PCC - Press Complaints Commission

The Editors' Code - PCC

All members of the press have a duty to maintain the highest professional standards. The Code, which includes this preamble and the public interest exceptions below, sets the benchmark for those ethical standards, protecting both the rights of the individual and the public's right to know. It is the cornerstone of the system of self-regulation to which the industry has made a binding commitment.

It is essential that an agreed code be honoured not only to the letter but in the full spirit. It should not be interpreted so narrowly as to compromise its commitment to respect the rights of the individual, nor so broadly that it constitutes an unnecessary interference with freedom of expression or prevents publication in the public interest.

It is the responsibility of editors and publishers to apply the Code to editorial material in both printed and online versions of publications. They should take care to ensure it is observed rigorously by all editorial staff and external contributors, including non-journalists, in printed and online versions of publications.

Editors should co-operate swiftly with the PCC in the resolution of complaints. Any publication judged to have breached the Code must print the adjudication in full and with due prominence, including headline reference to the PCC.

Accuracy

i) The Press must take care not to publish inaccurate, misleading or distorted information, including pictures.

ii) A significant inaccuracy, misleading statement or distortion once recognised must be corrected, promptly and with due prominence, and - where appropriate - an apology published.

iii) The Press, whilst free to be partisan, must distinguish clearly between comment, conjecture and fact.

iv) A publication must report fairly and accurately the outcome of an action for defamation to which it has been a party, unless an agreed settlement states otherwise, or an agreed statement is published.

Opportunity to reply
A fair opportunity for reply to inaccuracies must be given when reasonably called for.

Privacy

i) Everyone is entitled to respect for his or her private and family life, home, health and correspondence, including digital communications.

ii) Editors will be expected to justify intrusions into any individual's private life without consent. Account will be taken of the complainant's own public disclosures of information.

iii) It is unacceptable to photograph individuals in private places without their consent.

Note - Private places are public or private property where there is a reasonable expectation of privacy.

Harassment
i) Journalists must not engage in intimidation, harassment or persistent pursuit.

ii) They must not persist in questioning, telephoning, pursuing or photographing individuals once asked to desist; nor remain on their property when asked to leave and must not follow them. If requested, they must identify themselves and whom they represent.

iii) Editors must ensure these principles are observed by those working for them and take care not to use non-compliant material from other sources.

Children

i) Young people should be free to complete their time at school without unnecessary intrusion.

ii) A child under 16 must not be interviewed or photographed on issues involving their own or another child’s welfare unless a custodial parent or similarly responsible adult consents.

iii) Pupils must not be approached or photographed at school without the permission of the school authorities.

iv) Minors must not be paid for material involving children’s welfare, nor parents or guardians for material about their children or wards, unless it is clearly in the child's interest.

v) Editors must not use the fame, notoriety or position of a parent or guardian as sole justification for publishing details of a child’s private life.

Clandestine devices and subterfuge

i) The press must not seek to obtain or publish material acquired by using hidden cameras or clandestine listening devices; or by intercepting private or mobile telephone calls, messages or emails; or by the unauthorised removal of documents or photographs; or by accessing digitally-held private information without consent.

ii) Engaging in misrepresentation or subterfuge, including by agents or intermediaries, can generally be justified only in the public interest and then only when the material cannot be obtained by other means.

Discrimination

i) The press must avoid prejudicial or pejorative reference to an individual's race, colour, religion, gender, sexual orientation or to any physical or mental illness or disability.

ii) Details of an individual's race, colour, religion, sexual orientation, physical or mental illness or disability must be avoided unless genuinely relevant to the story.

The public interest

There may be exceptions to the clauses marked * where they can be demonstrated to be in the public interest.

1. The public interest includes, but is not confined to:
i) Detecting or exposing crime or serious impropriety.
ii) Protecting public health and safety.
iii) Preventing the public from being misled by an action or statement of an individual or organisation.
2. There is a public interest in freedom of expression itself.

