Crammed in a box in the corner of the screen, so small that only a scanning electron microscope could read them all, flashing past so fast that even Superman – faster than a speeding bullet though he might be – would have difficulty keeping up and ignored by a continuity announcer who persists in telling you about half a dozen programmes on other channels you’ve no desire to watch and no interest in hearing about.

If there’s one part of a television programme that television executives show no respect for, it’s the credits.

Once, of course, it was different.

There was a time when credits rolled past at a speed that the audience could understand, when they were recognised as an important part of the programme and as an important way for performers and technicians to get recognition for their work. In the hands of skilled producers, credits were more than just flashing images, they could be real ornaments to the programme. Clever design, music and smart planning can make the credits a part of the programme that viewers wait for. British programmes used to achieve this – BlackAdder is a memorable example – and some American productions still can.

While broadcasters claim that giving too much room and respect to credits encourages people to change channel, the truth is that this is simply a failure of imagination on behalf of programme producers. The current regime of continual hyping of unrelated programming on niche channels and constant reminders of what is “coming up next” is hardly more likely to retain viewers. The shrill tone and in-your-face badgering of the viewers is an instant turn-off or turn-over.

On the other hand a well designed credits roll with content and a strong theme song is far more likely to keep viewers watching.

However the attitude of broadcasters is perhaps most starkly summed up by the comments made by Lorraine Heggessey when she was controller of BBC One. “Who reads the credits anyway? Tell me one person who reads them other than someone’s mum. It’s not going to have any impact,” she said, justifying changes to the credits of Top of the Pops.

But Equity knows that credits matter and we know that people read them. We know because members and non-member alike tell us over and over again that they hate what has been done and they want the readable credits back.

For some time now, Equity and Equity members have been fighting for a return to credits that properly allow recognition of the work of all those who make a programme.

Launching the campaign, Equity vice-president Jean Rogers said: “Most performers want their credits available on screen rather than tucked away in the Radio Times or the net, particularly if casting agents or prospective employers were watching the programme. The lack of proper credits also undermines our credibility as performers, perpetuating a myth that anyone can do it — let’s believe these are real people, not just while we view the programme, which is right and proper, but when it is ended too.”

And while Equity has won some concessions from broadcasters in recent years, it remains the case that they give credits short shrift. We know this issue matters to members and we know it matters to the viewing public. Equity continues to receive complaints from both about the declining status of programme credits.

“Whenever Equity enters into any negotiations with broadcasters we now include a stipulation that we can discuss credits with those responsible for their broadcast,” John Barclay, Equity’s Head of Recorded Media, told the magazine. “And we try to encourage them to take a creative approach to credits – to learn from some American programme makers and to consider the use of new technologies.”

In order to help members (and the public) to make their point, Equity is relaunching its campaign with a website, a model letter and a request that you all get involved in persuading the powers that be that credits on television should be restored to their proper prominence.

Getting involved in this campaign could hardly be more easy. Visit sed a message by email from our Demand Action page – we’ve even created a sample text if you haven’t time to write your own. Or you can post your letter to any of the following:

• Philip Graf, Ofcom, Riverside House, 2a Southwark Bridge Road, London, SE1 9HA
• David Abraham, Chief Executive, Channel 4, 124 Horseferry Road, London SW1P 2TX
• Mark Thompson, Director General, BBC Television Centre, Wood Lane, W12 7RJ
• Adam Crozier, Chief Executive, ITV Network Centre, 200 Gray’s Inn Road, London, WC1X 8HF

And you can encourage your friends and colleagues to do the same.

We believe that you deserve credits where credits are due. It’s time to let the broadcasters know that we are not content to continue to allow them to ignore our demands for the restoration of programme credits.

So get involved and help us stop the credits crunch.