observatory of public service b

Observatory of Public Service Broadcasting in EuropePublished May 2004 byScreen Digest Limited

Authors: Angelo Zaccone Teodosi and Flavia Barca for IsICult - Istituto italiano per l'Industria Culturale

IsICult - Istituto italiano per l'Industria Culturale is a not-for-profit organisation which has for a decade been carrying out studies and research, offering consultancy services and technical assistancein all sections of the cultural and media system. The Institute specialises in international comparativeanalyses of cultural policies and media economics. IsICult is a non-partisan organisation, independentof economics and media groups, political parties and lobbyists. It carries out: studies ad hoc and multi-client, qualitative and quantitative research. It offers economic and social/economic research service:strategic advice, forecasts, marketing plans, business plans, international comparative research, eco-nomic and political-institutional monitoring, medial maps… During recent years, IsICult has worked forimportant national and international organisations, including: Uer, Mpa, Rai, Mediaset, Medusa,AgCom… The Institute's co-founders are Angelo Zaccone Teodosi (president) and FrancescaMedolago Albani. IsICult is partner of the Italian web portal about itc and media, www.key4biz.it.

IsICult - Istituto italiano per l'Industria CulturaleVia della Scrofa 14, Roma 00186, ItalyTelephone: + 39 / 06 689 23 44 - Fax: + 39 / 06 689 61 58e-mail: info@isicult.it - website: www.isicult.it

Report Coordinator: Alessandro D'ArmaSupervisor: Gaetano StucchiContributors: Andrea Marzulli, Gun Akyuz, Giovanni Gangemi, Carla Passacantando, Fulvio Talamo,Nada Naddour, Nadine Vicentini, Diego Salvatore, David Del Valle Fernandez, Francois Godard,Wolfgang Neumann-Bechstein, Andreas Piani, Jean Rognetta, Luca Alessandro RemottiSupervisor English edition: Gun Akyuz

Art directors: Diego Maggi and Bruno Apostoli, for pam www.pardiniapostolimaggi.it, Fulvio Talamo(for the English edition).

This report is a version of a report commissioned by Rai's - Radio Televisione Italiana spa - StrategicMarketing Department, from IsICult and conducted during the period June - November 2003.

Rai Marketing Director: Carlo NardelloVice Marketing Directors: Benito Benassi, Deborah BergaminiVqpt Coordinator: Loredana Cornero

Direzione Marketing Strategico

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A monitor of market context, structural trendsand scheduling strategies in FRANCE, GERMANY, GREAT BRITAIN, SPAIN

O b s e r v a t o r yof Public Service Broadcasting in Europe

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INTRODUCTION

MARKET CONTEXT

KEY DATA (GRAPHS)

KEY FACTS, PROFILE AND TRENDS

5 AIMS, METHOD AND SCOPE OF THE STUDY15 PART I: MARKET CONTEXT

PREFACE -----------------------------------------------------------------------------------------------------------------------------------------------15

TELEVISION VIEWING IN THE FOUR COUNTRIES: AN OVERVIEW -----------------------------------------------17

TELEVISION ECONOMIES OF THE FOUR COUNTRIES: AN OVERVIEW -----------------------------------------32

OTHER INDICATORS AND COMPARISONS BETWEEN PSBS------------------------------------------------------------44

62 PART II: KEY DATA: ORGANISATIONAL MAPS, CHARTS AND SCHEDULE GRIDS

ORGANISATIONAL STRUCTURE OF THE FIVE PUBLIC BROADCASTERS ---------------------------------------62

GROUP COMPANIES AND TV CHANNELS OF THE FIVE PUBLIC BROADCASTERS ------------------------71

TELEVISION VIEWING IN THE FOUR COUNTRIES (1993 – 2002) ------------------------------------------------77

TELEVISION ECONOMIES OF THE FOUR COUNTRIES (1998 – 2002)-------------------------------------------82

PROGRAMME GENRES OF THE MAIN BROADCASTERS IN THE FOUR COUNTRIES----------------------83

SCHEDULE GRIDS OF THE MAIN CHANNELS FOR THE FIVE PUBLIC GROUPS ----------------------------92

TOP 10 PROGRAMMES (2002) AMONG VIEWERS FOR THE FIVE PUBLIC GROUPS -------------------102

109 PART III: KEY FACTS, PROFILE AND TRENDS

FRANCE TÉLÉVISION / FRANCE-------------------------------------------------------------------------------------------------------109

ARD & ZDF / GERMANY --------------------------------------------------------------------------------------------------------------------130

BBC / GREAT BRITAIN ----------------------------------------------------------------------------------------------------------------------149

RTVE / SPAIN-------------------------------------------------------------------------------------------------------------------------------------172

List of diagrams---------------------------------------------------------------------------------------------------------------------------------192

Contents ---------------------------------------------------------------------------------------------------------------------------------------------193

C O N T E N T S

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CONTENTSAIMS, METHOD AND SCOPENOTES

LIST OF GRAPHIC ILLUSTRATIONS, ORGANISATIONAL MAPS, SCHEDULE GRIDS AND OTHER VISUALS

BY TYPE

MAPS ORGANISATIONAL STRUCTURE63 France Télévision: holding64 France 2 65 France 3 66 France 567 Ard68 Zdf69 Bbc70 Rtve

