backed
by VFG plc - a media facilities company - and Yattendon Investment Trust plc
- a company active in newspaper publishing, property development and allied
fields. On VFG, see VFG (2000). 21. See LBG’s
Response to the White Paper: Local Broadcasting Group (2001), where they reiterate
that "..These licences will be operated separately with the emphasis on
broadcast programming serving each individual area. There is no intention to
create a network with a common schedule.." ibid, p.2. 22. The classic
study of these dynamics in the hyper-competitive US TV market is Gitlin (1985),
especially Chapter 5 ‘The Triumph of the Synthetic: Spinoffs, Copies, Recombinant
Culture’ ibid, pp 63-85. These trends are now also widespread in the UK TV industry.
On the rapid growth in the importance of formats, see David Graham Associates
(2000). On declining schedule diversity, see Barnett and Seymour (1999), Stone
(2000). On the arrival of the new pro-competitive policy regime, see Blanchard
(1989), and Sheffield Hallam University (2001). The related tendency for ostensibly
‘local’ economic development to produce competitive imitation and ‘bandwagon’
effects is explored in Griffiths (1998). 23. On the dynamics
and atmosphere of speculative booms, see Galbraith (1993). On the 'bubble' character
of the 'dotcom' wave, see, Estrada (2001). Estrada notes in his conclusions:
''..Don't ask 'Do they have a business model ?' Ask 'Do they have a good business
model ?' You can't sell a dollar for 95 cents in the long term..'' 24. Data from
the Radio Authority [www. radioauthority.rg.uk] 25. See the RAB
website at: www.rab.co.uk 26. On the growth
of commerce and the services sector, see Julius (1998). On the growth of the
'brands' economy, see the resources on the InterBrand website: www.interbrand.com. 27. For a review
of the strains on the ‘regional’ agenda in ITV, see ITC (2000), which notes
that "..Pressure to win ratings is immense, while regional diversity in
network programmes is less of a consideration.." ibid, Paragraph 24, page
7. The report notes that the ITV network now embraces a patchwork of 27 distinct
services (combining regions, sub-regions and opt-outs). Recent press coverage
indicates that the ITV companies are seeking to drastically reduce the ‘regional’
programming element in their schedules - see Rushe (2001), who quotes one (un-named)
ITV executive as saying "..There are huge discrepancies at present. Some
areas get a lot of local programmes, some get very little. It is a matter of
managing the whole thing to make it more uniform…". ‘Local’ in this context
is something of a misnomer. 28. Christensen
(1997) devotes an entire chapter - entitled 'Match the Size of the Organisation
to the Size of the Market' - to these strategic opportunities. He notes how
large incumbents can fail to capture emerging markets because they wait until
these arenas 'get large enough to be interesting'. As he puts it, '..small markets
don't solve the near term growth needs of large companies..', and therefore
they often discount their potential. This leaves them open to smaller &
more agile new entrants. See Christensen (1997) pp. 125-145. 29. See MATV &
TV12 published accounts for details 30. See TMH (2000)
for details. See also the data in Channel 9 (2001), Continental Research (1999). 31. See Pounds
(1999) for a review of this issue. 32. See Smith
(1999). 33. See DCMS (1997)
- included as an Appendix below. 34. See DTI/DCMS
(2000), Paragraphs 4.5.4 and 4.5.5. on page 40 35. On the technical
problems, see Digital TV Group (2000) and the commentary on this in Elstein
(2000). On the problems facing existing digital TV services, see McIntosh (2001),
Snoddy (2001) and Teather (2001). The defining problem is that a substantial
proportion (roughly 25%) of UK households have no interest in digital TV. A
recent Consumers Association survey indicated that:''...Just over a quarter
of consumers have gone digital, led by the choice of channels and their willingness
to pay for additional services. Only a further quarter of consumers expect to
adopt digital television in the next 5 years. The remaining half of the population
has not even looked into going digital, and of these, roughly half say they
will never switch..'' See Consumers Association (2001), page 3. 36. The Memorandum
(dated 27 March 2001) is on the Radio Authority's website (www.radioauthority.org.uk). 37. The mixed
ecology of the Welsh Fourth Channel and the distinctive remit of the Gaelic
Broadcasting Fund are both relevant precedents for using public funds to enhance
TV pluralism and viewer choice. The latter disbursed a total of ₤9,280,000
during January - December 2000. See ITC (2001) page 67 for details. Advertising Association
(2000) Advertising Statistics Yearbook 2000,
Henley-on-Thames: NTC Publications. Barnett, S. &
Seymour, E. (1999) A Shrinking Iceberg Travelling South:
Changing Trends in British Television, London: Campaign
for Quality Television. Blanchard, S.
