BBC In-House Production and the Role of the Window of Creative Competition

Nicoli, Nicholas

doi:10.1080/16522354.2012.11073553

Cited by 4 publications

(5 citation statements)

References 6 publications

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“…Drawing on the work of Yochai Benkler’s Wealth of Networks (2006), Winseck and Jin identify this space, or framework of enquiry, as the “social ecology of information” (2012, p. 12). For a large part of the twentieth century, this framework was preoccupied by large media conglomerates (Mosco, 2009; Nicoli, 2012; Maniou & Bantimaroudis, 2021). Yet over the past two decades, information has fragmented into new structures to include along with the media additional components such as big tech and telecommunications entities, individual citizens, state agents, and digital symbol creators (Benkler, 2006; Winseck, 2020).…”

Section: Critical Political Economy Of Communication Platformization ...mentioning

confidence: 99%

EU digital economy competition policy: From ex-post to ex-ante. The case of Alphabet, Amazon, Apple, and Meta

Nicoli

Iosifidis

2023

Global Media and China

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Since 2007, the European Commission (EC) has opened numerous competition cases regarding Alphabet, Amazon, Apple, and Meta (AAAM). Enforcement, however, has remained elusive, prompting a new regulatory paradigm in the EU known as the Digital Markets Act. In this study, we analyze the EC’s competition policy approach regarding big tech with an emphasis on AAAM. Rather than implementing a consumer welfare friendly neoclassic economics analysis, we adopt a critical political economy of communications (CPE) approach to analyze these cases. The article explores whether EU competition policy does enough to yield the required measures to preserve a healthy digital economy sector for political and social welfare as much as for consumer welfare.

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Section: Critical Political Economy Of Communication Platformization ...mentioning

confidence: 99%

EU digital economy competition policy: From ex-post to ex-ante. The case of Alphabet, Amazon, Apple, and Meta

Nicoli

Iosifidis

2023

Global Media and China

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“…The rationale behind the creation of the independent quota was twofold: to diversify the sources of programme supply, and to allow broadcasters to benchmark their costs against external suppliers (Deakin et al , 2009; Peacock, 1986). In 2007 the WOCC was created at the BBC as an additional quota of 25% that both in-house and independent producers bid competitively for, with the aim of ensuring a level playing field between suppliers; but it has been perceived as detrimental to creativity (Nicoli, 2012) and unsustainable (BBC Trust, 2015). In the context of its Charter renewal in 2017, the BBC proposed to remove its in-house guarantee of 50%, an offer endorsed by the government (DCMS, 2016).…”

Section: The Regulatory Environment Of Television Broadcasting and Prmentioning

confidence: 99%

“…Whereas the emergence of ‘super indies’ allows them the financial slack to risk innovation, researchers emphasize that these efforts are targeted at a global audience, thus questioning the aim of increased programme diversity (e.g. Nicoli, 2012; Paterson, 2017a). Paterson (2017a) highlights that the limitations involved in preliminary studies that sustained regulatory change – namely the Phillis Report, which neglected the US experience and put excessive focus on content production at the expense of distribution – impaired a full consideration of its potential effects.…”

Section: Tracing the Trajectory Of The Independent Television Productmentioning

confidence: 99%

The role of regulation in constituting markets: a co-evolutionary perspective on the UK television production sector

Lourenço

Turner

2019

Journal of Institutional Economics

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This article builds on a legal institutionalist approach to assess market-based regulatory change in British television production over the last three decades. It explores how formal rules governing television production constitute market relations, and whether these rules are likely to be evaded by television producers and commissioners in a context where contracting depends heavily on social norms of cooperation, reciprocity and flexibility. Using qualitative data, this article suggests that changes in law and terms of trade intended to promote a market in television production have not had a straightforward or linear effect: compulsory independent production quotas and licensing models of terms of trade have redrawn organizational boundaries in unexpected ways, disturbed the public service remit and engendered new financial flows. Formal rules were nonetheless central to the trajectory of the television production industry, as they were a constitutive element of changes in the power structure of the sector towards producers’ interests.

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“…This was a major lobbying success, giving 'qualifying' independent producers greater control over the exploitation of the rights to their programmes in international markets, and contributing to the rapid growth of the sector and to a long cycle of consolidation, vertical integration and international acquisitions over the next decade, during which time a small number of 'super-indies' emerged and several were subsequently acquired by major global media companies, mainly from the United States (see, for example, Chalaby, 2010;Esser, 2016). 3 As already mentioned, the introduction in 2007 of the WoCC at the BBC, allowing external companies to compete for a further 25% of the BBC's commissioning hours, was the latest in a series of regulatory changes designed to boost the independent production sector (Nicoli, 2012).…”

Section: Ideas Institutions and The Bbc As A Strategic Actormentioning

confidence: 99%

“…The arrival of Channel 4 and the 25% independent production quota led to the rapid development of a sector that, by the mid-1990s, was 23 comprised of around 800 independent television production companies, mostly small or medium-sized enterprises (Doyle and Paterson, 2008: 21). was the latest in a series of regulatory changes designed to boost the independent production sector (Nicoli, 2012).…”

Section: Ideas Institutions and The Bbc As A Strategic Actormentioning

confidence: 99%

The hollowing out of public service media: a constructivist institutionalist analysis of the commercialisation of BBC’s in-house production

D’Arma

2017

Media, Culture & Society

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This paper examines the recent commercialisation of the programme-making activities at the BBC in the UK as a major instance of a wider tendency that sees a market logic becoming increasingly embedded in public service media (PSM) organisations. Drawing on ideational approaches to policy analysis, this paper seeks to explain how and why the BBC came to conceive of BBC Studios, a new commercial subsidiary bringing together the majority of BBC's in-house production units and free to compete in the wider market for programme commissions, as serving its long-term interests. It considers how BBC strategists engaged with dominant ideas in UK broadcasting policy on the economic value of the creative industries and the benefits of competition for creativity in television programme-making. It shows how changes to the institutional context over the past three decades, predicated on these very ideas, have constrained BBC's room for manoeuvre.The main arguments put forward -the BBC's growing reliance on economic arguments to justify its value and the path-dependent effects at work pushing the BBC towards advocating an institutional solution entailing the further hollowing out of its publiclyfunded structures -are relevant to wider debates on the future role and organisational forms of PSM.2

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BBC In-House Production and the Role of the Window of Creative Competition

Cited by 4 publications

References 6 publications

EU digital economy competition policy: From ex-post to ex-ante. The case of Alphabet, Amazon, Apple, and Meta

EU digital economy competition policy: From ex-post to ex-ante. The case of Alphabet, Amazon, Apple, and Meta

The role of regulation in constituting markets: a co-evolutionary perspective on the UK television production sector

The hollowing out of public service media: a constructivist institutionalist analysis of the commercialisation of BBC’s in-house production

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