MAPS GROUP COMPANIES AND TV CHANNELS72 France Télévision73 Ard74 Zdf75 Bbc76 Rtve

CHARTS VIEWINGComparative television viewing(by country: France, Germany, Great Britain, Spain)

19 Audience share all day 2002 (histograms)21 Audience share all day 2002 (pie charts)23 Audience share all day 1993-2002 (histograms)25 Audience share all day 1993-2002 (line graphs)27 Comparative television viewing (by country + Italy):

share all day 2002 “Winners and Losers” 2002/199329 Comparative television viewing (by country + Italy):

share all day 2002 “Winners and Losers” 2002/2001

78 France: television viewing (1993-2002)79 Germany: television viewing (1993-2002)80 Great Britain: television viewing (1993-2002)81 Spain: television viewing (1993-2002)

CHARTS FINANCIAL INDICATORSComparative size of national market

35 Share of television income 200237 Total TV licence fee vs total TV advertising 1998-200239 Advertising revenues by group 200241 Advertising revenues by group 1998-200243 Total revenues of principal groups with a “core business” in TV, 2001-200283 France: size of national TV market economy84 Germany: size of national TV market economy

85 Great Britain: size of national TV market economy86 Spain: size of national TV market economy

CHARTS PROGRAMME GENRES88 France89 Germany90 Great Britain91 Spain

CHARTS EUROPEAN PUBLIC BROADCASTERS COMPARED54 Total revenues (Rai included):

values, share in %, trend 1998-2002, annual licence fee rate56 Total expenditure and programme expenditure 1998-200257 Growth in revenues and programme expenditure in relation to GDP 1998-200260 Share of transmissions by macro-genre 2002

SCHEDULE GRIDS (Autumn 2002)93 France 2 94 France 3 95 France 596 Ard 1 97 Zdf98 Bbc 1 99 Bbc2100 Tve-1 101 La 2

TOP 10 PROGRAMMES BY AUDIENCE (Annual 2002)103 France Télévision 104 Ard 105 Zdf106 Bbc107 Rtve

OTHER CHARTS45 Rate of penetration of broadcast delivery technology in Europe’s five largest

countries46 Methods of finance of the public TV groups and their relative weight as a func-

tion of total TV revenues47 Revenues per employee for the five public television groups 48 Size of the “family of channels” and level of internationalisation the five public

television groups49 Weight of information and fiction as a proportion of total output: comparison

between flagship channels of public and private broadcasters50 “original” vs “acquired” programming among the principal public channels51 Cost per share point for the five public television groups

AIMS, MMETHODS AAND SSCOPE OOF TTHE SSTUDY

The present report “Observatory of Europe’s Public Broadcasters” is intended to provide an in-depth analysis of Europe’s main

public broadcasters (RAI excluded) – France Télévision, Ard/Zdf, Bbc and Rtve – and their four respective national markets (France,

Germany, Great Britain and Spain).

There are approximately 60 pages of four-colour graphs.

Indicative of the volume of information analysed, some pages contain up to 7 different charts: representing a detailed level of infor-

mation, and presented in state-of-the-art graphics for ease of comparative reading.

The originally-developed graphics layout is the result of a joint effort of IsICult and the Studio PardiniApostoliMaggi in Rome.

The report published by Screen Digest is a synthesised re-working of selected sections of a research report commissioned by Rai and

undertaken by IsICult.

This report is the output of a permanent Observatory, in which the first edition excludes Italian data (and the Observatory’s origina-

ting country), except in a few sections (and in the most significant charts); however, it is expected that a complete set of Italian data

will be provided from the second edition onwards (planned for publication in December 2004).

The Observatory of Public Service Broadcasting in Europe is part of an ongoing research project initiated by Rai and carried out by

IsICult at the end of the 1990s (a first extract and public presentation was made by Rai and IsICult at the Prix Italia, “Scheduling

trends of the major generalist European broadcasters”, Florence, September 1999).

The present research was carried out in the period June to November 2003, by a research group formed by over 20 specialist con-

sultants.

The data show time series for the period 1999-2002, and in some cases refer further back (1993-2002). Analyses relating to indivi-

dual broadcasters reach until 2003.

The study is a combination of desk and field research, and original sources have been objectively analysed and compared in order to

achieve credible and reliable results; an additional 25 interviews were conducted with top management of broadcasting organisations.

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The methodological approach is typical of that used to analyse scenarios and market sectors (“structure/management/performance”

paradigms; “swot analysis”…), but, as applied to the characteristics of the television business, and one that is heavily influenced by

institutional-political variables.

DOCUMENT LAYOUT

The current document is presented in three sections:

(1) “MARKET CONTEXT”

(2) “KEY DATA”

maps, charts and schedule grids

(3) “KEY FACTS, PROFILE AND TRENDS”

The first section – “Market context” - includes:1. television viewing in the four countries; 2. television economies of the four countries; 3. other indicators and comparisons between Psbsand offers a comparative overview across different national markets and public broadcasters, focussing, in particular, on viewingconsumption (time series analysis of the period, 1993-2002) and sources of financing (time series analysis of the period 1998-2002).

