Este trabalho tem como meta mapear o contexto e os principais fatos ligados à história da Rádio-Escola Municipal do Distrito Federal, fundada em 1934. Para tanto são descritas e analisadas as transformações culturais, as propostas educacionais e os projetos políticos contemporâneos à implantação da emissora estudada, buscando compreender o quanto influenciaram em sua concepção e consecução. O trabalho também apresenta outros projetos e publicações elaborados no decorrer das décadas de 1920 a 1940, referentes à utilização do rádio como veículo para educar. O presente trabalho analisou a atuação da emissora estudada até 1945. Porém, dados sobre outros períodos são apresentados, permitindo a visualização de um quadro geral das principais transformações ocorridas na estação, que, em 1946, passa a se chamar Rádio Roquette Pinto. / This research aims to map the context and the main facts related to the history of Municipal Scholl Radio of the Federal District, founded in 1934. To reach this goal, the cultural changes, the educational proposals and the political projects contemporary to the studied radio station implementation are described and analyzed, trying to understand how much they influenced its conception and achievement. The work also presents other projects and publications, produced during the decades of 1920 until 1940, which are related to the use of radio as a means of education. This study examined the role of the studied broadcast until 1945. However, data on the other periods are presented, conveying na overview of the main changes in the statios, which, in 1946, is to be called Radio Roquette Pinto.

The research for this thesis started just before the TVNZ Charter was released in 2001. It followed the discussion regarding the new direction for the broadcaster to follow a more public service role. The data gathering was conducted through to post Charter implementation and captured the uncertainty surrounding the shift in policy. Although the aim of the TVNZ Charter was to raise the standards of public service broadcasting the introduction of this new policy was marked by confusion as to how this would be achieved, funded and monitored.The TVNZ Charter was introduced with the prescription that TVNZ find a balance in achieving public service needs in television as well as maintaining the revenue from advertising. This was because the government was not willing to provide sufficient funding for a non-commercial service and hence the result was always to be a hybrid model. It was frequently emphasized that Charter programmes should rate well and there was strong stress on the importance of retaining and attracting audiences.The core changes leading to the introduction of the TVNZ Charter owe their origins to the major policy turning point of 1989/1990, when broadcasting was deregulated in New Zealand. The free market provided programmes with a focus on entertainment and the previous dictum that they should also educate and inform was no longer spelled out in the Broadcasting Act. As only one of the traditional principles of television was being satisfied, there was a measurable decline in programmed diversity and it is argued, quality. The freedom of deregulation allowed TVNZ to pursue the goal of earning as much advertising revenue as possible. Therefore, the TVNZ Charter was hailed as a significant change of direction to ensure that public service needs were met.Even though it can be argued that many positive changes have resulted since the TVNZ Charter was mooted, it is argued that the drive to reposition TVNZ as a public service broadcaster seems to have resulted in a very diluted form of public service broadcasting. A major shift in direction has been compromised by a fear that significant changes in programming would result in a dramatic loss of vital advertising revenue.

The research for this thesis started just before the TVNZ Charter was released in 2001. It followed the discussion regarding the new direction for the broadcaster to follow a more public service role. The data gathering was conducted through to post Charter implementation and captured the uncertainty surrounding the shift in policy. Although the aim of the TVNZ Charter was to raise the standards of public service broadcasting the introduction of this new policy was marked by confusion as to how this would be achieved, funded and monitored.The TVNZ Charter was introduced with the prescription that TVNZ find a balance in achieving public service needs in television as well as maintaining the revenue from advertising. This was because the government was not willing to provide sufficient funding for a non-commercial service and hence the result was always to be a hybrid model. It was frequently emphasized that Charter programmes should rate well and there was strong stress on the importance of retaining and attracting audiences.The core changes leading to the introduction of the TVNZ Charter owe their origins to the major policy turning point of 1989/1990, when broadcasting was deregulated in New Zealand. The free market provided programmes with a focus on entertainment and the previous dictum that they should also educate and inform was no longer spelled out in the Broadcasting Act. As only one of the traditional principles of television was being satisfied, there was a measurable decline in programmed diversity and it is argued, quality. The freedom of deregulation allowed TVNZ to pursue the goal of earning as much advertising revenue as possible. Therefore, the TVNZ Charter was hailed as a significant change of direction to ensure that public service needs were met.Even though it can be argued that many positive changes have resulted since the TVNZ Charter was mooted, it is argued that the drive to reposition TVNZ as a public service broadcaster seems to have resulted in a very diluted form of public service broadcasting. A major shift in direction has been compromised by a fear that significant changes in programming would result in a dramatic loss of vital advertising revenue.

