The recent controversy surrounding the Russell Brand show on Radio 2, has raised questions over compliance processes, and also over matters of “Harm and Offence” – particularly when balancing audience expectations of edgy content with the desire to avoid unnecessary offence.
In addition to the strenghtening of compliance processes for recorded radio output, programme makers in all media are reminded that the BBC has some detailed guidance on managing the risks that can occur in live programming. Anyone involved in live output for the BBC should familiarise themselves with the Live Output Guidance and consider how it would apply in their own programmes.
Following the conclusion of investigations into the Russell Brand show, the lessons to be learned for all programme makers will be discussed at the next Editorial Policy Meeting on 17th December, which is open to all staff in the BBC (details right).
Close to the Edge
In the wake of the Russell Brand and Jonathan Ross incident, other edgy humour on the BBC has come under close scrutiny.
An aside from Jeremy Clarkson on Top Gear about lorry drivers killing prostitutes and a joke about the Queen on Mock the Week…Again attracted press coverage and, subsequently, a large number of complaints. The BBC has defended both programmes. On the Complaints website , the Executive Producer explains that the Top Gear audience “has clear expectations of Jeremy Clarkson's long-established and frequently provocative on-screen persona and exaggerated humour.” Similarly Mock the Week , which had been broadcast four times before with only a small number of complaints, is described as a “well-established satirical comedy series whose audience has very clear expectations of its bold and sometimes provocative humour.”
The recent examples illustrate the importance of keeping in touch with the expectations of the likely audiences for different services and programmes, particularly when making judgments about challenging content. Click here to read the Editorial Guidelines on audience expectations and Harm and Offence – the concept that replaced the previous guidelines on Taste and Decency in 2005, in line with the Ofcom Broadcast Code.
You can watch the clip of Top Gear here and read the BBC's response to complaints here . The response to the Mock the Week complaints is here .
As it becomes easier to distribute video and audio clips over the internet, organisations are increasingly producing their own video and audio news releases for the media to use in programmes.
In recent months, police forces have made available video of raids and interview material, whilst PR companies distribute interviews with big name celebrities.
Despite the growing trend to make this material available, the BBC's editorial policy on video and audio news releases is unchanged. Only in exceptional circumstances will we use such material supplied by outside organisations – including PR companies, emergency services, Government agencies, interest groups, campaigners and charities – especially if the BBC was not present when it was recorded.
The fact that the organisation has a vested interest in the subject matter can lead to concerns about the editorial integrity of the material. The organisation supplying the material may claim that it has been produced objectively, we cannot vouch for the circumstances in which it was gathered or the editorial standards applied.
We should normally only use extracts from such releases when the BBC is incapable of gathering the material itself and its use is justified by its editorial significance. This means that the material must provide an editorial value over and above the impact of the pictures.
Recently, some PR companies have made interviews available in such a way that the original questions can be edited out an replaced by the voice of a programme presenter. The revoicing of questions by someone who did not carry out the original interview is never acceptable in BBC content.
Detailed guidance on the use of Video and Audio News Releases is available here .
Dramatice Licence
The Editorial Guidelines say that
accuracy is "a core editorial value and fundamental to our reputation". Concern about a recent episode of Silent Witness highlights that these guidelines on accuracy apply not just to factual programming - but also to drama.
When Professor Leo Dalton (pictured right) is prosecuted for drink driving he is given community service. The programme received a complaint that the punishment in this case was more lenient that could normally be expected in the real world, potentially underplaying the seriousness of the offence.
Care is needed with 'dramatic licence'. Dramas may have fictional storylines, but when those storylines are placed in an environment that attempts to replicate the real world, we should aim to reflect that world accurately - particularly when representing the consequences of anti-social or illegal acts.