(1989) Screen Trading: An Audit of the Government's Plans
for the Broadcasting Industry, Manchester: Centre for Local
Economic Strategies. Blanchard. S [ed.]
(1990) The Challenge of Channel Five, London: BFI
Publishing. Blanchard, S.
and Harvey, S. (1983) 'The Post War Independent Cinema:
Structure & Organisation' in J. Curran & V. Porter [eds.]
"British Cinema History", London: Weidenfeld & Nicholson. Blanchard, S.
and Morley, D. [eds](1982) What's This Channel Fo(u)r?,
London: Comedia Publishing. Catterall, P.
[ed.] (1999) The Making of Channel 4, London: Frank Cass. Channel 9 (2001)
Information & Advertising Rates, Londonderry: C9
Studios. Community Media
Association (2001) Commedia Manifesto: Access to the media for people
and communities, Sheffield: CMA. (Online at:www.commedia.org.uk/manifesto). Consumers Association
(2001) Turn On, Tune In, Switched Off - Consumer
Attitudes to Digital TV, London: Consumers Association. Continental Research
(1999) The Oxford Channel Tracking Waves 1-3,
unpublished survey. Cornford, J. &
Robins, K. (1991) What's This Channel 5 for ?, Oxford: ESRC/PICT Policy
Research Paper No. 13, October. Christensen, C.
M. (1997) The Innovator's Dilemma: When New
Technologies Cause Great Firms To Fail, Boston: Harvard Business
School Press. David Graham Associates
(2000) Out of the Box - The Programme Supply
Market In The Digital Age: A Report for the DCMS, Taunton:
David Graham Associates, December. [online at: www.culture.gov.uk]. Digital TV Group
(2000) A Study on the Technical Impediments to Analogue
Switchover, Liss: Digital TV Group. DCMS (1997) Priorities
For Use Of Broadcasting Spectrum 470-854 MHz,
London: DCMS. DTI (2000) Closing
The Digital Divide: Information & Communication
Technologies In Deprived Areas - A Report By Policy
Action Team 15, London: DTI. (Online at: www.pat15.org.uk). DTI/DCMS (2000)
A New Future for Communications, Cm 5010, London: The
Stationery Office Estrada, J. (2001)
Another tulip bulb, another dotcom, Connectis, Issue
10, April, [online at: www.ft.com/connectis]. Elstein, D. (2000)
'Sorry, this free lunch is cancelled' New Statesman,
11 September: 16. Galbraith, J.
K. (1993) A Short History Of Financial Euphoria, New York: Viking
Penguin. Gitlin, T. (1985)
Inside Prime Time, New York: Pantheon Books. Graham, D. (2000)
'A Declaration of Independence', Economic Affairs,
December: 7-12. Griffiths, R.
(1998) 'Making Sameness: Place Marketing and the New
Urban Entrepreneurialism', in Oatley, N. [ed.] Cities, Economic
Competition and Urban Policy, London: Paul Chapman
Publishing. Harvey, S. &
Robins, K. [eds.] (1993), The Regions, The Nations and
the BBC, London: BFI Publishing. Hood, C. (1993)
'The BBC: An Island of Progressivism in a Sea of New
Public Management' in Shaw, C. (ed.) Rethinking Governance
and Accountability, London: BFI Publishing. Hooper, R. (2000)
Speech to the CMA 17th Annual Festival in Birmingham,
October 7, London: Radio Authority. House of Commons
Culture,Media and Sport Committee (2001)
Second Report - The Communications White Paper,
161 - I & II, 2 Vols. London: The Stationery Office,
March 7. ITC (1999) Restricted
Service Licences - Notes for the Guidance of Licence
Applicants, Issue 2 - February, London: ITC. ---- (2000) ITC
Public Consultation on Regionalism In ITV, June 7, London:ITC.
