Europe Un‐Imagined: Nation and Culture at a French‐German Television Channel by Damien Stankiewicz Toronto: University of Toronto Press, 2017. 282 pp.

2020 ◽  
Vol 122 (1) ◽  
pp. 189-190
Author(s):  
Thomas M. Wilson
Keyword(s):  
Television Channel ◽  
University Of Toronto ◽  
Imagined Nation

Development of the University of Toronto Skull Base Inventory (UT-SBI) Quality-of-Life Questionnaire

Skull Base ◽  
2009 ◽  
Vol 19 (03) ◽  
Author(s):  
John de Almeida ◽  
Allan Vescan ◽  
Jolie Ringash ◽  
Patrick Gullane ◽  
Fred Gentili ◽  
...  
Keyword(s):  
Quality Of Life ◽  
Skull Base ◽  
Life Questionnaire ◽  
Quality Of Life Questionnaire ◽  
University Of Toronto ◽  
The University

Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission

2014 ◽  
Vol 11 (4) ◽  
pp. 418-439 ◽  
Author(s):  
Gabriele Bock ◽  
Siegfried Zielinski
Keyword(s):  
Public Service ◽  
Risk Taking ◽  
Independent Film ◽  
Television Channel ◽  
Policy Context ◽  
Funding Mechanism ◽  
Contemporary Perspective ◽  
Hybrid Character ◽  
Commercial Station ◽  
First Time

This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.

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