No public value without a valued public

Lis, Bettina; Nienstedt, Heinz-Werner; Günster, Christoph

doi:10.1080/14241277.2017.1389730

Cited by 6 publications

(3 citation statements)

References 20 publications

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“…In terms of media policy, Germany is a particularly suitable country for policy transfer to the UK as the British played the most decisive role in redesigning the post-war German broadcasting system. Due to these historic ties, which led to a variety of similarities – most striking being the strong PSB regimes and similar conceptions of public value (Lis et al, 2017: 21) – media policy transfer is common between the two countries. In most instances, however, Germany follows the British lead.…”

Section: Analytical Framework and Methodologymentioning

confidence: 99%

The end of the television licence fee? Applying the German household levy model to the United Kingdom

Ramsey

Herzog

2018

European Journal of Communication

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While the United Kingdom (UK) government has renewed the BBC Royal Charter until 2027 and confirmed that the television licence fee will last for this period, a medium-term shift from the television licence fee to a household levy is still a policy option. Drawing on the German experience, we discuss the probable difficulties, possible benefits and the overall implications of such a shift in the UK. The article employs a comparative media policy analysis. After a brief history of public service broadcasting funding in the UK, we provide an outline of the recent German public service media funding reform. We point out the difficulties from the German model to predict the future total revenues and elaborate on the suitability of it in the UK context, contrasting the possibilities of policy transfer and policy failure.

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Section: Analytical Framework and Methodologymentioning

confidence: 99%

The end of the television licence fee? Applying the German household levy model to the United Kingdom

Ramsey

Herzog

2018

European Journal of Communication

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“…En términos económicos, la independencia de estos medios es un asunto vital. Entre las fórmulas más comunes para garantizar una manutención que les permita no sucumbir a presiones estatales o comerciales se encuentran las tarifas de licencia pagadas directamente por los ciudadanos, donaciones, crowdfunding, transferencia de parte de los impuestos cobrados a empresas de telecomunicaciones y medios comerciales, suscripciones, presupuesto estatal con financiamientos que no puedan ser afectados por los cambios de Gobierno y los modelos mixtos que incluyen la publicidad (Benson y Powers, 2011;Bonini y Pais, 2017;Lis, Niensted, y Günster, 2018).…”

Section: • Públicaunclassified

Las formas de propiedad de los medios de comunicación. Estado de la cuestión

Ramos

2021

anagramas rumbos sentidos comun.

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El objetivo de este artículo es presentar un estado de la cuestión sobre las distintas modalidades de propiedad mediática reconocidas en la literatura científica. A raíz de los procesos de concentración de medios que se han experimentado en las últimas décadas y el surgimiento de leyes que regulan este aspecto, el estudio de las formas de propiedad mediática se ha convertido en un tema de importancia para el campo de la comunicación por la influencia de la propiedad en la calidad del periodismo y la democracia. Sin embargo, muchas investigaciones adolecen de indefinición teórica, escasa problematización de la categoría, colisiones terminológicas y no abundan los trabajos dedicados a compendiar y sistematizar las diferentes modalidades de propiedad mediática que existen en la actualidad. La metodología empleada para construir el estado de la cuestión que aquí se presenta fue la revisión bibliográfico-documental. El análisis de investigaciones generadas en diferentes áreas del campo de la comunicación, posibilitó identificar y recuperar los rasgos básicos de las formas de propiedad mediática caracterizadas en este artículo. De ahí que el principal valor de este estudio radica en reunir, sistematizar y caracterizar, a partir de seis dimensiones estandarizadas, las nueve principales formas de propiedad bajo las que operan los medios de comunicación: privada individual, privada colectiva, fundaciones sin fines de lucro, cooperativa, organizaciones mediáticas no lucrativas, comunitaria, de organizaciones políticas y la sociedad civil, pública y estatal.

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“…Although the impact of a neoliberal marketisation discourse on BBC policy has received considerable scholarly attention (Collins, 2007; Dawes, 2014; Lee et al, 2011; Lis et al, 2018; Spigelman, 2014), the present study contributes to this body of literature by focusing specifically on the provision of arts programming as a key indicator of how the logic of the marketplace has permeated the BBC’s commissioning culture. The first section offers a broad overview of the BBC’s moral mission that determined its arts provision and how this has evolved through the effects of following two strong forces: pressures to widen its understanding of what constitutes ‘the arts’ in response to competition from other broadcasters and changes in public taste, and political and regulatory pressures to be more ‘accountable’ and justify receiving public funding through the licence fee.…”

Section: Introductionmentioning

confidence: 99%

BBC arts programming: a service for citizens or a product for consumers?

Genders

2019

Media, Culture & Society

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The British Broadcasting Corporation occupies what is often considered to be a unique position within UK culture as both a respected national institution that is a pillar of enlightenment values and, increasingly, an agile, entrepreneurial business that has to deliver ‘value-for-money’. This study will contribute to the existing body of literature examining the impact of a neoliberal marketisation discourse on BBC policy by focusing specifically on the provision of arts programming as a key indicator of how the logic of the marketplace has permeated the BBC’s commissioning culture. In doing so, it argues that the loss of the topical arts magazine and discussion formats from BBC television, in contrast to radio, is symptomatic of the ways in which arts broadcasting has been reimagined both in the corporation’s internal production culture and in its public pronouncements as a product for consumers rather than a service for citizens.

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No public value without a valued public

Cited by 6 publications

References 20 publications

The end of the television licence fee? Applying the German household levy model to the United Kingdom

The end of the television licence fee? Applying the German household levy model to the United Kingdom

Las formas de propiedad de los medios de comunicación. Estado de la cuestión

BBC arts programming: a service for citizens or a product for consumers?

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