‘It was Bauhaus without realising we were Bauhaus:’ BBC women and Youth and Entertainment programming in the North

IF 0.9 2区艺术学 0 FILM, RADIO, TELEVISION

Critical Studies in Television Pub Date : 2022-06-04 DOI:10.1177/17496020221105821

K. Gorton, Mark Helsby

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Abstract

This working paper focuses on women in leadership roles in the Entertainment Department of BBC North, based at New Broadcasting House on Oxford Road, Manchester and subsequently at Media City UK. In so doing, it considers the role of the department’s founder, Janet Street-Porter, and her leadership of the then Youth Programmes department in the late 80s/early 90s. Drawing on interviews with six women professionals who worked either during or just after Street-Porter’s leadership and scholarship on women in the UK media industry, this paper considers some of the reasons why this environment proved so fertile for our interviewees. We also reflect on some of the key issues the interviews provoked: the issue of balancing motherhood with a career in the UK television industry, the importance of women’s networks, and the impact of class in terms of working in the BBC. In this sense, the BBC was formative for our interviewees, particularly through the leadership of an ‘outsider’ like Street-Porter despite structural issues of exclusion that remained present in the organisation.

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“这是包豪斯，却没有意识到我们是包豪斯:”BBC女性、青年和娱乐节目在北方

这份工作报告的重点是在英国广播公司娱乐部门担任领导职务的女性，该部门设在曼彻斯特牛津路的新广播大厦，随后又设在英国媒体城。在这样做的过程中，它考虑了该部门的创始人珍妮特·斯特里特-波特的作用，以及她在80年代末/ 90年代初领导当时的青年计划部门。通过对六名女性专业人士的采访，这些女性在Street-Porter的领导和英国媒体行业女性奖学金期间或之后工作，本文考虑了这种环境对我们的受访者如此肥沃的一些原因。我们也对这些采访引发的一些关键问题进行了反思:平衡母亲身份与英国电视业事业的问题，女性网络的重要性，以及在BBC工作时阶级的影响。从这个意义上说，BBC对我们的受访者来说是形成性的，特别是通过像Street-Porter这样的“局外人”的领导，尽管组织中仍然存在排他性的结构性问题。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Critical Studies in Television FILM, RADIO, TELEVISION-

CiteScore

2.10

自引率

30.00%

发文量

期刊介绍： Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.