This study is concerned with the potential of a community radio station under the ownership of the South African Broadcasting Corporation (SABC) in being a facilitator and social actor of community-based development. XK fm is a radio station run by members of the !Xun and Khwe (two ethnic San communities), but owned and governed by the SABC. It was established to preserve and protect the cultures, languages and histories of the two communities as well acting as a facilitating and promoter of development. The focus of this research is on the examination of the station‘s day-to-day development programmes, the processes involved in operation, production and transmission of these programmes and the outcomes of these processes in the reception of the programmes among the two communities. As a means of critically analyzing the multi-layered aspects of operations within the radio station and the listening habits of its audiences as a whole, this study is situated within a Circuit of Culture (du Gay et al, 1997) framework of theory. It is also based on a case study approach of methodology that utilizes ethnographic methods of data collection from semi-structured and in-depths interviews to passive and participant observations that have been recorded on video. Based on the principles of both forms of development radio broadcasting, this study concludes that XK fm has been successful in utilizing indigenous knowledge and culture to produce radio programming that is sensitive to the development needs of the !Xun and Khwe communities. It has created awareness of development issues through both its cultural programmes and it informational programmes, and through the SABC has been enabled to be productively sustainable, technically advanced and participatory in nature. However, the SABC‘s control over the station does limit the two communities‘ ownership of the station and participation in policy construction, thus constraining the station in more effectively acting as a community radio station. It suggests that XK fm cannot act alone as the sole facilitator of development and needs other mechanisms to enhance participation and effective dialectical information exchange such as radio listening clubs. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.

1 RESUMÉ This dissertation focuses on selected aspects of copyright and rights related to copyright in connection with radio broadcasting. It specializes in use of authors' works, artistic performances of performers and phonograms of phonogram producers in the way of radio broadcasting and on internet connected to radio broadcasting according to the current legislation in Czech Republic. In the first part it concentrates on items of copyright protection, their use in radio broadcasting, on broadcasters as users in the view of copyright law, on licence agreement, term of protection and radio broadcasting itself. As far as the broadcasting is concerned the dissertation approaches it in the view of administrative law focusing on its content. In the second part it deals exclusively with collective rights management as with the key institute for broadcasters to get appropriate copyright licences to use the protected items. It concerns the compulsory and voluntary collective rights management, the cumulative agreements and royalties, and collecting societies operating in Czech Republic. With regard to the present trends this dissertation, in its third part, aims at broadcasters' activities on internet and further platforms. The last part is devoted to several nowadays issues in copyright, such as extension of...

A dissertation submitted in full fulfilment of the requirements for the degree of Master of Arts by Research in Media Studies, Department of Media Studies, Faculty of Humanities, University of the Witwatersrand, February 2018 / This project examines the ways in which Radio Islam, a South African community radio station, constructs masculinity in the South African Indian Muslim community. This community is its largest audience. The radio station is strongly influenced by the ideologies and rulings of the Jamiatul Ulama, an ideological body whose teachings stem from Indo-Pak interpretations of Islam and with whom much of the South African Indian Muslim community align themselves. The conflation of this culture and religion in this context results in patriarchal and misogynistic teachings being repeated by this body without much questioning, resulting in the common upliftment of men and confinement of women in the community to certain roles and spaces only. Through the examination and discourse analysis of broadcasted content on Radio Islam in three categories that have many gendered dynamics to them - hijab, marriage, and Ramadan - this study aims to unpack the way in which masculinity is constructed, and the extents to which these constructions then facilitate the entrenchment of patriarchy in the broader South African Muslim community. / XL2018