---- (2001) Annual
Report & Accounts 2000, London: ITC. Jackson, M. (2000)
Royal Television Society Fleming Lecture, May 10.
London: Channel 4. [online at: www.channel4.com] Julius, D. (1998)
Inflation and growth in a service economy, Bank of England Quarterly
Bulletin, November. Kendall, J. (2000)
The mainstreaming of the third sector into public
policy in England in the late 1990s: Whys and wherefores,
London: LSE Centre for Civil Society Working Paper
2, January. [online at:www.lse.ac.uk/depts/css] Langlois, R. (1992)
"External Economies and Economic Progress: The
Case of the Microcomputer Industry" Business History Review,
66: 1-50. Local Broadcasting
Group (2001) Submission on the Communications
White Paper, London: LBG, February. McIntosh, B. (2001)
Digital 'land grab' gives way to fight for survival,
The Independent, April 12. Midland Broadcasting
Corporation Ltd. (1999) Abbreviated Accounts For
The Year Ended 31 May 1999, Cardiff: Companies House. ---- (2000) )
Abbreviated Accounts For The Year Ended 31 May 2000,
Cardiff: Companies House Najam, A. (1999)
'Citizen Organisations as Policy Entrepreneurs' in Lewis,
D. [ed.] "International Perspectives on Voluntary Action -
Reshaping the Third Sector", London: Earthscan Publications. Panasonic (2000)
'Extra Terrestrial' Vision - The Voice of Panasonic Broadcast
Europe, Autumn: 22-23. Pounds, J. (1999)
Proposal To Create A Joint Industry Research System
For The Local Television Industry, Facets Communication
& Marketing Ltd., unpublished report, December
3rd. [Online at: www.litn.org] Radio Authority
(2000) Radio Regulation for the 21st Century, London:
Radio Authority. ----- (2001a)
Access Radio Seminar, 12 February, Royal Society of
Arts - Seminar Report, London: Radio Authority. ----- (2001b)
Radio Authority’s Recommendations to Government Regarding
Access Radio, March. London: Radio Authority. Rushe, D. (2001)
ITV companies in bid to slash local content, Sunday
Times, May 6. Rushton, D. (1997)
Creating Local Television, Luton: John Libbey. Salamon, L.M.
(1994) 'The Rise of the Non-Profit Sector', Foreign Affairs,
July/August. Sheffield Hallam
University (2001) Response To The White Paper On
Communications, Sheffield, February. [online at: www.communicationswhitepaper.gov.uk]. Smith, C.(1999)
Speech on Digital TV to the Royal Television Society,
Cambridge, September 17. London: DCMS Press Release No 245/999. Snoddy, R. (2001)
'Digital picture is no clearer' The Times, April 20. Stone, J. (2000)
Losing Perspective: Global Affairs on British Television:
1989-1999, London: Third World & Environment Broadcasting
Project. Teather, D. (2001)
'Dismal digital TV take-up upsets government
plans' The Guardian, March 12. TMH TV Sales (2000)
LTV - Building A Bigger Picture For The UK, Colchester:
TMH. TV12 (2000) Directors
Report & Accounts, Year Ended 31.12.99, Southampton:
TV12. VFG plc (2000)
Annual Report and Accounts 1999, Peterborough: VFG
plc. ---- (2000a)
Press release: VFG plc creates new national group of local television
stations, London: December 11. TV12 (Isle of
Wight) - Station Profile MATV (Leicester)
- Station Profile C9TV (Derry) -
Station Profile Channel 7 - Realising
the Potential of Local Television (by John Trevitt) Table 1: The Radio
Audience - Percentage Shares in 1999 Table 2: Advertising
Expenditure In The Smaller Media (at constant [1995] prices £m) VFG plc Press
Release, December 11 2000 DCMS: Priorities
for Use Of Broadcasting Spectrum 470-854 MHz The AHRB Centre
for British Film and Television Studies The Community Media Association TV RSLs - A SHORT
CHRONOLOGY 1977 Annan
Committee Report on future of broadcasting calls for
a more open & pluralistic approach to 4th channel. 1982 November.
