Home » Posts tagged 'BBC International'

Tag Archives: BBC International

Categories

Join 18,483 other followers

A BBC for the 21st-Century!

by John Brian Shannon

The UK government needs to drop the present funding model for the BBC by 2021 and help the corporation get ready to serve Britons even better than in the 20th-century. Which it did quite remarkably, considering the times and the level of technology available back in the day.

However, it’s a new century now, and even the hallowed institution of the BBC must gear-up for the new media environment that’s only begun to impact the world, and the first thing that needs to change is that the BBC license fee must end by 2021. That’s it. Gone! Just like that.

Of course the BBC will need to fund its programmes and it should sell advertising on all of its websites, TV programmes, radio broadcasts, and on all other media, in the same manner as other media outlets.

There won’t be any problem getting companies to advertise with the BBC as it remains one of the premiere media providers in the world. And, the day the BBC license fee model ends, the BBC should begin funding its programming via advertising.

The UK government should consider taking a page out of the Canadian government’s book when it moved the Canadian Broadcasting Corporation (the CBC is Canada’s national broadcaster) from 100% government control to a more arm’s length relationship with the Canadian government. Until the 1990’s, the CBC didn’t run ads unless the adverts were government advertising of some sort (during elections, or to provide public information, etc.) thereby making the CBC 100% dependent upon the government for their funding. Not the best way to build a free-from-government-control media empire…

The really smart thing the Canadian government did was insist that the CBC provide 50% Canadian content (CANCON) in its programming. That is, half of the programmes that aired on CBC TV or CBC Radio were required to have significant numbers of Canadian actors, hosts, Canadian news, or even if an American host was conducting the interview the interviewee had to be a Canadian in order to qualify for supplementary funding from the government.

This so-called CANCON requirement allowed Canadian programming to flourish — even though the gigantic American media machine lived right next door to Canada which could’ve easily subsumed Canada’s entire media establishment had they wanted to.

In exchange for providing CANadian CONtent, the CBC received supplementary CANCON funding from the government for Canadian programming on a per show or (sometimes) on a per series basis.

In some cases, the Canadian government paid up to half the cost of Canadian programmes, depending upon how many Canadian actors appeared on a show or series, and depending upon where the story took place. More CANCON funding was paid when the shoot was in Toronto than if shot in New York city, for example. A little complicated, but apparently not that onerous.

The Canadian film industry loved the new arrangement — and it saved the Canadian government millions of dollars per year — as the cost of running the entire CBC was no longer borne by the government, rather, they paid only for the portion of the programming that was considered Canadian content.

It was a win for the Canadian government which saved millions per year and got the taxpayers off their backs, it was a win for Canadian actors, directors, producers and theatre houses because they got rapid access to the massive (massive for Canada, that is) CBC which was suddenly hungry for Canadian content, and it was a win for Canadian viewers who got to see more programmes that interested them and fewer American shows that were less relevant to the Canadian experience.

Yes, the one downside was that Canadians had to suffer through commercials. (Oh, the agony!)

But there likely isn’t one Canadian who’d willingly go back to the old days of wall-to-wall American TV shows (mostly about crime) and American news (also, mostly about crime) and American soap operas (also, mostly about crime) with only bits of Canadian content scattered here and there.

CBC News, CBC Sports, and CBC Documentaries are of exceptional quality nowadays, and are broadcast and rebroadcast on many channels around the world. And even with that said, all of it seems to have improved every year since the Canadian government gave the CBC an independent mandate.

Yet, at the time the model was unilaterally changed by the Canadian government, some old-school CBC hosts tut-tutted the change, complaining that ‘Canadian television would never be the same’. And in a way, they were right, it’s even better now!

Today, as a result of the Canadian government’s foresightedness, the Canadian movie industry is booming and Hollywood movies are often shot in Canadian cities because the economics work so well. Even Hollywood film makers can qualify for CANCON funding when they shoot in Canada, and that’s in addition to the savings due to the Canadian dollar presently pegged at 75 cents to the American dollar.

Based on the successful CBC example, the BBC could break free from government funding and control, from the bad press surrounding the BBC license-fee, add more revenue to their operations via typical advertising, and gain additional funding from the government whenever it creates a made-in-the-UK film, series, documentary, news programme, or other UK-based programming.

To be fair to smaller centres, the BBC should receive slightly more funding per capita from the government for creating programming set in or geared towards Northern Ireland, Wales and Scotland, or in any economically depressed town or region of the country. For one example: What could a television series that is shot in the Orkney Islands do for the economy there? And for another example, what could a new BBC production centre mean for Blackburn?

There are plenty of spectacular landscapes in the UK and millions of fascinating stories to tell — one only needs to watch Escape to the Country to get a sense of the history of the UK and of the interesting people hiding in plain sight all over the country.

In short, the UK government needs to simplify the BBC’s funding model, it needs to lower its total spend on the BBC while rewarding it for producing UK-created content, it needs to drop the abhorrent BBC license fee, it needs to allow the BBC to advertise, and it needs to provide supplementary funding to the BBC and film makers hailing from Hollywood, Bollywood, or from anywhere in the world that film movies, documentaries, or series anywhere in the UK, especially in economically depressed regions.

That’s a BBC model that will allow the corporation and its great people to succeed even better in the 21st-century than it did when it was founded in 1922 and every year since.