Does Short-Term Exposure to Mobile Phone Base Station Signals Increase Symptoms in Individuals Who Report Sensitivity to Electromagnetic Fields? A Double-Blind Randomized Provocation Study

BACKGROUND: Individuals with idiopathic environmental illness with attribution to electromagnetic fields (IEI-EMF) believe they suffer negative health effects when exposed to electromagnetic fields from everyday objects such as mobile phone base stations. OBJECTIVES: This study used both open provocation and double-blind tests to determine if sensitive and control individuals experience more negative health effects when exposed to base station-like signals compared with sham. METHODS: Fifty-six self-reported sensitive and 120 control participants were tested in an open provocation test. Of these, 12 sensitive and 6 controls withdrew after the first session. The remainder completed a series of double-blind tests. Subjective measures of well-being and symptoms as well as physiological measures of blood volume pulse, heart rate, and skin conductance were obtained. RESULTS: During the open provocation, sensitive individuals reported lower levels of well-being in both the global system for mobile communication (GSM) and universal mobile telecommunications system (UMTS) compared with sham exposure, whereas controls reported more symptoms during the UMTS exposure. During double-blind tests the GSM signal did not have any effect on either group. Sensitive participants did report elevated levels of arousal during the UMTS condition, whereas the number or severity of symptoms experienced did not increase. Physiological measures did not differ across the three exposure conditions for either group. CONCLUSIONS: Short-term exposure to a typical GSM base station-like signal did not affect well-being or physiological functions in sensitive or control individuals. Sensitive individuals reported elevated levels of arousal when exposed to a UMTS signal. Further analysis, however, indicated that this difference was likely to be due to the effect of order of exposure rather than the exposure itself

The rise of britain's super-indies: Policy-making in the age of the global media market

This article analyses Britain’s remarkable performance in the European television industry. In the space of a few years the UK has risen to become the world’s leading exporter of TV formats and the world’s second exporter, behind the Unites States, of finished TV programmes. The first section compares and contrasts British TV exports data with that of France, before examining the emergence of London as Europe’s media hub. The second part argues that this significant progress is essentially due to deft policy making. In 2003, the British government operated a strategic shift in favour of content producers and created a new intellectual property regime. This regime has enabled producers to keep hold of their rights and become asset-owning businesses, eventually giving rise to a new breed of production companies: the super-indies. This paper shows how these super-indies have acquired the scale to compete in an international TV market and drive today’s British TV exports. Contrasting again Britain’s performance in the European TV trade with France, this article also analyses historical influences and claims it is Britain’s imperial past that helps her performance in the European TV marketplace. In addition to the globalization of the English language and the cultural affinities this nurtures, the trading heritage of the British Empire has facilitated Britain’s political elite’s understanding of the role that trade and the market can play in the creative industries, and enabled them to frame a broadcasting policy that is adapted to the global age

The BBC's role in the changing production ecology of preschool television in Britain

CBeebies, the BBC’s brand for young children, has become a successful public service undertaking, lauded by parents and policy makers alike. Nevertheless, it operates in a complex and highly competitive "ecology," where recent funding crises in commercial television have left CBeebies as the main commissioner of U.K.–originated content. Having outlined the broader industry context of CBeebies, this article examines changes in its organization, target audience, scheduling and commissioning practices, and relationship with the BBC’s commercial subsidiary, BBC Worldwide, to explain how wider commercial, cultural, and technological forces have impacted the Corporation’s strategies for preschool content. It suggests that growing pressures to locate funding for "fewer, bigger, better" programs may have an adverse impact on the range of content and sources of supply

Public policy, independent television production and the digital challenge

Television production is a vital component of the media and a sector whose performance has important cultural and economic ramifications. In the United Kingdom, the growing prosperity of the programme-making sector ‐ attributable partly to historic policy interventions ‐ is widely recognized as being a success story. However, a recent wave of corporate consolidation and takeovers, characterized by many leading UK production companies being bought out and often by US media conglomerates, has raised concern about the ability of the independent production sector to flourish in an increasingly globalized and competitive digital environment for television. Although preserving indigenous television production and associated audience access to locally made content remain important goals for media policy, achieving these has become more difficult in the face of trends towards consolidated ownership and ‘the emergence of powerful transnational platforms commercialising cultural goods and services online’ (García Leiva and Albornoz 2017: 10). This article examines the challenges raised for public policy as ownership structures in the television production sector adjust in response to new distribution technologies and to the transformative forces of digitalization and globalization. Focusing on the United Kingdom as an example, it asks do we still need television production companies that are indigenous and independent in a digital world and if so why? What role can and should public policy play in supporting the sustainability of an ‘indie’ sector? Drawing on recent original empirical research into the association between corporate configuration, business performance and content in the television production sector, it reflects critically on historic and recent approaches to sustaining independent producers and it considers how, in a digital world, public policy may need to be re-imagined for a rapidly evolving television landscape