Channel 4 starts broadcasting. Editorial remit
includes funding for non-profit film & video. 1983 Community
Radio Association set up to campaign for a ‘third sector’ of broadcasting alongside
BBC and commercial services 1988 November:
White Paper 'Broadcasting in the 1990s: Competition,
Choice & Quality' proposes a 5th TV Channel,
and makes reference to idea of 'local' services
on cable, microwave, etc. 1989 Dave
Rushton & colleagues set up Institute of Local Television
(ILT) in Edinburgh. 1990 January:
Rowley publishes proposals in RTS Journal for
a 'City TV' network for Channel 5, based on 33 stations using
66 transmitters. 1995 August:
ITC suggest that local TV lobby seeks A TV equivalent to the radio RSL in upcoming
Broadcasting Bill. 1996 February:
Labour & Liberal Democrat Peers table amendments
for TV RSLs to Broadcasting Bill. These are
withdrawn when Govt. agrees to table its own amendments. 1997 Spring.
Channel 5 goes on air. 1998 January
23: ITC makes provisional licence awards to Midland
Broadcasting (Leicester) and Manchester Student
TV (Manchester) 1999 May:
Lanarkshire TV and Midlands Asian TV go on air. 2000 February
14: Channel M, Manchester goes on air. 2001 February
12: deadline for White Paper responses. CMA publish the Commedia Manifesto.
This calls for a Community
TV licence and for the establishment of a
Community Media Fund. Radio Authority hold a Seminar
on Access Radio, attended by 160 people. TV12 , ISLE OF
WIGHT - STATION PROFILE Broadcast Area TV12 was the first
TV RSL to get on air (at the end of October 1998). It is based on the Isle of
Wight (population 136,000) although its signal reaches out to the wider Solent
coastal region (Portsmouth, Southsea, parts of Southampton and the New Forest).
The company has also secured the licence to run a station in Chichester, which
is scheduled to go on air later this year. The 2 stations together will have
a potential audience of about 500,000 viewers. The station is now also available
via the Isle of Wight cable TV service. Company Structure The company is
owned by a mix of local business interests (eg Portsmouth Printing & Publishing)
and shareholders drawn from the film and TV industry. TV12's Chairman
is Graham Benson. Benson is an independent TV producer (credits include the
Ruth Rendell Mysteries) and is Chairman of PACT (Producers Alliance for Cinema
and TV) – the UK's independent producers trade association. The company's
Managing Director is Paul Meade. Meade has worked as a broadcaster for Meridian
TV and BBC Manchester, and for CBS and NBC affiliates in the USA. Staffing &
Operations The station is
run day to day by a staff of 5 full-timers and 2 part-timers under the direction
of Station Manager Paul Topping. They operate from a small 'no frills' suite
of offices in a former caretakers bungalow next to a local school. The station
uses Sony digital video kit, and programme production, editing & transmission
are handled in an informal 'multi-skilled' manner. Programme Schedule Using the tag
'Local TV Worth Watching', TV12 runs a 24 hour/7 day schedule,
made up of 4 strands of material. The first strand is the station's own locally
originated productions (local news, magazine & talk shows, quizzes, etc).