3. Whenever the public interest is invoked, the PCC will require editors to demonstrate fully that they reasonably believed that publication, or journalistic activity undertaken with a view to publication, would be in the public interest.
4. The PCC will consider the extent to which material is already in the public domain, or will become so.
5. In cases involving children under 16, editors must demonstrate an exceptional public interest to over-ride the normally paramount interest of the child.

Ofcom Research

http://www.ofcom.org.uk/about/what-is-ofcom/

Ofcom is a communications regulator that works to regulate the TV and radio sectors, fixed line telecoms and mobiles, plus the airwaves over which wireless devices operate.
They work to ensure that the UK population are not at risk from scams through communications services whilst ensuring that competition can thrive.
Ofcom operates under the Communications Act 2003 which explains sepcifically what Ofcom can do. The Act claims that Ofcom should act only to further the interests of citizens and consumers.
They are also responsible for setting technical aspects of regulation, implementing and enforcing the law.

Ofcom's main duties are to ensure:
- the UK is supplied with a wide range of electronic communications services (e.g. broadband)
- high quaility television and radio stations are provided that appeal to a wide range of people's tastes and interests
- high quality television and radio stations are broadcasted by a number of different organisations
- the people who consume these radio and television stations are protected from harmful and offensive material that they may portray
- people are never treated unfairly in the television and radio programmes that are broadcasted, and that they are also free from risk of having their privacy invaded
- the radio spectrum that is used is used in the most effective way

They are not responisble for regulating:
- newspapers and magazines
- the BBC TV license fee
- complaints about accuracy of BBC television programmes
- the content of TV and radio adverts
- premium rates services
- disputes between people and their telecom providers

In relation to my media products...

Treatment for short film

Treatment
Title: The Bridge  'Tears of Blood' 

Rough:

The short film begins as we see our main character, Louise walking to work. The camera follows closely behind her and we immediately can see that Louise is nervous and anxious to get to work. She keeps looking back over her shoulder, suspicious that somebody is following her. She continues to move swiftly through the town centre until she reaches work.

A few hours later and Louise has finished work. The weather has become windy and cold. She puts her hood up to shelter her from the cold wind. It is soon becoming dark so Louise decides to ring her Mother to ask if she will be getting a lift home. When her mother tells her that she is too tied up and busy to be able to come and get her, Louise suggests that she will walk home. Her mother agrees and tells her to be careful. Louise claims that she will be home in around 20 minutes and hangs up the phone. Zipping her coat right to the top, Louise begins to make a move. She is walking through a housing estate, although the lights from the houses are on and the streetlamps light the walk, Louise can't help but feel uneasy in her surroundings. She begins to sense that someone has been following her and watching her every move. Louise decides that she must walk quickly and ignore her arousing suspicions as if she is home late, her mother will begin to worry. Several times during her walk through the housing estate, Louise stops and checks over her shoulder to ensure no one is there. She makes an attempt to check her phone every so often and continues on her way. In order for Louise to get to her house, she must ass under a bridge. The bridge is vibrantly coloured and brightly lit from one end to the other. Once Louise reaches the bridge, she begins to slow down feeling as though she is safe in the light. The camera closes in on Louise and passes over her shoulder. She begins to scream as a hand is placed over her mouth before the screen freezes and fades out to black.

The screen then re-opens 40 minutes after the last shot was taken. The camera is positioned in the back of the car, facing forward to capture the journey on the road and the back of a mysterious man's head whilst he drives. The radio is playing upbeat, happy music that fades in and out, creating a disorietated feel, in the background while the man quietly hums along. The mood inside the car is very calm and tranquil which leaves the viewers feeling confused and wondering what happened in the previous scene. Towards the end of the journey, the radio music seizes and daunting and mysterious music begins to play over the top, creating suspense and tension. The car pulls up to a house and stop in front of a white garage door. The scene then shifts to inside the boot of the car where we see Louise, smudged make up evidently from crying is all over her face. Louise appears to be very distressed as she bangs inside the boot of the car and cries "Let me out!!"

