No 5: European Television Production. Pluralism and Concentration

Mercedes Medina. 2004.

Pluralism and cultural diversity are basic values of public communication. The European Commision understands that the objectives of content regulations must ensure that they safeguard freedom of expression, pluralism, cultural and linguistic diversity, and consumer protection in general and especially for children.

The research hypothesis of this book can be summed up as follows: in order to guarantee pluralism in the audiovisual field it is also necessary to look at the producers of television programming at prime time and the vertical integration between the producers of those programmes and the television channels or companies that broadcast them.

European countries have adopted the EC regulations in favour of pluralism and diversity. In this sense, each country establishes measures to hinder market concentration and positions of dominance. Hence, the final aim will be to analyse whether ownership independence from production is enough to guarantee pluralism and to avoid dominant market power.

In the European television market, it is necessary to pay attention to the crucial role that public channels play in the audiovisual market. In this research we want to verify, among other things, if the existence of public television has really contributed to the development of independent production and to pluralism in Europe.

Table of contents

1. Introduction

1.1. Hypothesis

1.2. Literature review

1.3. Methodology

2. Regulation framework

2.1. Definition of independent producer

2.2. Independent production quotas

2.3. Audiovisual Authorities

2.4. Conclusions

3. European production market

3.1. Audience share of leading channels

3.2. Independent production in the European channels

3.3. Ownership of European producers and television channels

3.4. Independent producers and vertical integration

4. Prime time programming and production

4.1. Producers of public and private channels

4.2. General trends in public and private programme supply

4.3. Production of fiction

4.4. Some conclusions

5. Summary findings

5.1. Conclusions

5.2. Discussion

5.3. Proposals