The second section – “Key data” - includes:- maps of the organisational structure for France Télévision, Ard, Zdf, Bbc and Rtve;- maps of group companies and TV channels for the five psbs, as above;- charts on television viewing by country (France, Germany, Great Britain and Spain;- charts on sources of finance by country (France, Germany, Great Britain and Spain);- charts on programme genres for the nine main channels of the five Psbs (F2, F3 and F5 for France

Télévision; Ard1 for Ard, Zdf for Zdf; Bbc1 and Bbc2 for Bbc ; Tve-1 and La2, for Rtve), and comparison with the programming output of the main pri-vate channels;

- scheduling grids for the nine main channels, as above;- summary tables: “Top 10” programmes the 10 most popular programmes in 2002 for each of the five main broad-

casting groups (France Télévision, Ard, Zdf, Bbc and Rtve).

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The third section – “Key facts, profile and trends” - includes:

- those chapters entitled “key facts”, covering key features of the broadcasters observed in the report:

• group structure

• finances

• background television market

• funding sources

• audiences

• the mission channels within the group

• programming of the FTA channels

• scheduling strategies

• programme financing

- the chapter, “Profile and trends”, offering an additional layer of information to “key facts”, and identifying, in particular, five areas

of investigation and analysis:

• profile of the group

• key aims of the mission

• programming

• areas of weakness and possible threat

• areas of strength and further opportunities

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A. Graphics: notes and colour-coding of charts

Charts are accompanied by keys/legends in small but legible lowercase text shown vertically along the outer left-hand side of the chart “boxes”.

The sources for the analyses are also cited.

Note that a specific colour-grading has been devised to provide a faster, and more efficient reading of the report: “public” channels are identified by variations in

blue; “private” (in terms of “commercial”) identified by variations in red; “other” (“pay” and “multi-channel” in general), identified by variations in yellow. Applying

this colour code analogy, for instance, licence fee revenues are indicated in blue, advertising in red and pay TV services in yellow. The colour coding has, inevi-

tably, also imposed some oversimplifications. In the case of the organisational and structural graphs of channels (and broadcasters), a specific footnote is given at

the bottom of the page.

B. Notes for “Graphs on financial size of national television markets”: the “IsICult indicators”

The graphs “financial size of the national television markets”, show two indicators: IsICult Indicator 1 and IsICult Indicator 2 – intended to provide a measure of

the “return”, in audience share points terms, in relation to a variation in revenue generated. “IsICult Indicator 1” is calculated by indexing the share of advertising

revenues of each broadcaster (100 = total revenues of broadcasters analysed) to their share of audience (100 = the total audience of broadcasters analysed).

“IsICult Indicator 1” is a measure of a broadcaster’s/television group’s capacity to capitalise on its own audience, in advertising revenue terms, compared to its

“competitors”: the greater the value of the indicator, the greater the return on an audience share point in terms of advertising revenues. This indicator is clearly

more applicable to an analysis of commercial rather than public TV performance, which are often precluded from (except in the case of Spain) or significantly

restricted in, accessing the advertising market.

IsICult Indicator 2 is calculated by indexing a broadcaster’s share of television revenues (100 = total revenues of broadcasters analysed) to its share of audience

(100 = total audience of broadcasters analysed). “IsICult Indicator 2” also includes all sources of financial income, other than advertising revenue, such as licen-

ce fee and other forms of public financing. This, therefore, also allows an evaluation of the ’“efficiency” of those public broadcasters, for whom advertising reve-

nues are limited by restrictions in advertising, compared to their commercial “competitors”.

The IsICult Indicators (which in the present research report are used only in the charts, and not in the commentary of the text) have been developed using the

Institute’s in-house research expertise, and applied experimentally for the first time for the Rai research “Is the grass always greener?”.

C. Notes to “Maps of organisational structures”

Organisational structures of the public broadcasters vary widely from country to country, notably when dealing with organisational hierarchies. The Observatory

offers a first pass at such a comparison. In order to give some comparative analysis, the same colour coding is applied to organisational bodies or divisions of mat-

ching level, or that perform similar functions (or are, at least, equivalent): the Administrative Council (and equivalents), Director General (and equivalents), bodies

that represent public interests, divisions and departments.

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Thus, for instance, even if the general functions carried out by these organisations are not exactly the same, the Bbc’s Board of Governors is matched with the

Administrative Councils for Zdf and the Ard regional broadcasters, since they all carry out supervisory and control functions on the running (in particular, econo-

mic-financial) of the organisations, as well as to Rtve’s administrative council, since this body guarantees that radio and television activities are run in the public

interest (and separately from commercial activities); in particular, in the case of ARD and Zdf, this last function guarantees that the public interest is carried out by

the Radio Broadcasting and Television Councils respectively, and they are allocated a further colour code, in recognition of the wider political influences that cha-

racterise their make-up.

Note that the maps of organisational structures also contain some data “boxes” with the following: composition and nomination criteria for the administrative coun-

cil and other bodies, size of workforce.

D. Notes to “Maps of the group of companies and TV channels”:

The IsICult classification of ‘psb’ television channels

Within the “maps” showing the group of companies, the television channels of the public groups analysed here are differentiated by colour as “traditional chan-

nels” (in orange) and “other” channels (in yellow): the former represents those channels distributed via terrestrial analogue (this usually, but not invariably, inclu-

des channels with a generalist output and national distribution); the remaining category of “other” channels includes all channels within a group that can only be

received by multichannel households, or families able to receive a wider range of television services via cable, satellite or digital terrestrial.

All channels have been classified on the basis of three relevant variables (the classification is shown within the TV-screen symbol).