The scene then swiftly changes into what appears to be the side entrance of the garage. The camera changes to display the perception of the mystery man as he opens the foor. The camera then retracts to behind the mystery man as he opens the door and walks into the dark garage. The camera follows closely behind and captures his every movement. The man then begins to rummage around the garage, appearing to be looking for something. We then hear the voiceover of a very distressed Louise who cries "let me go, please! Just let me go!!"... "I haven't done anything wrong, please!" The man continues to rummage about in the garage until the scene fades out to black and we hear Louise scream "No, please! Get off of me! No!"

The scene then fades back in after motioning that it is the next day. Louise has escaped from her capturer. She is in deep shock and continues to cry. She has made her way to the local police station and is now sitting in the reception area. When her name is called, she approaches the receptionist and claims "I would like to report a rape." This is the first indication we receive of what happened to Louise. The receptionist comforts her and goes to find a police woman. The scene then cuts to the interview room where we see Louise sitting with a police interviewer. Louise is of a very nervous disposition and seems very uncomfortable. The police interviewer asks "Okay, take your time to explain the man to me." When Louise is unresponsive, the interviewer asks if she would like a glass of water and messages another police officer to get her some. The interview continues as the other policeman enters the room with the glass of water. The interviewer then requests that Louise tries again to give her a description of her attacker. The other policeman walks to the table and motions for Louise to take the glass. Louise shyly takes the glass and looks up at the policeman with a thankful expression. Her expression soon changes and she becomes hysterical and begins to struggle away from the policeman, spilling water all over the table. The police interviewer becomes concerned with Louise's behaviour, assuming that she no longer feels comfortable in the presence of males after her ordeal. Louise continuously whispers "It's you!" over and over before her whispers turn into screams. The scene ends there and the credits begin to play.

Proposal for the short film

Proposal

Production title: The Bridge "Tears of Blood"

Assignment Brief:

To produce a five minute short film on a subject of mine and my partner's own choosing, including research into other existing short films and how they are created and broadcast.

Proposal:

I INTEND TO PRODUCE A SHORT FILM ON THE ISSUE OF TEEN ABDUCTION AND RAPE.

Teenagers are becoming more and more evident in news headlines and papers across the globe. Reports of teens for inflicting crime and being the victims of crime are becoming more apparent as teenagers fight to gain more independence among society. Teenagers are all too eager to grow up and gain the freedom and independence that they so badly crave. What they do not understand is that with this independence, comes numerous responsibilities. Teenagers carry with them a negative view that is perceived by all other groups within a society. They are genuinely associated with anti-social behaviour, crime, violence and other negativities. What others fail, if not refuse to recognise is that not all teenagers are custom to the negative stereotype that comes with being a young adult. 
However, what this short story will aim to establish is the vulnerable side to being a teenager and the dangers that can occur in everyday reality. Homicide (violence at the hands of another person) is the fifth most common cause of teenage death. There are thousands of incidents that can be found where teenage girls have fallen victim to the violent acts of another human being, the most common being rape. The invincibility that some teenager’s feel they have can act as their downfall and end them up in all sorts of disastrous situations. This issue therefore needs to be addressed and we feel that showing the incident from a perspective that will allow the audience to truly experience how it may happen/feel, will be the best way of conquering the increasing levels of rape. The short film will show the events leading up to the abduction of our character and the events that happen after the abduction has taken place. As rape is such a sensitive subject amongst many people, the incident will be emphasised and implied, but not actually shown.
All footage used in the film will be created by both me and my partner. All editing procedures will be undertaken by us and any music used within the short film will not be subject to copyright.
This short film will aim to raise awareness of teen rape and its raising occurrence documented in the news and those that go unheard. It will offer support, guidance and reassurance for anyone who is a victim of rape, but also help to raise the knowledge that these things can happen and how is best to avoid them.  
The production work for the short film will include a poster for the film and a film magazine review page featuring the film.