Making Film Programmes for the BBC and Channel 4: The Shift From In-House 'Producer Unit' to Independent 'Package-Unit' Production
Making Film Programmes for the BBC and Channel 4: The Shift From In-House 'Producer Unit' to Independent 'Package-Unit' Production
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为 BBC 和 Channel 4 制作电影节目：从内部“制片人单位”到独立“打包单位”制作的转变
DOI：
10.1080/01439685.2013.823028
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发表时间：
2013
期刊：
影响因子：
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通讯作者：
Kerr P
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文献类型：
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作者：
Kerr P
本文探讨了英国电视节目从垂直整合、BBC 内部制片单位制作向以 Channel 4 为代表的委托、独立、打包单位制作的转变。这种转变是许多英国电视制作的特点，但在同一系列节目和基本上相同的制作团队中很少经历过。这篇文章分析了这种转变对两个特定系列的影响，这两个系列都是我亲自参与制作的电影杂志节目。第一部《电影》（BBC2，1990-1996）在第一季和第二季之间从内部制作转向独立制作，但我仍然担任系列编辑。第二个是《Kiss Kiss Bang Bang》（第 4 频道，1998 年），由同一家独立制作公司和几位相同的节目制作人（我是执行制片人）制作，但为第 4 频道而不是 BBC 制作。尽管关于独立制作的经济和就业后果的文章很多，但很少有人尝试调查这种转变是否对节目产生任何影响。通过分析两个具体剧集并改编珍妮特·施泰格 (Janet Staiger) 对 20 世纪 50 年代好莱坞独立人士的开创性讨论，本文提出了这种转变如何帮助改变了当代英国电视的形式和格式。
This article examines the shift in British television programming from vertically integrated, in-house BBC producer-unit production to commissioned-out, independent, package-unit production typified by Channel 4. This shift is characteristic of much British TV production but has rarely been experienced within the same series and by largely the same production team. The article analyses that shift as it impinged on two specific series, both film magazine programmes that I was personally involved in producing. The first,Moving Pictures(BBC2, 1990–1996), moved from in-house to independent production between its first and second series, though I remained as Series Editor. The second,Kiss Kiss Bang Bang(Channel 4, 1998), was made by the same independent production company and several of the same programme-makers (I was Executive Producer) but for Channel 4 rather than the BBC. Whilst much has been written about the economic and employment consequences of independent production, there has been little attempt to investigate whether that shift had any consequences on programming. By analysing two specific series and adapting Janet Staiger’s pioneering discussion of Hollywood independents in the 1950s, this article suggests how that shift helped transform the forms and formats of contemporary British television.