In terms of programming classification , a distinction is drawn between generalist and thematic channels;

the “thematic” category includes channels that carry programming directed towards a specific target audience group (for instance, the children’s channel, Ki.ka),

channels that are based around a specific topic (for example, the food channel, Bbc Food), and also, those channels whose programming is dominated by a par-

ticular genre (for example, France 5 can be considered, by and large, a “documentary” channel: see infra).

In terms of cost to the viewer, a distinction is made here between “free-to-air” and “pay” channels (in other words, those channels bundled as part of paid-for

packages and financed largely by the “fee” per subscriber received from the platform operator. In terms of the geographic spread of the broadcast signal, 5

categories are used (“regional”, “national”, “multinational”, “for overseas”, “international”):

• regional channels: channels aimed at specific regions or areas of a country (for instance, the regional Ard channels, grouped under the Ard III umbrella);

• national channels: channels intended for transmission within national boundaries (for instance, Bbc1 in Great Britain);

• multinational channels: channels that are the result of partnerships between broadcasters from different countries, and joined by a common language or geogra-

phic proximity, etc., and intended for transmission, first and foremost, for the benefit of audiences in those countries (for example, the French-German cultural chan-

nel, Arte);

• channels for overseas: channels based largely on a re-transmission of programmes that air on the national channels of a public group, both for the benefit of

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overseas residents and in order to promote and broadcast national culture; this category includes both those channels available in several countries and conti-

nents (such as, Tve Internacional), and channels available only within a single foreign country (such as German TV, broadcast exclusively within the US);

• international channels: channels intended for international broadcast (even where they are occasionally distributed as localised versions within countries).

In contrast to channels “for overseas”, “international” channels do not offer schedules based on programme repeats of the national channels of a broadcaster,

but instead , are characterised largely by autonomous programming (for instance, EuroNews, Animal Planet).

In terms of classifying channels based on their geographic distribution, the study has adopted the classification used by the EBU/European Broadcasting Union

(that distinguishes between regional, national, multinational and international channels): the difference here being the addition by IsICult of a new category

“channels for overseas”, which includes some channels that the EBU would otherwise classify as ‘international’. This new grouping has been added because of the

need to distinguish (as a separate category) those channels that, from a public broadcaster point of view, are essentially “re-transmissions” of their programming

abroad.

The perspective taken in some of these new classifications is that of the public television under observation, for instance: a channel such as Bbc Canada , whose

signal is receivable only within Canada, is classified as a Bbc channel “for overseas”, whereas it would have otherwise been classified as a national channel on the

basis of its signal reception.

For further clarifications of the colour charts, refer to the key at the bottom of each chart (for subjects classified as “holding”, “sub-holding”, “bouquet”,

“production”, etc.).

E. Notes to “Schedule Grids”:

Programming classification by genre (start of the 2002 / 2003 season)

The scheduling grids refer to the principal channels run by the 5 public broadcasters analysed as part of this research:

- FRANCE 2, FRANCE 3, FRANCE 5 for France Télévision;

- ARD 1 and ZDF for the German public service, ARD and ZDF;

- BBC 1, BBC 2 for BBC;

- TVE-1, La 2 for Rtve.

The reference period is Autumn 2002, which represents the initial part of the 2002 / 2003 television season”, and on which the programming analysis in the text

is based (see para. “Schedule Structure ”).

The information for the schedule grids was supplied either directly by broadcasters or obtained via the international network of consultants used by IsICult to carry

out this research. Verifications and checks were made by cross-referencing with sector publications (listings) and specialist websites.

The schedules refer to the day parts between 05:30 and 24:30: and exclude night time programming.

The schedule is divided into 5 time bands: 1. “breakfast” 2. “day-time” 3. “access prime-time” 4. “prime-time” 5. “late-night”.

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The start of each time band varies by country, in line with different national viewing habits. The following classification summarises the situation (note that there

are some differences in source, and it should be reiterated that “state of the art” comparative international classifications are less than perfect).

In terms of programme genres, 7 conventional principal macro-genres are used (but, even here, with some inevitable approximations):

“news”, “info”, “entertainment”, “fiction”, “film”, “children” and “sports”, each identified – within the scheduling grids – by colour (and in Capital letters).

Each macro-genre is accompanied by “sub-genre” details. In square brackets, some specific indications are given in some cases (for instance, a programme repeat

from earlier in the week; or in the case of films, the name of the host strand).

Finally, programme names are given in italics.

Macro-genres in the “scheduling grids”

Macro genres of television programmes used in the “scheduling grids” are subdivided using the following criteria :

(identified in dark green) – national, regional (identified with diagonal lines, in order to distinguish them) and international news, press review, weather forecasts.

(identified in light green) – covers a large array of programmes that are grouped according to their “informative” output, in its broadest sense (regional program-

mes are also identified here with diagonal lines):

- “magazines” (current affairs, politics, culture, environment, economy, health, media, television, trends, fashion, society and religion);

- “infotainment” (programmes that both inform and entertain: travel magazines, gossip, science and technology, service);

- documentaries;

- “factual” (including programmes that reconstruct real events, and so-called “life style” ones that, as well as informing, provide a strong element of escapism);

- “educational” programmes intended as cultural, or for learning.

