The author completed 150 interviews not only with executive producers but with BBC and ITV channel controllers and top genre commissioners. Playing a supporting role are another 200 interviews, which were the basis of the author’s 1993 book, Television Producers. Since 1990, and especially since 2008, British television production has faced financial challenges. Meanwhile, BSkyB, Virgin Media and Channel Five are American controlled, and most of the larger London ‘independent’ production companies are now American or Euro-American owned and operated. Public service broadcasting in general, and BBC television in particular, are threatened with probable further decline. This book offers new insights into the state of British television through the eyes of those working on the inside.
Currency depends on your shipping address
- Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien, 2015. VIII, 400 pp., 1 table
- About the author
- About the book
- This eBook can be cited
- Chapter 1: The BBC and Public Service Genres in Jeopardy
- BBC ‘public service’: Outdated by digital?
- The BBC and national newspaper hostility
- BBC: Twenty-one TV genres and twenty TV/radio channels
- Quality/popular BBC1 and 2 and specialist BBC3 and 4
- Conflict: BBC chairman versus BBC director general
- BBC technology and survival strategies
- Chapter 2: UK Commercial Television Trembles
- ITV and advertising-funded television leadership
- Also advertising funded: Four, Five, UKTV
- BSkyB and Virgin cable: UK subscription, US ownership
- Hollywood, Silicon Valley and British commercial television
- How American is British commercial television?
- Chapter 3: Executive Producers, Independent Production and Celebrity
- The hierarchy: Producers, channel controllers, commissioners
- Independent producers: Going corporate and US/European owned
- Producer power: Defining celebrity
- Executive producers and genres
- Chapter 4: Drama and Soap: Most Popular Genres
- TV drama highs (1970s, 2000s and 2010s) and lows (1985–2000)
- Drama serials versus quality popular series
- Drama commissioners
- Drama exec producers and independent producers
- Writers, actors, directors
- Soaps: Truly British, truly popular
- Classics, Bleak House and costume drama
- Crime as story engine
- Television drama dilemmas
- Chapter 5: BBC News Dominance
- BBC News versus the competition
- BBC leads UK press and broadcast news agenda
- Fast track careers and news bureaucracies
- News executives in charge and in crisis
- Political editors: Top agenda setters
- Financial news
- London’s four decades as world TV news hub
- Since 2008: Decline of London as TV news hub
- Television news: Growth and decline
- Chapter 6: First Casualty: Current Affairs
- Big strong stories and small weak current affairs
- Policy talk and ten minute current affairs
- Decline from current affairs golden age?
- Its production system survived but will current affairs?
- Chapter 7: Traditional Public Service BBC Genres in Decline: Education, Natural History, Science, Arts, Children’s and Religion
- Education television: Boom and bust
- Natural history: Genre in decline
- Science: Another genre in decline
- Arts on TV: Dilemmas and decline
- Children’s TV: A story of Hollywood dominance
- TV religion: From worship to factual fragments
- Six traditional public genres in decline
- Chapter 8: Flourishing Public Service Genres: Documentary, History, Travel
- Observational documentary series: Hospitals, war, prison, school, family
- Topic docs: America, Royals, Muslims
- History has a great TV future
- TV history’s classics and TV future
- Travel: Documentary and history journey
- Chapter 9: Comedy, Big Entertainment and Talk
- From stand-up to sit-down panel comedy
- Comedians and TV comedy
- Big entertainment
- The talk genre
- Producers, agents, entertainment industry
- Golden oldies: Everlasting repetition?
- Chapter 10: Factual Entertainment Formats Prosper: Cooking, Homes, Quiz/Game, Reality
- Formatted food and chef charisma
- House and home formats
- Quiz and game shows
- Formatted ‘reality’ TV: Big Brother, business, dating
- Chapter 11: TV Sports: Live, Formatted, Monetised
- Formatted football and short form sport
- Long form sport on television
- Sports stars and managers
- TV sports producers and talkers
- UK television and the sports industrial complex
- Chapter 12: TV Policy in Fragments, Genres in Jeopardy
- Decisive factors: Prime Minister, press, finance, Hollywood
- Policy in fragments: Committees, Parliament, departments
- New channels and technologies: Genre and Hollywood consequences
- UK cultural policy in fragments
- UK audio-visual policy: A century of unanticipated outcomes
- Thatcher’s great satellite policy crash
- 1980s committees: Amateur, arrogant, ignorant
- OFCOM: Hesitant regulator
- Selected Bibliography
The ‘Death of Television’ has been greatly exaggerated. The average Brit (over the age of two) watches TV for about twenty-six hours per week, or nearly four hours per day. Americans view more. People today also spend huge amounts of time looking at other screens, but this other screen viewing has been added to – not subtracted from – television viewing.
The British television industry’s largely freelance labour market is presided over by a few hundred executive producers, who work either inside an independent production company, or within a broadcaster, such as the BBC, ITV, or Channel Four. These executive producers employ, and then manage, the presenters, writers, directors, comedians, actors, researchers and technical people who make the programming. These executive producers have to get their work financed and accepted by senior channel executives and genre commissioners; most of those senior people are themselves former executive producers.
This book focuses on executive producers and on British television’s twenty-one genres. Not only does British television offer an extremely wide range of genres, but it specialises in many series runs as short as six or eight half hours per year. Although there are also some big, long-running, series, British TV’s output is highly fragmented; which is why it is hard to summarise or comprehend.
Since the economic crisis of 2008, less money has been available for new television productions. Some of the twenty-one genres discussed in this book are not in the best of health. Seven...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.