The second strand is acquired programming (eg Toyota World of Wildlife, Cybernet,
Movies Games and Videos). The third strand is provided by Sky News and QVC (a
shopping channel) which are supplied to the station free of charge. Sky News
is stripped across the day to provide regular national and international news
bulletins, and QVC provides a sustaining service from 11pm to 1 am and for an
hour from 9 am. The fourth strand of programming is a graphics based service
which runs during the morning and early-mid afternoon. As well as the core TV
and graphics output, the station also provides a local teletext service (Wightext)
which offers local listings, weather forecasts, the TV12 schedule and information
from Isle of Wight Council. Local Production The TV12 team
produce a substantial volume of 'in house' programming. This includes local
news & discussion shows, gardening and movie magazine shows, social action
and quiz programmes. The station started making programmes in February 1998
(building up a stock of shows prior to the October 98 launch), and by the end
of December 2000 they had made a total of 1,623 half hour programmes - which
translates into 23 hours of TV per month for 35 months, a work rate of about
45 minutes of local production every day for almost 3 years. Website The station's
website is at: www.tv12.co.uk
Future Developments In February 2001
the company announced that it had also acquired majority ownership of the licences
to run stations in Swansea and Cardiff. MATV, LEICESTER
- STATION PROFILE Broadcast Area MATV went on air
in May 1999. Its 'footprint' covers both Leicester and out into Leicestershire
(via the local cable service). Its core programming is designed to appeal to
the local Asian community in Leicester, but the channel delivers key strands
of its output in English so as to draw in a wider public. The station's total
potential audience is estimated at about 200,000 viewers. Company Structure The company is
owned by local businessmen Vinod and Hitesh Popat, who have financed the venture
to date with their own funds, bank lending and other local sources. Staffing &
Operations MATV's premises
are on an upper floor of a small office block on the fringe of Leicester City
centre. The base includes both administrative and production offices as well
as a small TV studio.The studio is used for talk format shows, guest interviews
and other material calling for a small studio audience. The station uses digital
video technology for production and editing. The Popats report a total staff
of 22 people. Programme Schedule MATV runs a 7
day schedule, broadcasting TV for 17 hours a day from 7am to midnight. From
midnight to 7 am their teletext channel provides a sustaining service with background
music. The TV schedule has 5 strands of material. The first is their own locally
originated production (local news, Asian language production, live talk, etc).
The second strand is acquired Asian language feature films (shown in the afternoons
and from 9pm). The third strand is other acquired Asian language programming.
The fourth strand is acquired English language shows (eg Toyota World of Wildlife).
The fifth strand is Sky News which comes free of charge and runs twice a day
every day. The station's local teletext channel provides an additional service
which is cross-promoted with the main schedule and runs 24/7. Local Production The station currently
generates a reported 22% of 'in house' programming, and plan to increase this
over time to around 30%. The flagship of their local news output is the weekday
'Leicestershire In Focus' - a half-hour English language news magazine which
is now an accepted part of the local public affairs culture of both the City
and the wider region. Anecdotal evidence and viewer feedback indicates that
this programme reaches a wide audience. Similar responses have been found with
the station's Asian language productions. The station has recently commissioned
NOP to do more detailed survey work on their audience profile. Website The station's
website is at: www.matv.co.uk
Future Developments The company is
seeking to extend its local production into drama, and has completed a pilot
for an Asian language soap opera. Discussions are continuing about resources
for this new initiative. CHANNEL 9, DERRY
- STATION PROFILE Broadcast Area Channel 9 first
went on air in October 1999, and then re-organised under the current management
team in March 2000. The station is based in Derry, Northern Ireland, but its
transmitter footprint covers a wider regional area including Limavady and Coleraine.
A further transmitter for Strabane has also received ITC clearance. At present
the station has a potential audience of about 190,000. With the Strabane signal
- and allowing for some overspill into the Irish Republic - this will rise to
about 300,000. Company Structure The company is
owned by a group of local business interests, including investors with a background
in local entertainment. Staffing &
Operations C9 is run by a
staff of 30 full-timers under the direction of Station Manager Gary Porter.
