Casualty Goes to Africa: Does it have to be a Disaster to get Development on TV?

What do television programme makers and broadcasters in the United Kingdom (UK) think draws an audience to an international story? What are the challenges in featuring other parts of the world on British television? Through analysis of interviews with some of the programme makers and commissioning editors responsible for broadcasting international stories, this paper, which was first published in the June 2006 issue of the Development Education Journal, aims to contribute to the debate around how best to provide information on other parts of the world in such a way as to foster a longer-term interest in development issues.

Interviews by Phillips identified that most UK television programming with development content is ultimately pigeon-holed as "current affairs" programming and is customised to fit within this genre. There appear to be few incentives, beyond personal interest and curiousity, to focusing programming on developing countries and international issues. International programming has been marginalised over time, as such programming is shifted to alternative stations (BBC4) with smaller audiences and less financing. In most cases, the current process of creating international and development programming is slow, under-funded, and requires significant personal commitment (instead of promising professional or financial reward). Still, in spite of these trends and challenges, international and development programming is being created by filmmakers and commissioned by broadcasters.

How is this programming being created? Phillips found that some filmmakers are connecting with non-governmental organisations (NGOs) and working with them to portray stories about their work. These media personnel often recognise that it is the people working directly with those affected by the development issues who will have the "leads" on interesting stories. However, many filmmakers are unwilling to connect with specific organisations for "for fear of being inappropriately perceived by local people as part of the NGO, and so being 'no longer neutral'." In addition, there appears to be a general lack of trust among development organisations towards the media. Phillips suggests that what seems to create this mistrust, in many cases, is a "gap between the expectations of development workers and what the filmmakers and broadcasters sense will work as a narrative." What may seem trivial and shallow to the development worker is often based on what the media-makers know will lure an audience in to the issues of focus. According to Phillips, compromise on the part of the development organisation is often necessary in order to create international and development television programming about their work.

Phillips concludes by suggesting that building better working relationships between filmmakers and NGOs is key to supporting television programming focused on other countries and international issues within the UK. However, she also notes that her interviews identified a particular caution: "the word 'development' and the images it evokes are deeply problematic. It is perceived as a dry, worthy and rather distant concept. International issues on the other hand seem 'interesting, exciting and engaging'."