A thesis submitted to University of the Witwatersrand in fulfilment of the requirements for the degree of Doctor of Philosophy, Johannesburg, 2017 / Decolonisation and Africanisation of spaces emerging from administrative and settler colonialism have been suggested as forms of challenging colonial legacies that are still largely present in the Global South and particularly within the African continent. Mainly, this has also been the case in recent South African discourses that have called for the decolonisation and ‘transformation’ of key areas in the country to build a decolonised African country of the future. This thesis, therefore, deals with the subject of the community radio broadcasting sector that is operating during South Africa’s ‘postcolonial’ era, and the steps undertaken by this sector in Africanising itself. Starting from the conviction that the media has a historical role in shaping and communicating cultures as well as identities of the colonised and ‘formerly’ colonised, the thesis posits that the community radio sector is one of the vital arenas that can be used to understand the continuities and discontinuities of colonial cultures in media institutions. Thus, to comprehend and establish the state of Africanisation within the community radio sector of the country, the study investigated and analysed the case of Vukani Community Radio (VCR); a community radio station that is easily one of the oldest community orientated broadcasters in South Africa. Furthermore, to challenge the idea of colonised and neo-colonised media spaces, this thesis was grounded on an understanding of the complexities of Africanisation as a decolonising project in a media institution that is operating in the post-settler-colonial administration of this country. Adopting a case study approach, this study attempted to understand the urgency of a broadcast media platform in asserting the cultures and identities of ‘previously’ colonised Africans on the medium's airwaves. To make sense of the conceptual challenges surrounding the study, the thesis has drawn on decolonial discourses, including the theory of Afrocentricity, the coloniality of power, coloniality of knowledge, the coloniality of being and the decolonial turn. The adoption of these theories by the study, therefore, also demonstrates a conscious delinking of this study from the traditional theories of media and cultural studies that have habitually underpinned the South African canon. Moreover, this study has adopted the use of critical decolonised methodologies approach in the pursuit of answers about the extent of Africanisation of the media institution. The decolonised approach of the adopted method lay in revealing the colonial excesses that have underpinned research methodologies as well as an ‘auto-critique’ of these excesses in the context of this study. The data analysed to arrive at the findings of this study included several macro and micro policy documents, a content analysis of three (3) categories of community radio programmes [Talk Radio, African Cultural Lifestyle & News Programming] that totalled 270 hours of community radio content. The study also relied on several semi structured interviews with various internal and external stakeholders that make up the station's key constituencies. In the analysis of evidence that would uncover the extent of the Africanisation of the community radio station, the findings of the thesis revealed several yet overlapping thematic areas that suggest pathways towards the Africanisation of the media institution. These, among others, included the use of this media institution as an African public sphere, its embracing of the philosophy of Ubuntu, its role in the decolonisation of African memory and its approaches towards ethnicity and Africanity within the broadcasting area. These themes emanating from the analysed data of the study also illustrate how this media institution is operating as a pocket of resistance against colonial, neo-colonial and imperialistic media cultures. In addition to these thematic areas, the findings of this study also demonstrate that when only media policy documents are adopted, this can lead to ambiguities in the pursuit of Africanisation as decolonisation. The study however also demonstrates that the urgency of the community radio station in catering for the surrounding constituency can potentially demonstrate an eventual Africanisation of the airwaves. Finally, this study concludes that the Africanisation of the airwaves is demonstrable at Vukani Community Radio (VCR) but its permanent enforcement is dependent on the vigilance of the stations constituencies and how they define and enforce the role of their media institution. / XL2018

