The BBC is doing cutting-edge research into Visual Perceptive Media, virtual reality and facial coding technologies. But do we want our shows to be tailored to our age, gender, and tastes? And what happens to all that data?
The digital world is more complicated than is understood by
those holding our public institutions to account. In the somewhat arcane
context of the Information and Record Management Society 2013 conference, Tony
Ageh gave a sense of what is really at stake in the BBC's (and our) digital
creative and journalistic ambitions of the BBC are held back by its dogmatic
commitment to an ineffective and unethical funding mechanism. A subscription service
would release creative energy and allow the BBC to fulfil its commitment to public service broadcasting all the better.
The BBC’s long history of innovation and influence position it as a prime conduit through which to forward the idea of a ‘digital commons’ within the British media: a site in which the contradictions, relations and values of public life may be freely discussed
US drama ‘The Newsroom’ demonstrates a bold
attempt to meld romantic idealism with a cogent critique of the American
far-right. If George Entwistle is to fulfill his aspirations and bolster BBC programming,
the remit of ‘impartiality’ must be reformulated to allow the expression of positive liberty.
At its best, television is "an intimate connection" between programme-makers and viewers, argues Armando Iannucci in the annual BAFTA Television Lecture, and to get back to its best, the BBC must be brave, aggressive, and dare to fail
When the BBC fixates on a narrow literary canon, and presents classic novels in straightforward adaptations, it wastes its own potential. Why not follow up Radio 4's extraordinary and unusual 'Bloomsday' celebration to use fiction as a creative springboard to a radical new kind of broadcasting?
With the movement of key resources to MediaCityUK
in Salford, the BBC looks to be expanding its frontiers of national
representation. But as programming oscillates between depoliticised nostalgia
and an admiring celebration of ‘northern’ authenticity, this shift has done
little to combat the institution’s continued southern bias.
For two weeks, the BBC has served up a glorious all-you-can-eat buffet of sports. Yet despite a wave of enthusiasm, the Beeb have admitted that there is no plan to increase minority sports coverage. So is that the last we will see of canoeists, gymnasts and cyclists for the next four years?
Culinary coverage on the BBC encourages us all to consume 'Great British' food and take part in the 'GastrOlympics'. But how do these seemingly innocuous programmes reflect the BBC's wider relationship to the forces of state and capital?
Programmes like Mock the Week are a great platform for stand-up comedians, and yet fewer than one in ten of the guests are female. Why do the likes of Caitlin Moran and Grace Dent feel compelled to turn down BBC panel shows?
Should the BBC's mission to inform, educate and entertain incorporate hosting free music festivals for 100,000 people? Last month's Hackney Weekend was generally deemed a big success, but why aren't we allowed to know how much it cost, when we paid for it?
Despite the sale of televised England home-matches from the BBC to commercial broadcasting, cricket remains central to collective imaginings of 'Englishness'. Recent attempts to situate the sport within the history of empire reveal much about the BBC's continuing ties to the ideology of state-led imperialism.