In a time of shifting technological, regulatory and economic regimes, and debate as to the present and potential uses of media, this thesis offers radio practitioners and students a pragmatic, rather than a highly theorised, enquiry into the notion and value of local radio. In a detailed case study, it uses the chosen stations as the basis for an empirical examination of actual output, and demonstrates comparisons between objectives and achievement against the background of regulatory and self-reflective constraints, and within geographical and technological contexts. This thesis also challenges some common assumptions about localness in quasi-local radio and provides a detailed insight into the perceptions of a number of managers about local and community radio stations. This is a qualitative study, focusing on broadcaster-output rather than on listener perception. The enquiry takes the form of a case study of “local” radio in the south-west of Cornwall, UK, by examining examples of the three tiers of radio: BBC Public Service, Commercial and Community Radio respectively. Methodologically, background factors are first assessed by interrogating literature covering local radio in the digital age; the nature of locality and localness; the notion of community; and the role of commercialism in local radio. The research, centered in particular upon notions of localness and community, interrogates those terms for meaning and relevance. A detailed review follows, looking at the formal obligations imposed on each tier and each station (a) by broadcast licences and (b) by self-reflective aims and objectives. Field research then employs observation and full-day, annotated audio monitoring, leading to detailed analytical comparisons of the extent to which the stations rise to the challenges posed. Aspects of typicality and representative sampling are addressed, to ensure that the results obtained through field-research methodology are reliable and repeatable. Conclusions on the specific issue of compliance produce a mixed picture, with all stations complying to a greater or lesser extent with regulatory licence conditions while some appear to fall short of fulfilling their own objectives. Other conclusions on comparative operational and management issues are equally varied but equally worth perusal.

No description available.

This thesis examines the emergence of Community Radio in the United Kingdom. It places the sector within an historical context dominated by the BBC and strongly influenced by the subsequent arrival of commercial radio broadcasting. Understanding this historical context, which includes consideration of the role played by unlicensed 'pirate' radio operators, is, in the opinion of the author, a critical prerequisite necessary for assessing how and why current Community Radio practice has developed in the way it has. Primary research for this thesis includes a variety of semi-structured interviews with campaigners, practitioners and regulators and, whilst primarily focused on the emergence of the Community Radio sector within the British context, it does not ignore wider international perspectives. Recognising that, well before Community Radio began to emerge in the UK, much of the early conceptual development of the sector took place in other jurisdictions, the author also draws upon a number of international sources, including some primary research in the Republic of Ireland, Norway and the United States of America. The influence of two key factors, those of regulation and technology, are central to this research, the author arguing that these in particular have helped define (and constrain) the current position and future opportunities available to Community Radio within the United Kingdom. Legislation and regulation may have defined clear, and in some instances unique, operational objectives for British Community Radio, but when defining such objectives they have also had to take into account limited broadcast spectrum availability, constraining the scope and scale of the sector as a result. Beyond a consideration of the historical and of present day practice, this thesis also looks towards the future, examining current developments in digital broadcasting which offer the potential to counter such current capacity constraints and provide opportunities for additional community-based services in future.

This collection of published scholarly work concerns the growth and development of community radio and mobile telephony during the period 2000-2009, with reference to specific examples and case studies. The associated report examines the extent that the public are using these media to the benefit of individuals and communities and also suggests that the public have regained use of the electromagnetic spectrum through the use of community radio and mobile phones. The over arching hypothesis is that both community radio and mobile telephony are: • providing benefits to society, rangmg from improving daily life and avoiding inconveniences, to ameliorating critical or life-threatening situations and resisting oppression, • re-establishing rights of usage in the electromagnetic spectrum for ordinary members of the public which were surrendered to governmental authorities in the early years of spectrum experimentation, • using the electromagnetic spectrum as a tool for activism, political discussion, social engagement and exchange of information about matters of common interest, • worthy of research and examination to investigate how these two forms of communications media are impacting on the lives of individuals and society as a whole.

