Business on television: continuity, change and risk in the development of television’s ‘business entertainment format’

This article traces the evolution of what has become known as the business entertainment format on British television. Drawing on interviews with channel controllers, commissioners and producers from across the BBC, Channel 4 and the independent sector this research highlights a number of key individuals who have shaped the development of the business entertainment format and investigates some of the tensions that arise from combining entertainment values with more journalistic or educational approaches to factual television. While much work has looked at docusoaps and reality programming, this area of television output has remained largely unexamined by television scholars. The research argues that as the television industry has itself developed into a business, programme-makers have come to view themselves as [creative] entrepreneurs thus raising the issue of whether the development off-screen of a more commercial, competitive and entrepreneurial TV marketplace has impacted on the way the medium frames its onscreen engagement with business, entrepreneurship, risk and wealth creation

Comprehension Models of Audiovisual Discourse Processing

Comprehension is integral to enjoyment of media narratives, yet our understanding of how viewers create the situation models that underlie comprehension is limited.This study utilizes two models of comprehension that had previously been tested with factual texts/videos to predict viewers’ recall of entertainment media. Across five television/film clips, the landscape model explained at least 29% of the variance in recall. A dual coding version that assumed separate verbal and visual representations of the story significantly improved the model fit in four of the clips, accounting for an additional 15–29% of the variance. The dimensions of the event-indexingmodel (time, space, protagonist, causality, and intentionality) significantly moderated the relationship between the dual coding model and participant recall in all clips

The celebrity entrepreneur on television: profile, politics and power

This article examines the rise of the ‘celebrity entrepreneur’ on television through the emergence of the ‘business entertainment format’ and considers the ways in which regular television exposure can be converted into political influence. Within television studies there has been a preoccupation in recent years with how lifestyle and reality formats work to transform ‘ordinary’ people into celebrities. As a result, the contribution of vocationally skilled business professionals to factual entertainment programming has gone almost unnoticed. This article draws on interviews with key media industry professionals and begins by looking at the construction of entrepreneurs as different types of television personalities and how discourses of work, skill and knowledge function in business shows. It then outlines how entrepreneurs can utilize their newly acquired televisual skills to cultivate a wider media profile and secure various forms of political access and influence. Integral to this is the centrality of public relations and media management agencies in shaping media discourses and developing the individual as a ‘brand identity’ that can be used to endorse a range of products or ideas. This has led to policy makers and politicians attempting to mobilize the media profile of celebrity entrepreneurs to reach out and connect with the public on business and enterprise-related issues

Television, business entertainment and civic culture

This short commentary piece arises from completing an Arts and Humanities Research Council (AHRC)–funded research project into the relationship between representations of business on factual television in the United Kingdom and the public’s perception and understanding of entrepreneurship. What we would like to do here is reflect on some of the implications of this work with specific regard to the research agenda around the media and civic culture. We remain convinced that even in the digital age, popular television remains a central entry point into debates about the relationship between broader civic and political culture

Truth, Lies, and Copyright

Fake news may be trending right now, but fake news is not the only source of fake facts that we consume. We encounter fake facts every day in the historical or biographical books we read, the movies we watch, the maps we study, the tele-phone directories and dictionaries we reference, and the religious or spiritual guides we consult. While it is well-established that copyright does not protect facts because facts are discovered rather than created, fake facts are created and can often be as original and creative as fiction. This Article is the first to offer a comprehensive analysis of copyright protection of fake facts contained in fake news and other sources. It details the different categories of fake facts we encounter today and courts’ inconsistent protection of fake facts under copyright law. Even though copyright law may technically protect fake facts as original expression fixed in a tangible medium, this Article argues that the public interest in promoting efficiency, fairness, and production of socially valuable works justify treating fake facts as unprotectable facts under copyright law. Specifically, courts should apply copyright law’s factual estoppel doctrine to treat fake facts as unprotectable facts in infringement cases where an author previously held out fake facts as facts, with the intent that the public rely on the fake facts as facts, if the public could believe the fake facts to be true