Posted on 28/Sep/2016
FacebookTwitterGoogle+WhatsAppEvernotePocketKindle ItBufferLinkedIn
x
Bookmark

Even though ‘traditional’ public service TV and radio remain very popular, we want to consolidate the important role public service media has to play in the digital environment, says Nicola Frank, Head of European Affairs of the EBU. Here’s her opinion on the main legislative proposals of the Digital Single Market strategy.

 

The Digital Post: What are the priority issues for EBU on the EU digital policy agenda?

Nicola Frank: Digital Single Market policies are crucial because they will impact the way programmes are licensed, distributed and presented to viewers. We want to make sure that our content reaches citizens on all devices, which calls for licensing tools which are fit for the digital environment as well as rules ensuring that all relevant networks carry our programmes, and significant platforms and interfaces display our services prominently to users.  This is very important for cultural diversity and media pluralism.

Nicola Frank Head of European Affairs of the EBU
Nicola Frank
Head of European Affairs of the EBU

The way citizens access TV and radio programmes has evolved extremely fast in recent years. Even though ‘traditional’ public service TV and radio remain very popular – reaching 59% and 44% of Europeans respectively every week – we want to consolidate the important role public service media has to play in the digital environment. This is very much at the heart of EBU members’ strategies today.

As part of its digital strategy, the EU already made a very important step towards effective net neutrality. Now we need to build on this first important stepping stone with the recent proposals on the audiovisual media services directive, the telecoms review and the copyright proposals.

 

TDP: What are the challenges for broadcasters in the recent telecoms review? 

NF: From our perspective, the Telecoms review will impact the way our programmes are distributed on the various electronic communication networks – Digital Terrestrial Television, satellite, cable and IPTV. There is an opportunity within this review to strengthen the tools Member States have at their disposal to ensure that public service media programmes can be accessed on all key networks and on various devices. For example, ‘must-carry rules’ should be updated to match the fact that there are more means to distribute programmes and more on offer today, in particular interactive and on-demand services.

 

TDP: The copyright proposal has been criticised by many in Brussels and you are one of the few being quite positive, why is this?

NF: Yes, the proposal for a Regulation on broadcasters’ online content has caused quite an interesting reaction. Having analysed the proposal, we believe the Commission’s plans represent a balanced licensing solution. Effective licensing mechanisms are essential because assembling and distributing programmes implies that public service media organizations navigate through complex negotiations to obtain all the necessary licenses.

The proposal confirms contractual freedom and is in line with territoriality, principles which are at the very heart of the content-funding model. It should however be possible, for example, for Europeans who reside outside their homeland to access programmes from back home when they go online. When broadcasters wish to make a programme available across borders, then there should be adequate licensing tools out there to turn this will into a reality.

 

TDP: As part of the copyright discussions, broadcasters regularly mention the Satellite and Cable Directive. Where does that fit in?

NF: The Satellite and Cable Directive of 1993 is an interesting model because it has unlocked access to broadcasters’ programmes across borders on satellite and cable networks. It introduced effective licensing mechanisms for satellite transmissions and retransmissions on cable networks, which have shown that territoriality can co-exist with the Internal Market. For example, the Italian public channel RAI 1 is available in 20 EU Member States via cable with the exception of certain premium content, and those of us living here in Brussels can watch Sherlock on the BBC on Belgian cable without any problem. Around 1500 free-to-air satellite channels without encryption are available across Europe.

 

TDP: How are public broadcasters impacted by the proposals to update the AVMS Directive published earlier this year? From your point of you, how could the proposal be improved?

NF: The AVMS Directive covers subjects which are of major importance for public service media:  informed citizenship, the protection of minors from harmful content and the promotion of European and domestic programmes to name but a few. They represent fundamental objectives for European audiovisual media policies. But what has changed is how these objectives are met in the digital environment.

The audiovisual media services Directive should be updated to ensure that valuable content for society is prominently displayed and easily accessed where citizens go to get audiovisual programmes in today’s digital environment. We want our contribution to society to be effective in this rapidly-evolving audiovisual landscape: we offer impartial and diverse information, a gateway to European content – over 80% of our EBU members’ airtime – and safe, informative spaces for users, especially minors.

Facilitating access to our members’ programmes is all the more important because powerful and VOD and OTT providers’ impact on the individual viewers’ choice and consumption is growing steadily. The Audiovisual media services Directive needs to give Member States the possibility to address access and appropriate prominence of public service media programmes.

The role of video-sharing platforms and social media also needs to be examined. Obviously, you cannot regulate them like audiovisual media service providers who exercise editorial responsibility. But there needs to be a basic set of rules to protect minors and tackle hate speech because of the importance of these platforms in the digital environment, in particular for younger audiences.

 

Picture credits: Pierre Metivier
(Visited 212 times, 1 visits today)