Asked by: Jamie Stone (Liberal Democrat - Caithness, Sutherland and Easter Ross)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, if her Department will make an assessment of the impact of privatising Channel 4 on the availability of distinctive British content.
Answered by Julia Lopez - Minister of State (Department for Science, Innovation and Technology)
The government has recently consulted on whether an alternative ownership model for Channel 4 (but one where it retains a public service remit) may be better for the broadcaster, and better for the country.
We want Channel 4 to continue to be a public service broadcaster, and we want it to continue to contribute socially, economically and culturally to life across the UK. But there is a wealth of evidence - including Ofcom’s recent report - on the future challenges facing our traditional linear TV broadcasters. Channel 4 is uniquely constrained in its ability to meet these challenges while it remains under public ownership - particularly because its access to capital and ability to pursue strategic partnership opportunities is limited.
Channel 4’s remit, and its wider social and cultural contributions to life in the UK, are issues we have consulted on. The consultation opened on 6 July, running for 10 weeks, before closing on 14 September. We are currently analysing responses to inform our policy-making decisions. Once we have answered the questions set out in the consultation, we will know what specific impacts to assess and will therefore be in a position to carry out an impact assessment.
Asked by: Jamie Stone (Liberal Democrat - Caithness, Sutherland and Easter Ross)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what (a) method, (b) calculations and (c) evidential basis his Department used to agree with the Chancellor of the Exchequer a five per cent premium for the Live Events Reinsurance Scheme; and what assessment was made of the potential merits of similar models that have a zero per cent premium.
Answered by Caroline Dinenage
DCMS has worked closely with representatives from both the events and insurance industries over recent months to develop the Live Events Reinsurance Scheme. Details of the scheme - announced on 5 August with supplementary information released on 6 September - were designed to both provide the necessary confidence and reassurance to allow event organisers to plan and invest in live events over the coming year, whilst managing exposure and suitably protecting the taxpayer.
Where possible we sought to work in partnership with insurers and align with market practice. Through engaging with the sector throughout the design of the scheme we have been able to create a scheme which will play a vital role in helping the live events industry to rebuild with confidence. Numerous organisations - including UK Music and Live Nation - recognised the important contribution the scheme will make in enabling activity to go ahead when it was launched last month.
Asked by: Jamie Stone (Liberal Democrat - Caithness, Sutherland and Easter Ross)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what proportion of the events industry his Department estimates will avail itself of the Live Events Reinsurance Scheme.
Answered by Caroline Dinenage
DCMS has worked closely with representatives from both the events and insurance industries over recent months to develop the Live Events Reinsurance Scheme. Details of the scheme - announced on 5 August with supplementary information released on 6 September - were designed to both provide the necessary confidence and reassurance to allow event organisers to plan and invest in live events over the coming year, whilst managing exposure and suitably protecting the taxpayer.
Where possible we sought to work in partnership with insurers and align with market practice. Through engaging with the sector throughout the design of the scheme we have been able to create a scheme which will play a vital role in helping the live events industry to rebuild with confidence. Numerous organisations - including UK Music and Live Nation - recognised the important contribution the scheme will make in enabling activity to go ahead when it was launched last month.
Asked by: Jamie Stone (Liberal Democrat - Caithness, Sutherland and Easter Ross)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what steps the Government is taking to promote the Scottish Highlands as a film location for movies and television.
Answered by Caroline Dinenage
My department continues to work closely with its Arm’s Length Body, the British Film Institute (BFI), to ensure it meets the full range of its responsibilities, including to support the film sector nationwide. In its ongoing support for Scottish production, the Government has worked with the BFI to ensure a wide range of funding and initiatives are available to support Scottish production and the development of talent.
Examples of support that have been given to the Scottish film industry include the BFI Film Fund, the BFI NETWORK and the BFI Film Audience Network, which use National Lottery Funding for development, production, distribution and promotion, supporting Scottish films, Scottish audiences and emerging Scottish filmmakers. The BFI Film Fund has funded a number of Scottish projects including The Origin, which was shot in the Scottish Highlands in October 2020.
The British Film Commission (BFC), a national body predominantly funded by DCMS, also supports and promotes UK-wide film and high-end television production, including in Scotland. It works in close partnership with Screen Scotland, the national screen agency for Scotland funded by the Scottish Government and the National Lottery. Scotland is featured as part of all BFC marketing campaigns and assets, including show reels, websites and brochures, that are designed to facilitate film making and promote British locations, and the BFC facilitates regular business development meetings with international film and television clients. These meetings include representatives from all UK nations, including Scotland.
Following the outbreak of Covid-19 the Government has worked closely with the UK Nations to ensure Covid-secure production guidance supports safe production for film and high-end television in Scotland and across the UK. Screen Scotland has been part of the Screen Sector Taskforce, coordinated by the BFI, which helped to develop the guidance and has also looked at the impact of Covid and recovery measures for the sector, in collaboration with DCMS. In addition, the UK-wide £500 million Film and TV Production Restart Scheme is getting nationwide TV and film productions that have been halted or delayed by a lack of insurance back up and running, by giving productions the confidence they need that they will be supported if losses are incurred due to Covid-19.
VisitBritain also uses high profile filming locations as part of its international tourism marketing activity. For example, in the past it has run campaigns promoting Glen Coe, as featured in James Bond’s Skyfall.