Estimating audiences: sampling in television and radio audience research

Cultural consumption is problematic from a number of different perspectives, but certain responses from producers, regulators and commentators depend on the measurement of consumption according to quantitative and qualitative parameters. The reliability of the data can vary widely, not least because in certain areas consumption is invisible to those who would measure it, and so they must make estimates based on assumptions about methodology and sampling techniques. Whereas in auditoria, turnstiles may quite accurately quantify footfall through the premises, and sale or return inspires high levels of confidence in circulation figures for certain types of publication, broadcasters perform to intangible audiences who can be neither counted nor observed en masse. This article considers the appropriateness of sampling techniques used to produce audience research data for the broadcasting industries, for the programmers and advertisers who need detailed ‘knowledge’ about their audiences. It draws on the contextualization in Cultural Trends 45 (Starkey, 2003), which examined the debate around competing methodologies using either innovatory electronic devices for the measurement of consumption or more traditional human recall. The article raises important questions for those who use sampling techniques in the cultural sector and those who would interpret their data.     

Developing the evidence base for UK film strategy: the research process at the UK Film Council

The UK Film Council established a Research and Statistics Unit in order to gather data relating to film to inform the development of UK Film Council strategy and to provide an information service to the industry, government, the arts and cultural sector and the wider research community. The Research and Statistics Unit draws data from both official and unofficial sources and commissions its own special-purpose studies to gather information relevant to the strategic objectives of the Council. Key tasks are the measurement of the size of the market for film and the various elements of the film value chain, the performance of films supported by the UK Film Council and the performance of UK films in general. Special-purpose research projects currently include a detailed survey of the film production workforce, a study of the economic impact of the UK screen industries and studies of the social impact of local cinemas and the experience of Black- and Minority-led film production companies. A range of industry and official partners are collaborating in these studies. The Research and Statistics Unit also provides statistical and policy analysis relating to the wider policy environment of UK film, including issues such as the future of film tax incentives. This analysis has been developed within the HM Treasury ‘Green Book’ framework with particular reference to understanding market failure in relation to film. Central to the market failure argument is the cultural value of film in both its qualitative and its quantitative aspects. UK Film Council research is placed in the context of the literature on hedonic pricing and contingent valuation. The industrial challenges of increasing cultural value are discussed. Finally, consideration is given to the potential of film to contribute directly to ‘public value’.     

Cultural mapping and sustainable communities: planning for the arts revisited

The field of arts and cultural planning and the aspirations of cultural practitioners, arts development officers and town planners has had a long, if frustrated, history in the United Kingdom. The relationship between the land-use development system and arts and cultural policy has lacked specific provision guidance or standards. This is in contrast to other areas of leisure and recreation, such as parks and open spaces, sports facilities and libraries. In large part this is due to the discretionary nature of much arts provision and also the fact that there is no single type of provider. Arts facilities and activity are delivered directly and indirectly by local and county councils, community and independent not-for-profit arts organizations – large and small – and private enterprises in the commercial entertainment and cultural industries. The absence of planning guidance and comparable data to assess the need for, and location of, a range of cultural amenities has also hampered an equitable, distributory planning approach. However, renewed interest in amenity planning and the role of cultural activity and opportunity in “place making” is evident internationally, and in the UK in particular, as new housing growth areas, demographic change and population increases require the planning of social as well as physical infrastructure on a scale not experienced since the last major new town developments. This article reviews the evolution of arts and cultural planning in the UK, including an assessment of recent concepts, guidance and resources in the UK and elsewhere. Cultural mapping and planning approaches are then demonstrated in housing growth areas, followed by a proposed methodology and framework for populating the cultural map. Finally, conclusions are made on the state of data and policy integration in what continues to be a fragmented cultural system.     

韦庄入蜀仕蜀考辨

韦庄于乾宁四年奉使入蜀,后仕蜀为掌书记,前蜀时,官至吏部尚书同平章事。他的一生行迹基本清晰,但其入蜀仕蜀的情形各本记述有异。结合韦庄的诗歌创作及相关史实考辨,韦庄仕蜀并非出于本心。     

Religious broadcasting on UK television: Policy,public perception and programmes

This chapter assesses the developments in UK religious broadcasting over the last 20 years in both the BBC and independent television. Debate about the role and purpose of religious broadcasting is nothing new. However, the debate has taken on new significance recently in the light of wider consideration by broadcasting bodies and the government about the meaning and purpose of public service broadcasting in a multi‐channel television environment.

The first part of the chapter maps developments in broadcasting policy, with particular reference to statements issued by the BBC's and Independent Television Commission's advisory body, the Central Religious Advisory Committee. The chapter also highlights the impact of the changing religious make‐up of the UK, and the advent of dedicated religious television channels on the content of religious broadcasting.

The second part looks at the audience. Research findings may initially suggest that religious programmes are seen primarily as being for ‘other people’. However, closer examination of the audience shows that religious programmes are still watched by the majority of the adult population. And although viewers over 55 are well represented in the audience for many programmes, the audience for religious television is in reality more diverse than public and broadcasting industry perceptions would suggest.

Programmes are the focus of the third part of the chapter. While the amount of time devoted to religious programmes on BBC1 and ITV has remained at similar levels, the scheduling of religious programmes has moved away from peak time on both channels, but particularly so on ITV. Both channels have reduced the amount of religious programme time devoted to acts of worship. The official figures for amounts of religious broadcasting do not tell the whole story, however. Discussion continues both about the definition of ‘religious’ programmes and the future of religious broadcasting departments.

The challenge for religious broadcasting is to redefine itself for the digital age, without narrowing its scope.     

Non-national museum attendances in the UK. Part 2: counting them in

ABSTRACT

This is the second of two papers that together present an interim report on a study of visit numbers to UK regional and local museums. It identifies trends in museum visiting between 1891 and 2015 within the context of socio-economic change, and discusses the principle causes of annual variances (sometimes of substantial magnitude) at a local level. It suggests that changes in visit levels are generally within the control of a museum rather than the consequence of external influences, and questions how far the experience of the period since 2001 is comparable with what has gone before.     

西太后时代的“内廷供奉”

光绪九年(1883年)三月，西太后批准升平署从北京的民间戏班中，选择优秀的艺人进宫承差，为的是重建皇家剧团和演剧制度，她要彻底改变东太后时代宫廷演剧毫无色彩的局面。     

Closing a window on the world: Convergence and UK television services for schools

‘Closing a Window on the World: convergence and UK television services for schools’ is about the proven value to UK schools of the two free television services provided by Channel 4 and the BBC, and a serious threat to their future.

The first part of the chapter discusses the first ‘revolution in learning’, based on the development of television as a ‘window on the world’ for UK schools since the 1960s. Research evidence for the very positive teacher attitudes to their use of the services in the 1990s is cited.

The second part begins by discussing a BBC consultation exercise undertaken in the autumn of 2000, seeking support for a policy decision to develop a new ‘digital curriculum’ for schools. Recent research into the effectiveness of such technologies is reviewed. While schoolchildren enjoy using ICT (and especially video components it may include), there is as yet no firm evidence to support the confident claims being made for its effectiveness in promoting learning.

The chapter concludes that the BBC decision to begin the rundown of its ‘traditional analogue’ television service for schools is premature. At a sensitive time for public service broadcasting, it threatens the future of free services teachers have used and respected for many years. Without government action to include relevant provision in forthcoming broadcasting legislation, UK schools seem likely to lose this distinctive and valued support for their work and their ICT resources are also likely to be impoverished.