[Ilíada. Inglés]

Sign.: A5, B-C8, D

(G)hosting television: Ghostwatch and its medium

This article’s subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually-specific artwork and artefact. We discuss the programme’s ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’, principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme’s television-specific historicity whilst acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch’s visual grammar and vocabulary and deployment of ‘broadcast talk’ (Scannell 1991) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium’s history. We offer the programme as an historically-reflexive artefact, and as an exemplary instance of the work of art in television’s age of broadcasting, liveness and co-presence

‘I think it's absolutely exorbitant!’: how UK television news reported the shareholder vote on executive remuneration at Barclays in 2012

The most publicised rebellion during the so-called ‘Shareholder Spring’ of 2012 was at Barclays PLC. Using multi-modal and critical discourse analysis, this paper examines how three UK television channels with different public service obligations covered this story on 27 April 2012. It finds that broadcasters’ regulatory obligations do not obviously impact content and that, for example, simple reporting routines contain judgemental phrases. Generally, the multi-dimensional nature of executive pay is simplified and the real balance between private and individual shareholders is obscured. Analysis also reveals that editing and the use of images can subtly construct discourses that may not reflect the reality of the dissent. The paper concludes that established criticisms that business journalism is indolent and that corporate discourses are privileged are not supported, but also that the coverage contributes little to promote wider understanding of executive pay debates

Making Public Television Social? Public Service Broadcasting and the Challenges of Social Media

This article investigates how the rise of social media affects European public service broadcasting (PSB), particularly in the United Kingdom and The Netherlands. We explore the encounter of "social" and "public" on three levels: the level of institution, professional practice, and content. After investigating these three levels, we address the more general question of how public broadcasters are coping with the challenges of social media. How can public television profit from the abilities of social media to engage new young audiences (and makers) without compromising public values? And will PSB be able to extend the creation of public value outside its designated space to social media at large? While the boundaries between public and corporate online space are becoming progressively porous, the meaning of "publicness" is contested and reshaped on the various levels of European public broadcasting