[access-uk] Re: CHILDREN OF BESLAN FOLLOW0UP

  • From: "Ian Macrae" <ian.macrae@xxxxxxxxx>
  • To: <access-uk@xxxxxxxxxxxxx>
  • Date: Fri, 21 Oct 2005 15:27:14 +0100

Which is precisely why I suggested that people might want to write to
Mark Byford, Ray.  I do what I can from the inside, believe me, but it's
only by a strong lobby from outside that things are likely to be
changed.  Otherwise, the only people the beeb ends up talking to are the
RNIB who were, I believe, consulted on these guidelines in the first
place.  
 
 

        -----Original Message-----
        From: access-uk@xxxxxxxxxxxxx [mailto:access-uk@xxxxxxxxxxxxx]
On Behalf Of Ray's Home
        Sent: 21 October 2005 15:23
        To: access-uk@xxxxxxxxxxxxx
        Subject: [access-uk] Re: CHILDREN OF BESLAN FOLLOW0UP
        
        
        OK folks, I know dead horses could well be being flogged here,
but how are these ' guidelines' changed and negotiated?  Shouldn't we,
or someone be in there asking for or demanding changes?  I think an alt
transmission placed very near the original could be one work around.
Also, how about all the other stuff that Beeb2 smuggly transmit with
blatant disregard of our access needs?  Programmes like  Correspondent
which I gave up on years ago.  Don't know if it is still transmitted.
         
        Also, how about beefing up the audio sub-channel?  Why the tardy
tortoise like progress on this one?  Why have we nothing like parity
with the deaf on this issue?
         
        These are all points that should be brought up and remodies
should be forthcoming.
        Ray
         
        Personal emails:  Email me at
        mailto:ray-48@xxxxxxxx
        

                ----- Original Message ----- 
                From: Peter Logue
<mailto:peterlogue@xxxxxxxxxxxxxxxxxxxx>  
                To: access-uk@xxxxxxxxxxxxx 
                Sent: Friday, October 21, 2005 2:47 PM
                Subject: [access-uk] Re: CHILDREN OF BESLAN FOLLOW0UP

                Its because of the clause below that the BBC pulled
their artistic card.
                However there may be exceptional occasions where it is
necessary editorially for the voice to remain unchanged.  They may arise
where, for example, it is
                important to understand the emotion of a speaker giving
personal testimony


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