Month: April 2018

Source: Lord Puttnam writing in Broadcast Magazine, 20 April 2018

This week I launched A Future for Public Service Television at the British Academy, a new book edited by Des Freedman and Vana Goblot, and published by Goldsmiths Press.It is based on the 2016 Report into public service television and includes contributions from academics, broadcasters and regulators.

Launching the book – and indeed contributing to it myself – has required revisiting the original report, which was published almost two years ago (just after the Brexit referendum) and taking stock of the significant changes that have occurred since.The speed and impact of change has been undeniably dramatic. 

Broadcasting has continued to be disrupted by technological change, whilst political volatility across the globe has contributed to a growing sense of unease and disorientation.All of this is indicative of the fragility of the societies in which we now live; fortunately a few things have remained reassuringly constant.

I, and indeed all the contributors to A Future for Public Service Television, remain steadfast in the belief that public service broadcasting is as important now as it’s ever been; a vital component of a healthy democracy.

The original report sought to highlight conditions that would allow for the production and circulation of high quality public service content in an increasingly complex set of circumstances.

Since June 2016, the media landscape has become even more complex: fake news, the proliferation of online bots, the ramifications of the Weinstein allegations, and the ongoing revelations about illegal data harvesting, all have added to the growing sense of chaos.

That we are poorly led and things are seemingly out of control.

Then there’s the growing dominance of new global content creators – the FAANG companies – with a market cap equivalent of 10% of the entire US stock market – meaning that the very nature of competition has evolved and, given their colossal production budgets, become ever more fierce.

Things have also changed at home – UK broadcasting has witnessed the start of the new BBC Charter; Channel 4 would appear to have seen off privatisation, albeit at the price of succumbing to partial relocation; and Sky has been the subject of multiple take-over bids. We’re now watching stark changes in consumer behaviour: as we know, younger audiences spend more time with Netflix in a week than they do with BBC television (including iPlayer) and there’s been a continuing fall in viewing of traditional broadcast television generally.

Many of these changes, particularly the generational ones, were foreseen during the preparation of our 2016 report.

But, as was the case then, the argument that PSBs are irrelevant remains untrue: in fact now, more crucially than ever, public-service television provides viewers with a trusted environment in which to absorb and sift information.

Indeed, a recent report from Ofcom reveals that the majority of people believe PSB news to be their most ‘trustworthy’ source of information.

In the Foreword to the 2016 report, I wrote –

“Our need for trusted sources of information, comprised of tolerant, balanced opinion, based on the very best available evidence, has never been greater.”

Two years later, I’d argue that this statement is infinitely more significant.

The BBC, Channel 4 and other PSBs remain vital guardians of impartial, factually-reliable and balanced news and current affairs, with the BBC still leading the pack. 

In the light of recent allegations of illegal data-scraping, the BBC’s Privacy Promise shows a welcome commitment to protecting its users’ data.

PSBs also have a critical role to play in addressing the issues of diversity, equality and harassment, both on and off screen.

‘Project Diamond’ – a pan UK broadcaster led initiative has a particularly important part to play in this wider landscape, setting out a new set of principles and guidance across the industry.

Social, political and cultural change has brought about many challenges for plural and informed democracy.

Today, millions of people around the world feel angry and alienated from ‘mainstream’ politics. Public Service Broadcasters are, and must remain, the torchbearer for whatever flickering form of trust and enlightenment survives these times of uncertainty.

Surely it’s our duty as citizens, as well as that of politicians to cultivate a landscape in which Public Service Broadcasting can remain healthy, vibrant and prepared to show leadership whenever civility appears to have ‘gone missing’ in other areas of our civic life.

Source: Tom Grater writnng for Screen Daily

Speaking in his annual keynote address as the president of the UK’s Film Distributors’ Association (FDA), David Puttnam has warned US-based online giants such as Facebook, Apple, Amazon, Netflix and Google must take action to tackle the misuse of users’ data.

The revered UK producer of Chariots Of Fire and The Killing Fieldshighlighted that while the so-called FAANG group, which now accounts for 10% of the entire US stock market, have “improved our connected lives”, recent questions have emerged around the safety of private data. All of the group are either producing or moving into the production of original content. 

“As has become all too apparent, data can be misused to a point at which it begins to threaten democracy itself,” Puttnam said.

The producer’s comments follow the recent scandal surrounding Facebook’s protection of its users’ privacy, which reportedly saw more than 87 million people have their data harvested by controversial firm Cambridge Analytica. The revelation led to Facebook founder Mark Zuckerberg testifying in front of the US congress this week that his company could have done more to protect privacy. The online social media giant has also accepted some responsibility for its failure to deal with Russian meddling in the 2016 US presidential election.

Puttnam added the new online players must follow traditional organisations in “accepting responsibility for what they publish”, pointing to newspapers which he said “have always assumed levels of legal responsibility for their content, whether written by journalists or readers”

Puttnam’s comments follow his call last year for filmmakers to tackle the subject of ‘fake news’.

Market changes

The producer highlighted recent consolidation of the entertainment market, such as Disney’s proposed acquisition of 20th Century Fox’s entertainment assets. He said, “In the internet age, no one can be surprised that the market for content is increasingly competitive, global and dominated by a small number of media giants with remarkable firepower.”

