The problem with which this investigation is concerned is that of determining whether or not the history of cigarette advertising in broadcasting developed a pattern from which a model could be abstracted and applied to other product advertisements deemed "controversial" in broadcasting. The history of broadcast cigarette advertising is analyzed in an attempt to abstract a model, The .assumption is made that this model could be capable of predicting future regulation or elimination of broadcast advertising of controversial products.

The purpose of this study is to identify and compare the skills and knowledge areas that are valuable for success in broadcast advertising sales from the perspectives of broadcast managers and broadcast educators and to identify and compare to what degree recent graduates of broadcast-communication, business, and other majors perform or exhibit these skills and knowledge areas as perceived by selected broadcast managers and broadcast educators. The opinions of the broadcast managers and broadcast educators were determined from responses to a questionnaire of fifty-six items. The questionnaires were distributed to the chairs of the departments or areas responsible for broadcast curricula at forty-two four-year universities as listed by the 1983 Broadcasting-Cablecasting Yearbook [Sol Taishoff, editor, Washington, Broadcasting Magazine] as offering degrees in broadcasting, and 126 broadcast managers who were randomly selected from the broadcast markets in which the forty-two educational institutions are located.

Competition in many market-driven media systems in advanced industrial countries can sometimes compromise traditional public service broadcast values such as programming for diversity, citizenship, minority interests and national identity. This study investigates the presence and effects of commercial-logic in a state-owned broadcaster in a developing country: the Malawi Broadcasting Corporation. Using indepth interviews and analysis of records on finance and programme schedules, the study finds overwhelming indicators of the presence of commercial logic, not driven by competition, but a commitment to provide a public service under deteriorating financial conditions. Distinguishing between the impacts of advertising and sponsorship markets on media output, the study finds contradictory effects of commercialisation. Some effects confirm some of the adverse effects of commercialisation such as heavy sponsorinfluence on programme content, self-censorship among programme producers who avoid injuring sponsors and producers paying more attention to sponsored programmes at the expense ofthe quality of some non-sponsored public service programmes. However, effects are not always contrary to public service broadcasting but may Indeed reinforce such broadcasting. Commercialisation in some instances has led to the sustenance of a range of non-sponsored public service programmes including programmes to promote culture and civic rights. In general, this study highlights the need to focus on what is realistically possible within the dynamics of the Malawi Society as a precondition for a proactive and elaborate strategy for commercialisation ofthe country's public broadcaster.

Submitted in fulfillment of the requirements for the degree of Master of Management Sciences: Business Administration, Durban University of Technology, Durban, South Africa, 2017. / This qualitative study explored alternative revenue sources within and outside PBS radio stations that can be utilised to improve revenue generation at South African Broadcasting Corporation (SABC) Public Broadcasting Radio Stations (PBS). PBS radio relies heavily on traditional advertising revenue, sponsorships and TV licence fees, revenue sources are insufficient to sustain public broadcasting radio service in South Africa because funding from the South African Government is limited to specific projects. Public broadcasting radio services in South Africa have to provide content of public value while remaining competitive and profitable. The SABC is the sole owner of fifteen public broadcasting radio stations, making it one of the dominant media owners in South Africa. SABC owns all public broadcasting radio stations and has the highest audience penetration in South Africa which should translate into receiving the highest revenue share. However, this is not the case. Commercial radio stations earn a bigger percentage of the pie of advertising revenue although PBS radio stations command higher audience penetration. Semi-structured interviews were conducted with fifteen public broadcasting radio station managers and three senior public broadcasting managers to ascertain what alternative sources within and outside the radio station can help improve the revenue of the radio stations. The analysis of the data collected through interviews identified that there are a number of alternative sources which can assist in improving the revenue of the radio stations. It is therefore time that PBS Radio stations monetise their audience and not rely heavily on traditional advertising revenue. Six important alternative revenue sources are identified as follows: • Radio station events and outside broadcasts: Revenue generation potential is immense with opportunities for gate-takings, sponsorship and advertising or promotional revenues. • Broadcast syndication and sale of content: Original programming content and popular music genre playlists are sought after by the public or other entities that are prepared to pay for the content. • Radio Station Websites: Opportunities to generate revenue by marketing website opportunities to the public and advertisers. • Merchandising: Radio audiences like to own radio station branded merchandising like t-shirts, caps and jackets which can be made available at radio stations and retail stores for the public to purchase. • Cellular or mobile phones: Mobile phones provide an interactive element to radio campaign advertisements, competitions, and promotions, which should be monetised as an extension to advertisers‟ radio campaigns. • Social Media Platforms: Radio campaigns are extended to social media platforms like Facebook, LinkedIn, Instagram, Pinterest and Twitter to target a larger audience. / M

This thesis aims to identify and explain how, through the consumption of the wireless as a modern consumer durable, modernism was brought to society. To understand this process, the study will map how social change during the period responded to wider intellectual and aesthetic currents and trends but was driven by emergent commercial, cultural and political economies of a newly mediated society. Furthermore, it seeks to establish that this happened not as a result of social engineering through model housing schemes but as a result of consumer-led demand. This investigation considers how, as part of that newly mediated social environment, the wireless developed following its arrival on the domestic market without having adopted a single stylistic form. It addresses how that form, both stylistically and technically, evolved over a relatively short period to address the economic and cultural requirements and expectations of a new electrically powered domestic entertainment technology. In so doing, a discourse will be established considering these expectations and requirements related to how the wireless in Britain adopted and adapted the Modernist design idiom. It will further consider how the language of Modernism was propagated as the accepted version of what a radio could or should look like, so developing the modernist paradigm in a broader sense. To gain an appreciation of this it is necessary to understand the contemporary public conception of what the modern was in a more general sense. To decipher this public perception of modernity the project aims to extrapolate that public conception through examining other popular forms and products. Although this suggests that Radio was not alone in adopting the language of the moderne, as a product it is notable for its widespread commercial success and as such can be identified as a significant carrier of the coded message of what was modern. Design historians such as Yagou and Forty have attempted to incorporate radio into various strands of historical perception but the typologies they have devised to describe and understand wireless fall short in addressing the relationship between modernity and the wireless and instead see the wireless in terms of being an independent consumer product, a quasi-scientific instrument or else a furnishing form, rather than creating categories which accommodate the wireless and its position as a design type in its own right. To overcome this shortcoming a strand of this thesis seeks to argue that the wireless was itself a proto-modernist device during the early years of market expansion. That device then developed along a natural stylistic course embracing contemporary decorative ideas. By assessing the response of radio manufacturers to the socio-economic conditions of their market, this study has highlighted how through producing a product which addressed contemporary ideas of glamour, ease of use and functionality, the wireless entered a wide range of homes during the 1920s and 1930s. For the public, the immediate appeal of the wireless was that it provided access to the international experience of listening in while simultaneously it provided a template for the consumer to base their understanding of the modern World, both in its mediated form and stylistic appearance. This thesis seeks to demonstrate that during the period 1925 to 1939, the wireless established itself as an unashamedly modern device which appealed to a broad socio economic cross section of the public. By consuming the wireless, the British public accepted a significant technological and stylistic aspect of modernity into their homes. This was achieved despite the privations of the era because of the perceived desirability of wireless broadcasts and the perception of listening in as a popular leisure activity. As a result of that consumer demand, the British public was given access to a range of stylistic versions of modernity through the design of radio cabinetry. These modern styles were readily consumed throughout the social spectrum in preference to historicist alternatives. This demonstrates that the wireless was instrumental in introducing the modernist aesthetic to the British domestic environment.