Television That Matters: A guide for writers & producers

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If anyone on the production team has any concerns about a viewer trust issue they should refer this up immediately to a senior person at the production company and if the concerns are justified Channel 4 must be promptly informed. Channel 4 will have far more respect for and trust in any member of a programme team who is prepared openly to identify problems in the production or development stages of a programme than in an individual who conceals such problems. More often than not, problems or issues brought to the Channel's attention can be resolved and the commission can proceed, albeit possibly in a different direction to that originally envisaged.

On many occasions, it may be simply a case of labeling material and explaining to the viewer that there is an element of legitimate artifice. This could include a pre-broadcast announcement, a line of commentary or an on-screen caption. On rare occasions, halting a project which is not working out perhaps because the story does not stand up is the right course of action; inventing the story is never an option. Since the early days of factual film-making the making of programmes has always been more sophisticated than the simple recording of action in real time.

It is a creative, rather than literal, medium, often reflecting the style of the film-maker in a similar way to a writer. The structuring and compression of experience is inherent in the making of a programme. However, although the editing process will inevitably condense events which have occurred over a period of time, this process must not distort reality and mislead viewers. The truth must not be sacrificed for the sake of a more entertaining programme if the effect is to cheat the viewer.

Similarly, viewers must not be misled about the nature of material they are watching. If it is claimed or suggested that footage is actuality, then that is what it should be; if it is not, then that must be made clear to viewers. Compliance for a programme must be a shared and collaborative process between the broadcaster and the production company.

Although Channel 4 is ultimately accountable to Ofcom for compliance with the Ofcom Broadcasting Code "the Ofcom Code" and all our programme-makers from the most junior to the most senior have a contractual responsibility to have read and to comply with its provisions and with all the guidelines and procedures set out in the Channel 4 Producer Handbook. Ofcom will not hesitate to impose the most serious sanctions, including substantial fines, for failure to ensure that programmes are accurate and truthful or where viewer trust is breached.

This rule is designed to deal with content that materially misleads the audience so as to cause them harm or offence. Programme-makers should also refer to Rules 2. Like all best practice documents these Viewer Trust Guidelines identify important areas but do not replace the Ofcom Code and guidance or the Handbook. The remainder of this document sets out further practical steps and guidance concerning Viewer Trust. It is the responsibility of the Executive Producer or most senior production executive on every programme to ensure that:.

Many established programme-making techniques are unproblematic and viewers would not find them surprising or troubling.

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For example, the use of a cutaway shot, 'noddy' or a 'set up' shot to establish an interviewee. Often, a contributor might legitimately be asked to repeat an insignificant action, e. Contributors should not however be asked to repeat or re-enact significant actions or events, e. People may behave differently when they know they are being filmed, although many will relax when they get used to the cameras. You must not, however, deliberately provoke or encourage behaviour which would not have occurred naturally, without making it clear to the audience that you have done so.

The broad distinction is this: it is not acceptable to incite someone to take or recreate an action which will have a bearing on the outcome of the programme's narrative and to present this action as something of significance observed as it happened on camera even if it is something which actually happened in the past. This is an unacceptable intervention which is entirely different to the legitimate creation of a filmed sequence representing insignificant everyday activity which has no bearing on the outcome of the programme's narrative. Inevitably, there are areas of ambiguity including occasions where the style and idiom of the film is intentionally heightened.

This is often the case in deliberately light-hearted films. An obviously stylised documentary might be visually inventive, for example, filming shots of the same thing from several camera angles and intercutting them. But there is a world of difference between an imaginative film where the audience understands the nature of what it is they are seeing and methods which mislead the audience, and claim evidential validation of a sequence which would not have happened without the intervention of the programme-maker.

The artifice of such imaginative documentaries is unproblematic, so long as it is clear that they do not seek to misrepresent contrivance as observed actuality. It is legitimate to innovate and take creative risks. There is, however, a duty to be clear about the terms on which we engage a programme's participants and its viewers and to ensure that viewers are clear about what they are watching and that they are not misled. The compression of time is a common programme-making technique and will generally be unproblematic.

However, where the programme narrative places emphasis on the importance of a strict timescale, care needs to be taken not to mislead the audience. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! IMDb More. Fred Fox Jr. Producer Writer Miscellaneous Crew. Down 71, this week. Born: February 7 , in USA. Filmography by Job Trailers and Videos.

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Share this page:. King Kong 50th Anniversary Showing Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen? How much of Fred Fox Jr. The Winslow family is a pretty normal family except for one thing, their neighbor Stephen Urkel. A genius and klutz Steve makes some really weird inventions while driving the Winslows insane.

Family Matters was always one of my favorite TV shows. It was a good show to watch in the 9 years in was on the air. It was amazing to see these kids grow up on screen as the same with Full House. TGIF was a great night of television back then Friday nights and I always looked forward to watching. Urkel was a favorite of mine. I think I even had the Steve Urkel doll! Explore popular and recently added TV series available to stream now with Prime Video.

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    Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Episode Guide. The Winslow family deal with various misadventures, many of them caused by their pesky next-door neighbor, ultra-nerd Steve Urkel. Creators: William Bickley , Robert L. Boyett , Thomas L. Added to Watchlist. Top-Rated Episodes S5. Error: please try again. TV Shows watched from the first to the last episode.