Entertainment

(identified in blue) – includes programmes that are purely escapist and glossy:

- traditional variety shows;

- music programmes (pop and classical);

Time bands of the schedule

Time bands France Germany Great Britain SpainBreakfast 05:30 - 13:00 05:30 - 12:00 05:30 - 12:00 05:30 - 14:00Day-time 13:00 - 19:00 12:00 - 19:00 12:00 - 17:30 14:00 - 20:00Access prime-time 19:00 - 20:45 19:00 - 20:00 17:30 - 19:00 20:00 - 22:00Prime-time 20:45 - 22:30 20:00 - 23:00 19:00 - 22:30 22:00 - 00:00Late-night after 22:30 after 23:00 after 22:30 after 00:00

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- game-shows (with in-studio audiences and contestants);

- talk-shows (programmes with a host, guests and in-studio audience and cover a range of topics of discussion);

- reality-shows (programmes that turn reality into spectacle by covering real unscripted situations that follow an “improvised narrative” and generally feature

ordinary members of the public);

- comic and satirical programmes;

- candid-camera programmes.

Fiction

(identified in light pink) – includes national and acquired productions, each divided into sub-genres, series, TV movie, sitcom.

Feature films

(identified in dark pink) – includes both national and imported feature films.

Children’s

(identified in light blue) – covers both entertainment and educational programmes aimed at younger children (pre-school) and adolescents. Includes animation as

well as other programme types (magazines, series, games and entertainment programmes) dedicated to this target audience.

(identified in yellow) – includes both magazines and events coverage

Note. The present programme classification was devised by the IsICult research group, and does not necessarily correspond to classifications used by respective

broadcasters.

It should be reiterated that these (genre) analyses are unpublished and entirely experimental in nature.

F. Notes to “Tables of ‘Top 10’ programmes by audience” (calendar year 2002)

The tables showing the most successful programs by audience for the public broadcasters in the 4 countries analysed (France, Germany, Great Britain and Spain),

in the calendar year 2002, were developed using the following criteria:

- programmes are ranked in descending order of viewing level, given in absolute values (millions of viewers);

- for each broadcaster analysed, the programmes are cross-referenced to their position within the overall classification of the top 200 programmes by audience for

both public and private channels, and using data provided by the audience measurement services for the four countries:

for France: Médiamat - Médiamétrie; for Germany: Agf / Ggf; for Great Britain: Barb; for Spain: Sofres;

- only programmes transmitted by the public channels have been included in the tables, although reference is made to a programme’s position (in the column

“Absolute Rank Top 200”) relative to the overall classification table;

- sports programmes are excluded from the tables even though they are well represented in the official measurements: to recall that in the period analysed (2002),

in particular, World Cup matches transmitted by the public broadcasters, and as specified in the accompanying footnotes, achieved excellent audience levels

(frequently the top programmes in the table);

- where two episodes of the same series or format appear among the “Top 10” programmes, only the episode with the highest audience levels is included;

- there are two separate tables for Germany, given that Ard 1 and Zdf are run by two totally different groups.

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G. Other notes *

Order of broadcasters/ Countries in the research report

The public television groups analysed in this research report are presented in alphabetical order by country:

1. France (France Télévision)

2. Germany (Ard & Zdf)

3. Great Britain (Bbc)

4. Spain (Rtve).

Exchange rate for data for the Bbc and Great Britain

Economic data relating to the Bbc and Great Britain are expressed in Sterling: note that the average exchange rate for £ Sterling / euro for 2002 is 1.59 euros =

1 £ Sterling (or 1 euro = 0.63 £ GB). The Great Britain’s national currency has been retained here, not only because it remains outside of the euro system, but

also because a conversion to Euros would have significantly altered the times series data, caused by factors external to Britain’s national television economy (bet-

ween 2002 and 1998 the £ GB rose by 8% against the euro/ecu).

For those who want to convert the data into euros, a time series of the average annual exchange rate euro / £Sterling is supplied here:

- (year 2002) 1,590 euros = 1 £ (or 1 € = 0.629 £);

- (2001) 1,632 euros;

- (2000) 1,641 euros;

- (1999) 1,518 euros;

- (1998) 1,470 euros.

The five-year average (1998-2002) is 1.570 euros = 1 £ GB. Source: Ufficio Italiano Cambi (Uic).

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13* Great Britain in the present report refers to Great Britain and Northern Ireland.

1 In theory, a position based on direct competition with the private sector should not drive the operational or strategic choices of a public television service. The degree of competitiveness ofa public service in relation to its commercial rivals (either in audience, or, where appropriate, advertising revenue terms) is not, and should not be taken as, the sole indicator of its mar-ket strength (in the broadest sense), or indeed, of its overall effectiveness. Nevertheless, these intrinsic limitations notwithstanding, an analysis of the competitive positioning of Europe'spublic television services in relation to their private counterparts remains a useful tool for valuing, if nothing else, their level of activity, but also their prospects going forward (either interms of survival or development). In fact, it should not be forgotten that a public television's ability to maintain a higher audience share is considered a sine qua non condition in legiti-mising its claim for public financing (above all, in direct form via the licence fee).

PREFACESummarising the analyses in the following sections, a relatively encouraging picture of Europe’s “elderly” public service

television emerges, one that, at the start of a new millennium, appears to be in reasonably robust overall health. In the period

2001-2002 – taking advantage of the difficulties experienced by private free-to-air television groups (hit hard by the economic

recession) – psbs all improved their standing against their traditional competitors 1 within their respective national markets.

