Cultural significance of Britain's
Channel 4
written by:
npan
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Why is Channel 4 so significant? 750-1000 words.
Discuss
What the channel has come to represent
How it differs from other terrestrial networks
How it was founded
How programming has remained consistent from the beginning (use examples)
The role of OFCOM (what it is and how C4 falls under its remit)
Channel 4 first launched in 2nd November 1982 was from its inception, regarded as the enfant terrible of the
terrestrial television, in bringing alternative and marginal voices, disabilities, ethnicities and so on into the
greater public imagination. The central criticism as I will attempt to illustrate with brief context, is the
distortion of such figures in a frame of caricature and ridicule such as ‘Big Fat Gypsy Weddings’ known for the
structural incongruity of an earnest well-clipped voiceover present the lurid excesses of what is revealed to be
the habits of disproportionately affluent minority of the Gypsy/Roma community.
Rule 2.2 of the Ofcom Code states that: "Factual programmes or items or portrayals of factual matters
must not materially mislead the audience." Channel 4 agree: ‘At the heart of the commissioning system,
which is central to Channel 4's broadcasting remit, is the relationship between the commissioning team and
independent producers. To be effective, and to achieve the highest quality programmes, the relationship must
operate with honesty, openness and trust.’i
Although publicly funded in part, its commercial ventures in advertising, increasingly product placement,
merchandise and format rights maintain its self-preservation. In addition, the extent of cross-subsidy from E4
and Film4, which are no longer subscription services, was some £30 million of Channel 4’s last published
accounts in 2005.
Channel 4 was a dealt a sleeper success in its revenue with Slumdog Millionaire which although subject to
numerous sources of ownership and distribution particularly in the Americas and Asia, it meant Channel 4 has
increasingly sought to these mergers for its success which Ofcom recommended in a report of 2009. In the past
Film4, as mentioned was not a free and widely available digital channel and the Red Triangle which drew
criticism from ‘moral crusaders’ such as Mary Whitehouse and large audiences. Although 18-rated screen slides
were presented.
‘During the station's formative years, funding came from the ITV companies in return for their right to
sell advertisements in their region on the fourth channel.’ii Now the broadcaster fund itself in the
marketplace in very much the same way as other commercial outfits.
In certain controversies, such as the non-broadcast ‘Wank Week’ [a week-long series of programming on sexual
habits], certain senior media figures such ‘Charles Allen, the outgoing Chief Executive of Channel 4's
commercial rival ITV, attacked Channel 4 for deterioration of output and adopting a "begging" approach
to finances in the run-up to terrestrial digital switchover (requesting subsidies for public service output
while pursuing a path of commercialism).’
Channel 4
written by:
npan
The Marketplace to Buy and Sell your Study Material
Buy and sell all your summaries, notes, theses, essays, papers, cases, manuals, researches, and
many more..
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Why is Channel 4 so significant? 750-1000 words.
Discuss
What the channel has come to represent
How it differs from other terrestrial networks
How it was founded
How programming has remained consistent from the beginning (use examples)
The role of OFCOM (what it is and how C4 falls under its remit)
Channel 4 first launched in 2nd November 1982 was from its inception, regarded as the enfant terrible of the
terrestrial television, in bringing alternative and marginal voices, disabilities, ethnicities and so on into the
greater public imagination. The central criticism as I will attempt to illustrate with brief context, is the
distortion of such figures in a frame of caricature and ridicule such as ‘Big Fat Gypsy Weddings’ known for the
structural incongruity of an earnest well-clipped voiceover present the lurid excesses of what is revealed to be
the habits of disproportionately affluent minority of the Gypsy/Roma community.
Rule 2.2 of the Ofcom Code states that: "Factual programmes or items or portrayals of factual matters
must not materially mislead the audience." Channel 4 agree: ‘At the heart of the commissioning system,
which is central to Channel 4's broadcasting remit, is the relationship between the commissioning team and
independent producers. To be effective, and to achieve the highest quality programmes, the relationship must
operate with honesty, openness and trust.’i
Although publicly funded in part, its commercial ventures in advertising, increasingly product placement,
merchandise and format rights maintain its self-preservation. In addition, the extent of cross-subsidy from E4
and Film4, which are no longer subscription services, was some £30 million of Channel 4’s last published
accounts in 2005.
Channel 4 was a dealt a sleeper success in its revenue with Slumdog Millionaire which although subject to
numerous sources of ownership and distribution particularly in the Americas and Asia, it meant Channel 4 has
increasingly sought to these mergers for its success which Ofcom recommended in a report of 2009. In the past
Film4, as mentioned was not a free and widely available digital channel and the Red Triangle which drew
criticism from ‘moral crusaders’ such as Mary Whitehouse and large audiences. Although 18-rated screen slides
were presented.
‘During the station's formative years, funding came from the ITV companies in return for their right to
sell advertisements in their region on the fourth channel.’ii Now the broadcaster fund itself in the
marketplace in very much the same way as other commercial outfits.
In certain controversies, such as the non-broadcast ‘Wank Week’ [a week-long series of programming on sexual
habits], certain senior media figures such ‘Charles Allen, the outgoing Chief Executive of Channel 4's
commercial rival ITV, attacked Channel 4 for deterioration of output and adopting a "begging" approach
to finances in the run-up to terrestrial digital switchover (requesting subsidies for public service output
while pursuing a path of commercialism).’