At present they operate from an industrial unit on the fringe of Derry City
centre, but will be re-locating later this year to new premises on the City’s
waterfront. The current base includes both a TV studio and administrative/production
offices. Programme Schedule C9 runs a 7 day
schedule, broadcasting for 19 hours per day from 7am in the morning to 2am at
night. The schedule is made up of 3 strands of programming. The first strand
- which accounts for the bulk of the airtime - is the station’s own local production,
most of which is live to air. The second strand is Sky News which runs 4 times
per day. The third strand is acquired programming (movie and games review magazines,
music shows, etc). Local Production The C9 schedule
is built around extended blocks of live, mostly studio-based programming. Overall,
this local output accounts for about 75% of total transmissions. The schedule
includes extended morning and afternoon shows, a 2 hour children’s slot, a weekly
studio debate, and a 10pm - 1am show aimed at young adults. The anchor slot
is from 6pm to 7pm, made up of a half hour local news slot, followed by a local
sports news segment (15 minutes) and a consumer and local interest segment (15
minutes). Market Research
& Sales C9 have commissioned
their own market research to track audience trends & provide a baseline
of data for marketing & airtime sales. The most recent survey (published
February 2001) was done by Ulster Marketing Surveys. This survey indicates
that C9 has built up a leading place as a local media brand, and as a local
news provider. Research indicates that the early evening local news slot now
reaches about 36,000 viewers per night - a total weekly audience of around a
quarter of a million. Survey data indicates that - for a large segment of the
local audience - C9 is now the preferred local news provider, out performing
the regional ‘opt outs’ coming from Ulster TV or the BBC Overall, by running
a schedule with a strongly ‘live and local’ ambience the station has built up
strong viewer interest and awareness, and the sales data indicates that the
station’s schedule is now seen as a prime vehicle for local advertising. The station reports
that it 'has has been trading at a satisfactory profit' for almost a year (ie
since June 2000). Airtime sales income is currently split about 60/40 between
local advertisers and national brands. Website The station’s
website is at: www.c9tv.tv Channel 7: Realising
the Potential of Local Television By John Trevitt,
Managing Director, Immage Studios/Channel 7. Channel 7 is currently
broadcasting 24 hours a day via NTL's cable system to approximately 70,000 viewers
in the towns of Grimsby, Cleethorpes, Immingham and Scunthorpe. Most viewers
live in the priority wards where approximately 60% have cable TV. We have 17
of the country's 2,000 most deprived wards in North East Lincolnshire alone.
If we are to realise
the potential of local TV we must be able to prove that local broadcasting can
make a difference to a range of social, political cultural, educational and
economic challenges facing such communities. To do this, local television has
to move beyond providing local news and features programming, laudable and needed
as this is, and produce programmes and (online) materials which are targeted
at each of these challenges. Our policy has
been to build a firm foundation of partnerships and relationships with the local
authorities, newspapers, colleges, schools, business support agencies, community
groups, local arts providers etc. This was seen as an essential prerequisite
before the studios were built and the local television service started. Being in an Objective
2 area with ERDF and SRB funding, we are producing programmes which seek to
raise educational attainment and support community, economic and cultural regeneration
initiatives. By way of example, we are working with the local Education Action
Zone and Surestart initiatives and the local Community and Learning Partnerships
to improve the culture of learning and raise levels of educational attainment
in target areas such as GCSE maths and science and early years literacy and
numeracy. The vast majority
of the population in the priority wards do not have a PC with internet access,
so we believe the biggest challenge facing local television is to gain access
to digital interactive broadcasting. We are very fortunate to be working closely
with NTL and are developing TV friendly websites, particularly for our educational
programmes. We have already
conducted small scale trials with NTL's analogue TV internet service for these
educational programmes and associated sites. Our 'Make The Grade' GCSE revision
website (www.osn/makethegrade.co.uk) achieved 100,000 hits and 8,000 subscribers
in its first month. An ERDF/SRB grant
has been secured to research and develop interactive community broadcasting
which supports social inclusion initiatives and assists in the revitalisation
of local democracy. We are awaiting the roll out of NTL's digital service which
would provide interactivity and access to the web via the TV set. Programmes
will be made for, by and about the local community with integrated websites
providing interactivity (and indeed voting!) via the V remote control. We have a 3 year
research programme with Lancaster University to determine the level of interest
in and need for local interactive TV and more importantly, over time, determine