Tf1 in France, the Rtl and ProSiebenSat.1 (ex Kirch) groups in Germany, Itv in Great Britain, Telecinco and Antena 3 in Spain have

also appeared less able to respond to aggressive market conditions, namely, the rise (and, in some countries, such as Great Britain,

an explosion) of multichannel television.

These “other” TV services – a category traditionally used to describe services and channels born into a multichannel environment – have,

in fact, continued to slowly but inexorably erode the audience share (and to a lesser extent, share of the advertising market) of the

traditional players, both public and private. Yet, over the past two years, the public channels have shown the greater resiliance: in spite

of a gradual decline in audience levels, this has been to a lesser extent than their commercial counterparts.

The two factors with the biggest negative impact on Europe’s television groups – the slump in advertising and the effect of the

dotcom crash on new media and related businesses – primarily affected the private sector. On the one hand, advertising revenues

(largely supplementary for the public broadcasters - with the exception of Italy and Spain – who are otherwise protected and funded

by a relatively stable licence fee income) remain the dominant source of funding for the commercial free-to-air groups (despite efforts

to diversify their revenue sources over the last few years). On the other hand, the internet crisis (following the dotcom boom of the

second half of the 1990s) largely damaged the private broadcasters, who embarked on a strategy of expansion and diversification

with significant investments in this area (which now, with the benefit of hindsight, appears distinctly unwise).

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PREFACEAUDIENCESFINANCINGOTHER INDICATORS

By contrast, the public broadcasters took a far more cautious approach, a position no doubt influenced by their concern to avoid the

charge of improper expansion into areas outside of their core public service “mission”.

One of the most critical elements for public television services which emerge from this analysis, is the low attractiveness of public

broadcasting to younger target groups. This is perceived as a weakness not only by public services carrying advertising, but also by

all public channels which therefore try to enhance their appeal to this new target. There are several reasons for this: to attract new

audience away from the competition; to halt the erosion in viewing lost to multichannel services (taking into account that public broad-

casters, compared with commercial players, are less exposed to multichannel competition, due to their older-skewing core audience

group, who are by definition less attracted by new services in general); to attract and generate loyalty among younger viewers who

are the main users of new interactive services and enhanced programmes (in other words, multiple-platform formats with multiple

revenues streams).

What should not be ignored, however, is that one of the idiosyncrasies of the public mission is to attract the broadest and most varied

audience possible, while at the same time catering for less commercially attractive minority viewer groups: citizens, not consumers.

FRANCE TÉLÉVISION

ARD ZDF

INTRODUCTION

MARKET CONTEXT

KEY DATA (GRAPHS)

TELEVISION AUDIENCES

IN THE 4 COUNTRIES:

AN OVERVIEW

TELEVISION VIEWING

IN THE 4 COUNTRIES:

AN OVERVIEW

FRANCE TÉLÉVISION

ARD ZDF

INTRODUCTION

MARKET CONTEXT

KEY DATA (GRAPHS)

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

BOARD OFDIRECTORS

BROADCASTINGCOUNCIL

DEUTSCHEWELLE

WDR(NordrheinWestphalia)

BR(Bavaria)

HR(Hessen)

RBB(Berlin & Brandenburg)

RB(Bremen)

NDR(Hamburg, Lower Saxony,

Slevig-Holstein, Mecklenburg)

MDR(Saxony, Thüringen)

SR(Saarland)

SWR(Baden Württemberg,

Rheinland-Pfalz)

PROGRAMMEDIRECTORS

CENTRAL OFFICE FORPROGRAMME

COORDINATION

GENERALMEETING OFINTENDANTS

composed of between 6 to15 members (depending on theregional body), nominated largelyby the broadcasting council,in part by the Länder Parliamentsand by the Federal Parliament

STRUCTURE ANDCRITERIA FOR NOMINATION

(Board of Directors)

supervision and control of thecorporate running, inparticular over its financialmanagement

FUNCTIONS

composed of Intendants of theregional bodies; each one is alsoARD's Intendant in yearly rotation

administration and representationof ARD

FUNCTIONS

the director is elected by theregional bodies and retains the postfor two years

CRITERIA FOR NOMINATION

coordinates the participation ofregional broadcasters to ARD1'sprogramming

FUNCTIONS

companies or bureaux decentralisedamong some of the regional broadcasters

SHARED SERVICES

is nominated by the broadcasting council, as proposedby the Board of directors

CRITERIA FOR NOMINATION(Director General - Intendant)

direction and legal representationof the body

FUNCTIONS

composition of members varies(from 28 for HR to 74 for SWR): they are nominated following criteriaestablished by institutive charts ofeach of the regional bodies, andtherefore vary from region to region. They are all guided by the sameprinciples of pluralism and, most ofall, the widest possible socialrepresentation

(broadcasting council)

representing the various differentpolitical, cultural and economicinterests of the Land, and aguarantee that programming followthese interests. Nominates all the top management

FUNCTIONS

DIRECTOR GENERAL(INTENDANT)

ZENTRALEFORTBILDUNG

(Training)

ARDSALE&SERVICES

(Advertising sales)

ARD AKTUELL(News)

SCHULE FÜRRUNDFUNKTECHNIK

(Training)

DEUTSCHESRUNDFUNKARCHIV

(Archives)

GEZ(Licence fee collection)

