That’s why the BBC and its original Reithian aims of public service broadcasting are needed more than ever. If we are to successfully discern actual truth from fantasy, then we need to understand history.
When I accepted a Bafta for The Road to Auschwitz [the programme also won an Emmy under the title The Holocaust: 80 Years On] I meant it when I said, “Only the BBC would dare to make this”. Why? Because in commissioning and broadcasting our documentary, the BBC implicitly rejected the idea that you have to run for cover in the face of the noise and anger that the online digital age has brought.
Which platforms matter? As long as the BBC behaves with such determined bravery, I’m not too concerned about how people choose to engage with those stories – on laptops, mobiles or around the television. The actual process of film-making hasn’t changed at all. Haven’t you watched a full movie on your phone? I think platforms are the least of the problems, but funding does worry me. Reform have said, if they form a government, they will abolish the licence fee. That would be a terrible blow, an absurd bit of national self-amputation. The BBC is internationally respected. Trust me, if you live in the US for as long as I have, you realise just how good the BBC really is.
We still do, though the BBC must now operate in an attention economy where a fierce social media amplifies the instinct to grouse. But technical advances don’t have to be negative or take over our national narrative. When the Industrial Revolution was in full flow during the 19th century, Charles Dickens was, at the same time, producing serious work every week in magazines that people queued to buy. Moreover, Dickens’s books were criticising the very industrial system that was keeping the country alive.
As told to Michael Hodges
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