Esta investigação tem como objetivo central discutir peculiaridades da historiografia da música popular brasileira na primeira metade do século XX, por meio da trajetória de um de seus precursores: Almirante (Henrique Foreis Domingues, Rio de Janeiro, 1908-1980). Além de ter se tornado conhecido como a mais alta patente do rádio já no final da década de 1930, em razão de sua importância para a profissionalização e diversificação da programação radiofônica, Almirante teve papel fundamental nos estudos sobre a história da música popular brasileira, integrando o que podemos chamar de sua primeira geração de historiadores. Seus programas eram caracterizados pela organização e preocupação em conferir valor científico aos temas abordados que abrangiam do folclore à música urbana difundida pelos meios de comunicação em massa , e baseados em pesquisas que contribuíram para a formação de um vasto arquivo sobre música popular, o qual deu origem e sentido ao Museu da Imagem e do Som (MIS-RJ), em 1965. Almirante, junto com outros nomes de sua geração, foi responsável pela seleção, organização, compilação, e arquivamento de registros, estabelecendo hierarquias, determinando recortes, problemas e, assim, um discurso fundador em torno da história da música popular brasileira. Esta historiografia é singular sobretudo porque foi desenvolvida e difundida nos meios de comunicação em massa. É também de certa maneira inovadora na tentativa de compreender a importância da música popular para a formação das identidades culturais urbanas, criando paradigmas e precedendo as investidas acadêmicas, por já recorrer a novas temáticas, objetos e fontes antes que os historiadores se ocupassem disso. Este trabalho propõe, assim, abordar a obra de Almirante do ponto de vista de sua contribuição à historiografia da música popular, através de sua atuação no rádio, de 1938 a 1958. / This research has as its main goal to argue particularities of the historiography on Brazilian popular music in the first half of the XX century, by analyzing the trajectory of one of its precursors: Almirante (Foreis Domingues, Rio de Janeiro, 1908-1980). Besides being known as the highest rank in the radio in the late 30s, due to his roles in the professionalization and diversification of radio broadcasts, Almirante also had a central role in the development of studies on the history of Brazilian popular music, being part of what we can call as the first generation of historians on the subject. His broadcasts were known by their organization, as well as for their concern in treating the subjects presented in a scientific manner subjects ranging from folklore to the more urban music, diffused by the mass media. These broadcasts were based on researches whose results helped forming a vast archive on popular music, which would be the basis for the formation of the Museu da Imagem e do Som (Museum of Image and Sound MIS-RJ), in 1965. Almirante, together with other personalities of his generation, was responsible for the process of selecting, organizing, compiling, and archiving the records, establishing priorities, determining the research approaches and questions and, thus, defining a founding discourse on the history of Brazilian popular music. This historiography is unique in the sense that it was developed and disseminated within and by the mass-media. It is also innovative, in a certain way, in its effort to understand the importance of popular music in the forming of urban cultural identities, creating paradigms and preceding the academic researches in this field. This is due to the fact that these researches worked with new subjects, sources and objects long before \'professional\' historians worked with them. Thus, this work aims to study the works of Almirante from the point of view of their contribution to the historiography of popular music, through his performance in the radio, from 1938 to 1958.

Adelaide Nga-yan Lau. / Thesis submitted in: December 2001. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 152-158). / Abstracts in English and Chinese. / Introduction --- p.p. 1 -4 / Theoretical Framework --- p.p.5-25 / The Habermasian public sphere / Chapter ■ --- Universal access / Chapter ■ --- Topics of public concern / Chapter ■ --- Rational discussion / Gatekeeping in production / Chapter ■ --- Individual gatekeeping / Chapter ■ --- Organizational gatekeeping / Chapter ■ --- Impact of commercialization / Phone-in Programs as Media Public Spheres --- p.p.26-46 / Factors for developing public sphere / Chapter ■ --- Capitalism / Chapter ■ --- Freedom of expression / Media and political communication in Hong Kong / Political and social contexts of radio phone-in programs / Chapter ■ --- Period of germination / Chapter ■ --- Period of recognition / Chapter ■ --- Period of flourishing / Three radio phone-in programs in Hong Kong / Chapter ■ --- RTHK's Talkabout / Chapter ■ --- Commercial Radio's Teacup in a Storm / Chapter ■ --- Metro Radio's Metropolitics / Methodology --- p.p.47-55 / Data collection / Chapter ■ --- The Robert Chung case / Data analysis / Chapter ■ --- Content analysis / Chapter ■ --- Discourse analysis / Analysis I - Universal Access --- p.p.56-76 / Technologies enhance accessibility / Equal opportunity for callers / Selecting calls / Chapter ■ --- Screening in Talkabout / Chapter ■ --- Screening in Teacup in a Storm / Chapter ■ --- Screening in Metropolitics / What is universal access? / Analysis II - Topics of Public Concern --- p.p.77-96 / Topics initiated by the public / Handling of topics initiated by the public / Characteristics of pre-set discussion topics / Chapter ■ --- Characteristics of discussion topics in Talkabout / Chapter ■ --- Characteristics of discussion topics in Teacup in a Storm / Chapter ■ --- Characteristics of discussion topics in Metropolitics / Who sets the media agenda? / Analysis III - Rational Discussion --- p.P. 97 -114 / Opinions with grounds / Discourse analysis of discussion on the Robert Chung case / Chapter ■ --- Period of reticence / Chapter ■ --- Period of development / Chapter ■ --- Period of investigation / Chapter ■ --- Period of conclusion / What is rational discussion? / Conclusion and Discussion --- p.P.115-128 / Interpretations of three main criteria in the media public sphere / Organizational gatekeeping in the media public sphere / Chapter ■ --- Political economy of Talkabout / Chapter ■ --- Political economy of Teacup in a Storm / Chapter ■ --- Political economy of Metropolitics / One additional criterion 一 Pluralism / Reconsidering the media public sphere / Appendices --- p.P.129-151 / Bibliography --- p.P.152-158