ARD TEXT(Teletext)

SPORT A(Sports rights)

ARDHAUPSTADTSTUDIO

(News)

DEGETO FILM(Film rights)

RUNDFUNKBETRIEBSTECHNIK

(Transmission facilities)

INSTITUT FÜRRUNDFUNKTECHNIK

(Research & technology)

(Company)

(Bureau)

ARD PLAY OUTCENTER

(Bureau)

(Company)

ARD III

GERMAN TV DWTV

Regional bodies

7 members nominated: - 4 by the broadcasting Council- 1 by the Federal Parliament- 1 by the Federal Council- 1 by the Federal Government

17 members nominated:- 2 by the Federal Parliament- 2 by the Federal Council- 3 by the Federal Government- 10 by a permament group of

representatives of religiousgroups, associations and otherpublic institutions

Deutsche Welle

SHARED SERVICES

(LÄNDER)

(FEDERAL GOVERNMENT)

BOARD OFDIRECTORS

POLITICAL BOARDREPRESENTINGPUBLIC INTERESTS

TOPEXECUTIVE MANAGEMENT SHARED SERVICES

23,800 staff of which22,479 staff are employed across thevarious radio-broadcasting bodies:

4,156 at Wdr; 3,734 at Swr; 3,470 at Ndr; 2,958 at Br; 2,079 at Mdr; 1,650 at Rbb; 1,816 at Hr;

674 at Sr; 510 at Rb;

1,432 at Deutsche Welle

Staff at ARD shared offices: 1,321

HUMAN RESOURCES 2002

ARD - Organisational StructureObservatory of Public Service Broadcasting in Europe

Total TV Income 2002 = 4,952.2 m E

Public subventions

1,339.7 m E

Advertising

2,145.9 m E

Pay TV subscriptions

1,466.6 m E

54% Rtve

46% Autonómicas

ce: fo

t esti

ex; fo

t usin

: IsIC

sing S

Observatory of Public Service Broadcasting in Europe

ADVERTISING REVENUES BY TV GROUP 1998-2002 (comparison with Rtve deficit)

REVENUES OF THE MAIN GROUPS WITH A "CORE TV BUSINESS" 2001-2002

TV ADVERTISING REVENUES 2002

SHARE OF TV INCOME 2002 RTVE DEFICIT "VS" TOT. TV ADVERTISING 1998-2002

"ISICULT INDICATOR 2"

SPAIN: TV market resources

Relationship between share of televisionrevenues and audience share 2002

"ISICULT INDICATOR 1"Relationship between share of advertising

revenues and audience share 2002

Tve(Tve-1 + La2)

Autonómicas1.28

Telecinco0.70

Antena 30.66

Tve(Tve-1 + La2)

0.89 Autonómicas0.75

Telecinco1.24

Antena 31.16

Total TV Advertising Revenues 2002 = 2,145.9 m E

Tve (Tve1 + La 2)674.6 m E 31.4%

Autonómicas310.1 m E

Telecinco585.5 m E

Antena 3547.0 m E

Canal+ España28.6 m E

1,003.1 981.8

Sogecable∆ -2.1%

272.3 335.8

Vía Digital∆ +23.3%977.5 1,003.1

Autonómicas(6 TV broadcasters)

∆ +2.6%

630.1 670.7

Antena 3∆ +6.4%

1,604.6 1,664.1

Rtve ∆ +11.9%

532.8 521.7

Telecinco∆ -2.1%

2001 2002 2001 2002 2001 2002 2001 2002 2001 2002 2001 2002

0400800

1,2001,6002,0002,4002,8003,2003,6004,0004,4004,8005,2005,6006,0006,400

Authorised Indebtedness

∆ +3.7%

801.0 896.1

Advertisingcagr 98-02 = 5.0%

RTVE deficitcagr 98-02 = -5.0%

1,765.42,071.7

2,283.22,113.8 2,145.9

1998 1999 2000 2001 2002

708.6708.6

411.7411.7 636.7636.7

681.0681.0

578.0578.0

1998 1999 2000 2001 2002

Tve (Tve + La 2)

Antena 3Rtve (deficit)Telecinco

Canal+ España

Autonómicas

534.8534.8

708.6708.6

592.1592.1

411.7411.7

623.9623.9

636.7636.7

597.9597.9

681.0681.0 674.6674.6

578.0578.0569.7

349.2319.0 310.1

26.2 30.7 29.5 28.6

553.7 644.3597.1 585.5

SPAIN: genres of programmingPUBLIC CHANNELS: share of transmissions by genre

PUBLIC VS PRIVATE: share of transmissions by genre

36.9 36.5 36.9

Fiction

23.923.6

26.3 27.0

Information

4.55.9

6.9 5.9 5.2

Gameshows9.9 10.6 9.9 10.18.3

Culturalprogrammes

2.1 1.5 1.7 2.1 2.5

11.69.7

13.0 13.2 13.7

Miscellaneousentertainment

4.03.2

2.5 2.3

Sports

5.34.4

2.7 3.0 3.9

Infotainment

98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02

0.6 0.8 0.6 0.3

0.3 0%

Fiction

7.48.9 8.6

10.4 10.0

Information

2.6 2.2 1.6 2.6 2.7

Gameshow

27.328.8

27.725.9

Culturalprogrammes

4.0 3.9 4.0 3.3 3.6

14.9 14.813.2 12.5 13.2

3.2 2.9 3.0 2.9 3.0

16.4 16.117.5

23.322.0

Sports

0.8 0.8 0.7 0.7 0.6

Infotainment

98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02 98 99 00 01 02

Information Cultural programmes Infotainment Fiction Miscellaneous entertainment Gameshows Music Sports Other

