A In pairs, discuss the following questions. 1 Do you know anyone who works, in the TV industry?

1 Do you know anyone who works, in the TV industry? Describe what they do.

2 Would you like to work in the TV industry? Explain why / why not.

3 Look at some of the job titles used in the British TV industry: director of news and current affairs, editor, social affairs correspondent, reporter, researcher. Do the same jobs exist in your country? What are their responsibilities?

4 What differences do you think there are between being a newspaper journalist and being a TV journalist?

B 0.7 Listen to a meeting about planning the agenda for a news broadcast at the Scottish Broadcasting corporation [SBC]. Which items are they going to run with [choose] for the evening’s news broadcast?

C 0.7 Listen again and decide if the following statements are True[T] or False[F].

1.Last night’s story on the Prime Minister was very good.

2. The Asia correspondent is currently in India.

3. The police raided a building in Glasgow.

4. They will be able to get a Scottish angle on the trafficking story.

5. They would like to produce a whole programme about human trafficking.

6. They are going to meet again at two o’clock.

D Match the terms from Audio 0.7 [1-7] to their meaning [a-g].

1 correspondent 2 running order 3 (a) live 4 wires 5 (an) exclusive 6 DV footage 7 camera crew

a) national and international press agencies, e.g. Associated Press b) a team responsible for filming c) recorded images shot on a digital video camera, often taken by eyewitnesses ti news events d) the list of stories that make up a news program e) a report from a reporter, usually from the scene of a breaking new story f) a journalist employed by a TV station or a newspaper to report on a particular subject or send reports from a foreign country; similar to a reporter g) news which no other news organization has

E Circle the word that does not collocate in each group.

1. livea footage b show c crew

2.TVa programme b live c channel

3. exclusivea director b story c footage

4. cameraa work b crew c broadcast

5. editinga team b show c room

6. newsa story b programme c top

7. running a order b commentary c crew

8. livea camera b coverage c broadcast

Focus on reading

Read the radio commissioning brief and answer the following questions.

2. What is a radio commissioning brief?

3. Who do you think wrote this brief?

4. Who is it written for?

5. Where would you expect to see this type of document?

L o n d o n d o c u m e n t a r i e s

Listeners

London 1 is the voice of young London and serves akey audience: the under-25s. Music is at the heart of the station, which is the most listened-to youth station in London, with an audience of nearly 60% of London’s 15-24s.

Documentaries

When it comes to documentaries, the audience is interested in the world around them, but does not want to be lectured or told what to think. The tone and approach must always be peer-to-peer rather than parental. London1 will continue to commission documentaries to entertain and engage, but the audio is only part of what we are commissioning. Producers will be expected to provide, in addition to the broadcast programme:

· Selected highlights to be played in preceding programmes to trail in preceding programmes to trail ahead to the documentary

· A dry version for podcasting (current podcast consumption stands at around eleven thousand downloads a week, so this is an important audience)

· A piece of visual for the London 1 website to be used for viral marketing

Format

There is now a variety of formats available to the producer. These are:

· Two five-minute packages and a studio discussion with two guests

· Two ten-minute packages

· One twenty-minute package

Content

All documentaries must be based on the highest journalistic standards and deal with the subject matter in an appropriate and interesting way. They should also, where possible, try to avoid being too serious. Their approach should be innovative and include interviews with people who are interesting and a little out of the ordinary. Editors should make use of all the tools that sound engineers have available. All programmes commissioned by London1 will be subject to the relevant guidelines, including the Editorial Guidelines. Copies of these guidelines can be accessed on www.London1/info/guidelines.