Diploma thesis The Differences between Public and Commercial Radio Broadcasting (exemplified by Radiožurnál and Rádio Impuls) deals with differences in broadcasting of public radio station Radiožurnál and commercial radio station Rádio Impuls. The selection of stations was not random. Radiožurnál stays according to Radioprojekt, official radio audience research realized by companies MEDIAN and STEM/MARK, the longterm most listened radio station of Czech Radio and belong to most listened radio station countrywide. Rádio Impuls is since the begining of this research most listened radio station countrywide. Diploma thesis does not examine general differences in radio broadcasting between these two radio stations which are valid for another radio stations of Czech Radio and for other commercial radio stations. Instead of this it deals with specific differences in their radio broadcasting. After introductory inclusion of examined radio stations to media system in the Czech Republic, description of their origin and current format, other chapters focus on individual differences. Attention is dedicated to programs, news, moderators' inputs and two publicistic programs - Ranní interview and Tři Impulsy na tělo. Last chapter evaluates audio, lexical, morphological and syntactical level of moderators'speeches.

Esta investigação tem como objetivo central discutir peculiaridades da historiografia da música popular brasileira na primeira metade do século XX, por meio da trajetória de um de seus precursores: Almirante (Henrique Foreis Domingues, Rio de Janeiro, 1908-1980). Além de ter se tornado conhecido como a mais alta patente do rádio já no final da década de 1930, em razão de sua importância para a profissionalização e diversificação da programação radiofônica, Almirante teve papel fundamental nos estudos sobre a história da música popular brasileira, integrando o que podemos chamar de sua primeira geração de historiadores. Seus programas eram caracterizados pela organização e preocupação em conferir valor científico aos temas abordados que abrangiam do folclore à música urbana difundida pelos meios de comunicação em massa , e baseados em pesquisas que contribuíram para a formação de um vasto arquivo sobre música popular, o qual deu origem e sentido ao Museu da Imagem e do Som (MIS-RJ), em 1965. Almirante, junto com outros nomes de sua geração, foi responsável pela seleção, organização, compilação, e arquivamento de registros, estabelecendo hierarquias, determinando recortes, problemas e, assim, um discurso fundador em torno da história da música popular brasileira. Esta historiografia é singular sobretudo porque foi desenvolvida e difundida nos meios de comunicação em massa. É também de certa maneira inovadora na tentativa de compreender a importância da música popular para a formação das identidades culturais urbanas, criando paradigmas e precedendo as investidas acadêmicas, por já recorrer a novas temáticas, objetos e fontes antes que os historiadores se ocupassem disso. Este trabalho propõe, assim, abordar a obra de Almirante do ponto de vista de sua contribuição à historiografia da música popular, através de sua atuação no rádio, de 1938 a 1958. / This research has as its main goal to argue particularities of the historiography on Brazilian popular music in the first half of the XX century, by analyzing the trajectory of one of its precursors: Almirante (Foreis Domingues, Rio de Janeiro, 1908-1980). Besides being known as the highest rank in the radio in the late 30s, due to his roles in the professionalization and diversification of radio broadcasts, Almirante also had a central role in the development of studies on the history of Brazilian popular music, being part of what we can call as the first generation of historians on the subject. His broadcasts were known by their organization, as well as for their concern in treating the subjects presented in a scientific manner subjects ranging from folklore to the more urban music, diffused by