Tve-1 (1998-2002) La 2 (1998-2002)

Observatory of Public Service Broadcasting in Europe

Tve1La 2Tele 5Antena 3Canal + España

Comparison between broadcasters (2002) Comparison of overall output public vs private (2002)

ce: Is

t usin

fres d

30% 25% 20% 15% 10% 5% 0% 5% 10% 15% 20% 25% 30%

Fiction Fiction

19.718.5Information Information

28.029.3

Cultural programmes Cultural programmes

4.0 5.7Gameshows Gameshows

7.02.2

15.8 1.8

Infotainment Infotainment

13.5 27.2Miscellaneousentertainment

1.7 8.4Other Other

3.1 1.2Music Music

12.2 1.3Sports Sports

Information Infotainment Gameshows SportsCulturalprogrammes

MusicMiscellaneousentertainment

Fiction

0.5 0.0

5.26.1

2.00.5

2.11.5

2.53.6 3.2

0.81.6

13.7 13.2

9.37.4

Tve 1 + La 2

Antena 3 + Tele 5

Σ = 100% Σ = 100%

STRUCTUREBUDGETTV LANDSCAPESOURCE OF FINANCEAUDIENCE...

Compared with other European countries observed (Germany, Great Britain and Spain), France’stelevision market (with revenues of 8.592,4 million euros in 2002) stands out in terms of the significantshare of subscriptions as a proportion of total income (approaching 45%, the highest share of the largestEuropean countries).

In 2002 the advertising market, after the crisis of 2001 (-5.8%), returned to growth (+3.6%), eventhough total advertising revenues, equivalent to 2,892.6 million euros, are still lower than 2000 levels(2,963.7 million euros).

Limited by a stricter ceiling on advertising output than for the private channels, France Télévision’s shareof the total national advertising revenues pie (667.2 million euros in 2002) resulted as follows: - lower than its share of TV viewing (23 % slice of the advertising pie, compared with an audience share

of 41.2%);- a long way below that of Tf1 (with revenues equivalent to 1,424.2 million euros), who controls almost

50 per cent of the market, and only marginally above that of M6 (revenues of 556.6 million euros),who (with only 1 television channel compared with 3 for France Télévision) controls 19.2 per cent.

France Télévision, nonetheless, recorded a constant increase in advertising revenues in 2002 (+8.0%),achieving a decisively better result than that of its private competitors (advertising revenues for Tf1and M6 increased marginally by +0.7 and +1.0%, respectively).

SOURCES OF FINANCE... key facts

FRANCE TTÉLÉVISION

ARD ZDF

INTRODUCTION

MARKET CONTEXT

KEY DATA (GRAPHS)

SOURCES OF FINANCE... key facts

Licence fee revenues (£2,148.4 million) account, in Britain’s television economy, for a significant share(26.5%), albeit lower than pay-TV subscriptions (35.4%) and, first and foremost, advertising (38.1%).

Compared to other European countries included in the research, the British TV market is characterisedby a total ban on advertising as a source of revenue imposed on the public broadcaster andits terrestrial channels, Bbc1 and Bbc 2, a market from which the Bbc is, therefore, excluded(except through its “commercial arm” Bbc Worldwide – and its channels UKTV, Prime, America, Food,Animal Planet…).

The trend in the television advertising market nevertheless, affects the development of the competitivecontext in which the public broadcaster operates:

- the advertising market, after the crisis of 2001 (- 9,3 % on 2000), showed signs of recovery in 2002(+ 3.2 %), even though TV advertising revenues for 2002 (£3,092.2 million) remained lower thanthose for 2000 (£3,303.8 million);

- Itv1 experienced a significant loss of competitiveness over the last years, due to a significantdecrease of advertising revenues, to the advantage of the Bbc and new “competitors” (Channel 5and “other” TV), that were all less affected by the crisis that hit the sector in 2001.

In overall revenues terms, Bbc is the biggest television group in Great Britain (revenues in 2002equivalent to £3,532 million), ahead of the pay operator BSkyB (revenues equivalent to £3,186 million)and the two main Itv contractors, Carlton and Granada (revenues equal to £1,427.0 and £964.6 million,respectively).

TV LANDSCAPE

STRUCTURE

A monitor of market context, structural trendsand scheduling strategies in FRANCE, GERMANY, GREAT BBRITAIN, SPAIN

FRANCE TÉLÉVISION

ARD ZDF

INTRODUCTION

MARKET CONTEXT

KEY DATA (GRAPHS)

BUDGET

SOURCE OF FINANCEAUDIENCE...

Screen Digest is the leading news and market research journal for the international media business. Published monthly in print and electronic formats, it is read by senior executives in over 40 contries. It has an unrivaled reputation for concise, impartial reporting and comprehensive coverage of all audio-visual media.

Since being founded in 1971, it has built up a remarkable database of reference material and statistics, frequently cited in business and official reports around the world. The company also undertakes private client research for major international media companies and trade associations, and runs a number of major online Intelligence Services covering television and broadband, video and DVD, computer games and cinema.

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