its effectiveness in addressing the challenges. We are also working on the concept
of 'Research Town': using the potential of interactive television to encourage
the viewers to provide data for a wide range of social, market and audience
research projects. Building upon
all this, we are seeking to create a centre for the research and development
of, and training for, local interactive public service broadcasting. In partnership
with Grimsby College and the Grimsby and Scunthorpe Evening Telegraphs we are
planning to significantly increase the number of postgraduate broadcast journalism
trainees and develop new training opportunities in camera, edit and multimedia
production. I look forward
to keeping you informed on these and other developments in the future. I can
be contacted by email at: trevitt@immage.net or by phone on 01469 515151. [Reprinted with
permission from the CMA magazine ‘Airflash’, Issue 71, 2-2001, page 24.] TABLE
ONE TABLE
TWO The Centre is
funded by the Arts and Humanities Research Board (AHRB) as part of its new programme
of longer term support for high quality and in-depth research in selected subject
areas. This Centre is one of ten in the United Kingdom, funded for a period
of five years from 2000-2005. It is currently the only AHRB Centre in the area
of film and television studies. The Centre consists
of a partnership of seven academic institutions:
The Centre has
two main areas of interest: film and television history and film and television
policy with an emphasis on the value of archival research and the importance
of public policy issues. Sheffield Hallam University has a particular interest
in policy issues and in the exploration of the themes of the indigenous and
the exportable in film and television culture. The AHRB is the
body charged by the UK government with responsibility for supporting research
in the arts and humanities. Nationally, the
Centre can be contacted through its Director, Professor Laura Mulvey at the
AHRB Centre for British Film and Television Studies, Birkbeck College, University
of London, 43 Gordon Square, London WC1H OPD. Email: centre@bftv.ac.uk
In Sheffield the
Centre can be contacted through Professor Sylvia Harvey, Principal Associate
Director, AHRB Centre for British Film and Television Studies, Sheffield Hallam
University, School of Cultural Studies, Psalter Lane, Sheffield S11 8UZ. Email: s.m.harvey@shu.ac.uk The Community
Media Association The Community
Media Association is the UK association for Community Media. The CMA supports
people to establish and develop local media enterprises for community-based
creative and cultural expression, community development, information and entertainment.
It is a not-for-profit association with 150 community media organisations in
membership and 300 affiliates. The CMA provides
information, advice, training and consultancy. It produces publications
and organises events, and it represents the interests of community media to
Government, regulators, industry and the voluntary sector. The CMA also provides
the Secretariat for the Local Independent Television Network, which brings together
TV RSL licence holders and applicants The CMA was founded
in 1983, in Sheffield, as the Community Radio Association, following a series
of standing conferences on community radio. It changed its name and remit to
Community Media Association in 1997. The CMA is supported by the Arts Council,
Yorkshire and Humberside Arts, the National Lottery Charities Board, the Millennium
Commission, New Opportunities Fund, the Department for Education and Employment,
the European Social Fund, Sheffield Training and Enterprise Council and Sheffield
SRB Partnership. The CMA is governed
by a Council elected annually by the membership. The CMA Council membership
is drawn from throughout the UK with the majority of Council members being directly
involved in local Community Media projects. The CMA is recognised by Government
and industry as the voice of community broadcasting in the UK and it regularly
contributes to public consultations on media and communications policy. Community Media
Association
Paragraphs
1.
Introduction
2.
Context and Challenges
2.1.
- 2.18.
3.
TV RSLs: The Story So Far
3.1.
- 3.29.
4.
TV RSL Economics: Issues & Evidence
4.1.
- 4.26.
5.
Conclusions and Prospects
5.1.
- 5.25.
6.
Notes
7.
References
APPENDICES
TV RSLs
– A Short Chronology
TV12 (Isle of Wight)
- Station Profile
MATV (Leicester)
- Station Profile
C9TV (Derry) -
Station Profile
Channel 7 - Realising
the Potential of Local Television (by John Trevitt)
Table 1: The Radio
Audience - Percentage Shares in 1999
Table 2: Advertising
Expenditure In The Smaller Media (at constant [1995] prices £m)
VFG plc Press Release,
December 11 2000
DCMS: Priorities
for Use of Broadcasting Spectrum 470-854 MHz
The AHRB Centre
for British Film and Television Studies
The Community Media
Association
1.
INTRODUCTION
Location
TV12
Isle
of Wight
Lanarkshire
TV
Lanarkshire
Oxford
Channel
Oxford
MATV
Channel 6
Leicester
Channel
9
Derry
Channel
M
Manchester
Channel
6
Edinburgh
City
TV
Taunton
Home
TV
Hertford
& Ware
Objectives
2. CONTEXT
AND CHALLENGES
3.
TV RSLs - THE STORY SO FAR
4. TV RSL ECONOMICS: ISSUES AND EVIDENCE
5. CONCLUSIONS AND PROSPECTS
6. NOTES
7. REFERENCES
APPENDICES
September:Chris
Rowley (Head of TV Planning at IBA) proposes
a hybrid local-national Channel 5 service at
Royal Television Society meeting.