the mass media. These broadcasts were based on researches whose results helped forming a vast archive on popular music, which would be the basis for the formation of the Museu da Imagem e do Som (Museum of Image and Sound MIS-RJ), in 1965. Almirante, together with other personalities of his generation, was responsible for the process of selecting, organizing, compiling, and archiving the records, establishing priorities, determining the research approaches and questions and, thus, defining a founding discourse on the history of Brazilian popular music. This historiography is unique in the sense that it was developed and disseminated within and by the mass-media. It is also innovative, in a certain way, in its effort to understand the importance of popular music in the forming of urban cultural identities, creating paradigms and preceding the academic researches in this field. This is due to the fact that these researches worked with new subjects, sources and objects long before \'professional\' historians worked with them. Thus, this work aims to study the works of Almirante from the point of view of their contribution to the historiography of popular music, through his performance in the radio, from 1938 to 1958.

Being a British colony for more than a century, Hong Kong has been influenced by the western culture in multiple aspects. One of the prominent western footprints is the ubiquitous Cantonese-English code switching and code mixing behavior which permeates all walks of life in this bilingual community. Though having seen its pervasiveness in different domains, limited studies from the sociolinguistic perspective have been conducted in the broadcasting domain, especially within the radio broadcast domain. This research gap prompts a study idea to unravel the sociolinguistic motivations behind the Cantonese-English code switching and code mixing behavior in Hong Kong radio broadcasts. Instances of code-switched and code-mixed which happened during the conversations among radio hosts were transcribed from the broadcasts of Commercial Radio Hong Kong (CRHK) between April 26th and May 24th 2013 for exploratory analysis. The language alternation behavior was investigated through a communicative discourse context. In essence, the reasons motivating code switching and code mixing behavior among radio hosts include ‘principle of economy’, ‘generality/ specificity’, ‘euphemism’ and ‘emotional buffer’. Code switching/ code mixing also serves as a purposeful communicative strategy in tone switching or creating comical effect to enhance the entertainment value of the programs. It also helps the speakers to portray a particular social orientation or specifically, to project a western image. By code switching/ code mixing, the hosts also take into consideration of the societal preference of codes. The ideas of ‘we-code’, ‘they-code’, and ‘social distance’ are also applicable in exploring the social meaning of code switching/ code mixing within the Hong Kong radio broadcasts. / published_or_final_version / English Studies / Master / Master of Arts

The ten year debate over the introduction of pay television in Canada is addressed using the concept of external signals to examine the interactions between the Canadian Radio-television and Telecommunications Commission (CRTC) and the players in the regulatory environment. / A critique of the notions of "public interest" and of regulatory "capture" precedes the analysis. An historical overview establishes the key issues shaping the nature of the CRTC as a signal-sending and signal-receiving institution. / The evidence demonstrates that the CRTC was not a passive receptor of external signals, but actively shaped and directed or deflected incoming signals according to its own public priorities. The conclusion holds that the traditional capture model does adequately describe the CRTC's behaviour as it attempted to manage the complex political and technological forces surrounding the pay television issue.