La thèse explore les œuvres de Blaise Cendrars, de Victor Segalen et d’Albert Londres sous l’angle de « l’éclat du voyage » et se propose d’analyser les effets produits par la présence du voyage sur un plan diégétique, métadiégétique et stylistique. Chez ces trois auteurs, la notion de voyage dépasse en effet sa vocation thématique pour se faire véritable matière à travailler le langage, le texte et atteindre la sphère de la littérarité en exerçant sur le texte une menace d’éclatement. Le texte affecté par le voyage, loin d’être mis en péril, s’inscrit ainsi dans une modernité littéraire : en prenant le risque, par le détour du voyage, d’une écriture déformant, re-formant, re-définissant la littérature, les trois œuvres examinées illuminent quelques chemins de traverse dans lesquels s’engagent œuvres et critiques contemporaines. Cette étude interroge les premiers écrits de Cendrars (1912-1938) en explorant par quelles voies la présence conjointe du motif du voyage et de l’éclatement conduit à la création d’une représentation fractale du monde. La mise en évidence de trajectoires chaotiques des personnages cendrarsiens au cœur d’un monde ontologiquement fracturé permet l’édification textuelle d’une « anarchitecture » poétique et moderne. L’examen du cycle polynésien de Segalen met en évidence la présence du voyage comme le résultat d’un écart désirant, véritable menace de déchirure entre l’ici et l’ailleurs, soi et l’autre, soi et soi. Cet écart aboutit, à travers une présence textuelle, à la formation d’une poétique littéraire de la diffraction, poussant ainsi l’œuvre aux limites d’un hors-littérature. Enfin, à travers l’étude des reportages d’Albert Londres, la thèse montre comment l’écriture du voyage trouve un regain de force par le détour du reportage.

This thesis examines how the Spanish film legislation that was passed between 1982 and 2010 has shaped the production, circulation and reception of contemporary Spanish cinema. The study of film legislation is crucial to understanding how the cultural value of contemporary Spanish cinema is created since laws are the main instrument through which the Spanish state has established the funding policies directed towards the production of films. Owing to the weak nature of the Spanish production sector since its inception, and the lack of private investment, the Spanish state, and, since 1999, the public and private television companies, have been the major financial support for the production of films. Furthermore, film legislation itself defines the type of films that are considered to be worthy enough to receive state funding, and, therefore, the type of films promoted by the state to be nationally consumed and internationally exported. Consequently, it is essential to understand why and how the funding policies have been established, by whom, and towards the support of what type of films. My thesis' argues that film legislation should be regarded as the key instrument through which a state tries to regulate the national film industry. It is nonetheless necessary to point out that the Spanish case is more complex, since film legislation has also been mainly enacted to solve the Spanish film industry's endemic problems. More importantly, my thesis' main contention is that film legislation has to be regarded as the site in which the debate about the type of cinema wanted for the nation acquires its main expression. In order to critically address the political, economic and cultural functions of the different funding policies established between 1982 and 2010 my thesis is informed by Pierre Bourdieu's theory of cultural production; in particular, on his notions of field, capital and habitus as specifically stated in Distinction. A Social Critique of the Judgements of Taste ([1984] 2010) and The Rules of Art ([1996] 2012). Through this theoretical framework, my thesis argues that film legislation does not emerge in a vacuum because the laws respond to different demands from those involved in creating the cultural value of Spanish cinema: the policymakers in charge of the film policies, the film professionals, and, to a lesser extent, the key film critics. My thesis accounts for the ways in which the cultural value of these films has been created by locating and interrogating the main demands of the type of films regarded to be worthy of the state financial support and by pointing out who have raised them; secondly, it identifies whether those demands have been enshrined in the laws and it demonstrates the ways in which the interests of those involved in the creation of the cultural value of Spanish films have informed the funding policies set by the laws. Thirdly, it provides an understanding of how the key policymakers have acquired their ideas about cinema and how those ideas have been reflected in the laws. Finally, through four case studies, my thesis analyses the modes of cinematic production that those funding policies have led to and the types of films that they have fostered.

No description available.

No description available.