This chapter argues, following Garnham’s lead, that the scheduling of ‘minority programming’ and the commitment to finding, or rather, creating audiences for this type of programming is a much more crucial moment in the cultural process than receiving the commission to make the programme in the first place. The relatively small amount of research literature stresses the process of scheduling as an ‘art form’, or as Jonathan Ellis puts it, the last creative act. But this chapter goes further and emphasises the ideological role of scheduling – specifically in relation to the representation of racialised minorities. Using a case study of British South Asian television workers reflecting on their experience of scheduling, the narrative demonstrates how this consideration is neglected and particularly opaque within a stage of production that has a determining effect on the recognition and representation of minorities on television.
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