November:
New Broadcasting Act creates new category of
'restricted service' (28 day) licences for radio. Radio Authority
subsequently issues over 1,600 radio RSLs.
March: Govt.
tables local TV amendments to the Broadcasting
Bill, based on the wording of Radio RSL provisions.
July: New
Broadcasting Act becomes law.
November:
ITC begins consultation on draft guidelines for TV RSLs.
April 1:
TV RSL provisions of 96 Act come into force.
June: ITC
publishes Guidelines on TV RSLs. Licences are offered
for 56 day event-based broadcasts, and for 2 year
location based services. CRA holds first seminar to promote
bids for TV RSL licences.
September 30:
Deadline for applications to ITC for 1st Round
of TV RSLs. ITC receives 31 applications.
October 25: CRA becomes the Community Media Association
(CMA).
February 28:
CMA holds second seminar on TV RSLs.
May 8: First
TV RSL forum held in Sheffield. Local Independent
Television Network (LiTN) formed. Network comprises
TV RSLs operating as ‘local public service broadcasters’.
CMA provide LiTN secretariat.
May 27:
Deadline for second round of TV RSL bids To
ITC. ITC receives 39 applications.
October 31:
TV12 (Isle of Wight) goes on air
November:
BBC, Sky, On-Digital etc start Digital Terrestrial
TV services.
May 27:
deadline for 3rd round of TV RSL bids. ITC Receives
67 applications.
June: Oxford
TV goes on air.
September:
ITC announces extension of TV RSL licences from
2 to 4 years.
October 17:
Derry TV RSL goes on air (re-launched in March
2000).
May 15:
Taunton TV goes on air.
June: Radio
Authority announce plans for ‘non profit’ ‘Access’
Radio stations
October 7:
Richard Hooper (Radio Authority Chair) sets
out their vision for ‘Access Radio’ to CMA Annual Festival
in Birmingham.
November 2:
ITC National Workshop in Sheffield on TV
RSLs.
December 11:
VFG plc announce launch of Local Broadcasting
Group (LBG), and its acquisition of 36
TV RSL licences & applications.
December 12:
DTI & DCMS publish White Paper 'A New Future
for Communications' (Cm 5010).
February 28:
Radio Authority responds to White Paper and
reiterates its support for Access Radio
March: Commons
Culture Committee Report on White Paper
endorses the CMA's call for an expanded role for community
radio.
March 31:
Tony Stoller, Radio Authority Chief Executive gives
a Keynote Address to Celtic Radio & TV Festival. This
sets out framework for Access Radio pilot projects. He
notes that at the February 12 Seminar "..there was a
widespread feeling that Access Radio was an idea whose
time had come..".
April. Home
TV (Hertford & Ware) starts broadcasting.
The
Radio Audience - Percentage Shares in 1999
BBC -
Radio 1
10.4 %
Radio
2
12.6%
Radio
3
1.3%
Radio
4
11.0%
Radio
5
4.2%
BBC Local
10.7%
Total BBC
50.2 %
Classic FM
4.2%
Virgin
AM
2.2%
Atlantic
252
0.8%
Talk
Radio
1.6%
Local Commercial
39.0%
Total
Commercial
47.8%
Other
2.0%
Source: Advertising Association Yearbook 2000, Table 12.2
Advertising
Expenditure in the Smaller Media (at
constant [1995] prices £million)
Year
Outdoor & Transport
Radio
Cinema
Total
1985
258
129
28
416
1999 at
current prices
648
516
123
1,287
Source: Advertising Association Statistics Yearbook, Table 1.3
The AHRB Centre for British Film and Television Studies
Birkbeck,
University of London
together with support
from the British Film Institute.
University
of Brighton - South East Film and Video Archive
Central
Saint Martins College of Art and Design, The London Institute
University
of Exeter - Bill Douglas Centre
Royal
College of Art
Sheffield
Hallam University
University
of Ulster
15 Paternoster
Row, Sheffield S1 2BX
Tel +44
(0) 114 279 5219
Fax +44
(0) 114 279 8976