“Whenever there’s an over-supply of content and a fragmented market, consolidation seems an entirely rational response. Not only do I believe that this trend will continue, but it’s natural that it does so,” he added.

Puttnam has held his position at the FDA for 10 years, during which time he has regularly addressed the topic of the UK’s theatrical windows.

He reiterated his opposition to traditional releasing models. “Imagine a business that, having launched a product that may have cost hundreds of millions to produce, promote and distribute, exposes it to the marketplace for, say, six weeks, then withdraws it from any form of legal consumption for a couple of months or more – that is manifestly not a business that’s maximising the interests of its customers or its shareholders. Yet that’s exactly what the UK’s theatrical window arrangements do to distributors,” he said.

“Independent films, in particular, can only lose out as a result of this hopeless lack of commercial flexibility. Cinema operators tell me they need a protracted window of exclusivity, affecting all mainstream releases, to protect their investment in real estate, otherwise cinema visits would fall. But I’ve still seen no evidence of that being the case,” Puttnam continued.

Brexit

Puttnam has previously issued warnings around the potential damage that could be caused to the UK’s film sector by its forthcoming exit from the European Union. In today’s speech he praised the government’s recently announced sector deal for the creative industries, saying that it “shows us being taken seriously and our needs properly considered as Brexit approaches”.

He also picked out four key points he believes the UK must address for its post-Brexit future:

“One: A new immigration system that allows the creative industries to go on attracting the best talent in Europe – and beyond – to come and work in the UK.

Two: An agreement that enables our future trading arrangements to be as frictionless as possible, with reciprocal market access for the distribution of UK and EU member states’ film and TV productions. It must be as easy as possible for UK businesses to work with partners in the EU, and it’s imperative that the existing flexibility to license content on a territorial basis is preserved

Three: That the UK continues to be recognised as one of the best countries in the world in which to protect and enforce intellectual property rights. It’s essential that a robust IP regime enables creators to turn their ideas into revenues.

Four: Continued access to new iterations of specific EU programmes such as Erasmus Plus for student transfers, and Creative Europe which, for many years, has helped to support qualifying film companies and their audiences would, I believe, benefit the remaining EU-27 as well as ourselves.”

Finally, Puttnam also suggested the UK film industry will continue to make bigger plays into the virtual reality industry, predicting that there could be a network of VR-specific cinemas “within 10 years”.

“As new technologies redefine the very concept of a ‘screen’, the industry will increasingly need to explore fresh ways to tell stories, and to find viable new business models for the production and distribution of those stories,” he added on the subject of technological innovation.

On the same day as the FDA’s annual event, the organisation is also celebrating the launch of Screencontributor Geoffrey Macnab’s new book Stairways To Heaven: Rebuilding The British Film Industry, which is backed by the FDA and contains a foreword from Puttnam. The book explores the transformation of the UK film industry over the last 30 years.

Source: Tom Morgan writing for Goldsmiths

Public service broadcasting must be properly funded and remain fully independent in order to provide a “bulwark” against fake news and “ill-informed populism”, Lord Puttnam has said in a new book from Goldsmiths Press which addresses the future of television. 

The Oscar-winning film producer argues that in an era of “alternative facts and online trolls our public service broadcasters stand as guarantors of accurate, informed and impartial information”.

Writing in the foreword to A Future for Public Service Television, which is published today, Lord Puttnam adds that “our need for trusted sources of information, comprised of tolerant balanced opinion, based on the very best available evidence, has never been greater”.

Lord Puttnam says that the truly successful societies of the 21st century will increasingly be those in which the provision of news and information is “rapid, accurate and trusted”.

He adds: “‘Rapidity’ is now a given, ‘accuracy’ remains a challenge, but ‘trust’ is proving increasingly elusive.’

“Trust lies at the heart of any sustainable democracy, yet… it is evaporating on a daily basis, and once shredded, could prove all but impossible to rebuild.”

The peer, who is a Goldsmiths Honorary Fellow, concludes: “A well-resourced and fully independent public service television system, free of political coercion, offers our most reliable means of rebuilding public trust and accountability.”

Published by Goldsmiths Press, the university press housed at Goldsmiths, University of London, A Future for Public Service Television reflects on how publicly-funded networks like the BBC and Channel 4 can adapt and thrive in the 21st century media landscape.

The book summarises and expands on the report of the Puttnam Inquiry and includes freshly commissioned chapters from a range of leading TV theorists and commentators including Mark Thompson, Amanda Lotz, Tess Alps, Paddy Barwise, Matthew Powers, Jennifer Holt, Jon Thoday, Trine Syvertsen, Gunun Enli, Sarita Malik, David Hendy and James Bennett.

It also includes submissions to, extracts from, and transcripts of the Puttnam Inquiry including contributions from Lenny Henry and Ken Loach.

The collection, according to its editors Professor Des Freedman and Dr Vana Goblot, “is designed to highlight some of the key challenges that face television in a digital and volatile media landscape".

They add: "Lots of analysis is focused on funding but we wanted to focus also on how to embed diversity in the sector, how to democratise commissioning and production, how to use emerging platforms for public service purposes and how to provide content that is genuinely relevant to all sections of the population. These are the questions to which public service media have to find answers.”