BU Research Blog

Explaining the ideas underpinning the intervention

As my British Academy Innovation Fellowship now draws to its close, yesterday I presented my key research findings for the first time. The event entitled ‘What is “Supportive Offboarding” and who cares?’ took place at the London HQ of the global media giant, Fremantle, where I have been based for the past 12 months. An invited audience of media policy and industry leaders included representatives from the Department for Culture Media and Sport (DCMS), the Parliamentary Select Committee, Creative UK, the BFI, the union BECTU, the producers’ association PACT, various national skills and training-related organizations (including ScreenSkills and Workwise for Screen) and many of the major broadcasters and production conglomerates.

Dr. Ken Emond, Head of Research Funding at The British Academy

My project has been timely. The theme of how we can better support our television freelance workforce is especially pertinent as the industry is currently experiencing particular turbulence. We need remedial action – as I have argued in my comment piece for Broadcast this week.  The intervention that I have been developing in my Fellowship project is a small but practical measure to encourage better support mechanisms in a culture in which such support is conspicuous by its absence.

Presenting key research findings

Yesterday’s was a packed programme. After a welcome by Alex McBride, Fremantle UK’s Head of HR, Dr. Ken Emond, Head of Research Funding at The British Academy took the floor to talk about the importance of funding this kind of academic research with its application to industry. Dr Christa van Raalte, Director of CEMP then provided context for the project, describing the body of work related to media employment that she and I have conducted over a number of years. My industry sponsor, Ewan Vinnicombe Wallis (no relation!) followed this by describing (with illustrative video) the intervention that he and I have designed and tested. I then presented my main research findings, following which, Talent Manager Vic Roye, a project facilitator, and Series Producer (The Rap Game) Abi Adetoye, a project participant, described the experience of taking part. The event formally ended with some concluding words from the Louse Benson Director of Development of the Film and TV Charity, announcing the Charity’s intention to partner with the University to roll this intervention out across the industry through its integration with The Whole Picture Tool Kit.  This exciting next phase of the project will be supported by HEIF funding.

The event seems to have been gone down well with those who attended as early feedback has been very positive. My full report will be published in the Spring.

Richard Wallis
Faculty of Media & Communication / CEMP