Este trabalho tem como meta mapear o contexto e os principais fatos ligados à história da Rádio-Escola Municipal do Distrito Federal, fundada em 1934. Para tanto são descritas e analisadas as transformações culturais, as propostas educacionais e os projetos políticos contemporâneos à implantação da emissora estudada, buscando compreender o quanto influenciaram em sua concepção e consecução. O trabalho também apresenta outros projetos e publicações elaborados no decorrer das décadas de 1920 a 1940, referentes à utilização do rádio como veículo para educar. O presente trabalho analisou a atuação da emissora estudada até 1945. Porém, dados sobre outros períodos são apresentados, permitindo a visualização de um quadro geral das principais transformações ocorridas na estação, que, em 1946, passa a se chamar Rádio Roquette Pinto. / This research aims to map the context and the main facts related to the history of Municipal Scholl Radio of the Federal District, founded in 1934. To reach this goal, the cultural changes, the educational proposals and the political projects contemporary to the studied radio station implementation are described and analyzed, trying to understand how much they influenced its conception and achievement. The work also presents other projects and publications, produced during the decades of 1920 until 1940, which are related to the use of radio as a means of education. This study examined the role of the studied broadcast until 1945. However, data on the other periods are presented, conveying na overview of the main changes in the statios, which, in 1946, is to be called Radio Roquette Pinto.

The Canadian Broadcasting Corporation (CBC) has been a force on Canadian airwaves for nearly a century. Within that timeframe, kilometres of textual records and thousands of hours of audiovisual recordings have been produced. Those records are evidence of the CBC’s role in mirroring and developing Canada’s national consciousness. Yet, the CBC’s records are scattered throughout Canada in multiple archival institutions. This thesis analyzes the development of these archives, with special attention to the only repository the CBC links to on its “Resources and Archives” webpage: The CBC Digital Archives. With consideration of the challenges and opportunities presented by digital culture, this thesis aims to uncover the role of the CBC Digital Archives within CBC’s archival landscape and its wider broadcasting policies and mandate. / May 2017

No description available.

O objetivo geral da pesquisa é realizar uma abordagem histórica da produção de documentários da TV Cultura de São Paulo entre 1969 e 2004, procurando estabelecer recortes conceituais e eixos temáticos para sua análise. Destacando as particularidades de uma TV Pública cultural e educativa e utilizando-se de fontes diversificadas, os objetivos específicos referem-se às atividades de levantamento e sistematização das obras e das informações disponíveis sobre elas, produzindo e/ou tornando acessíveis documentos, informações e reflexões relevantes para pesquisadores nesse campo. A partir do registro de depoimentos e da análise do acervo, procurou-se valorizar a trajetória dos profissionais que trabalharam na emissora e suas relações com a história do Documentário Paulista (e Brasileiro) no período enfocado. / The general purpose of this research is to undertake a historical approach of the documentary production of TV Cultura de São Paulo between 1969 and 2004, trying to establish conceptual clippings and thematic axis for its analysis. From testimonies records and collection analysis, evaluation of the path of professionals who worked for the TV broadcaster and their relationship with the São Paulo (and Brazilian) Documentary history during that period was pursued. Highlighting the peculiarities of a public cultural and educational TV broadcaster based on diversified sources, the specific objectives refer to the surveying and systematization activities of the works and information available on them, producing or providing access to documents, information and reflections relevant for researchers in this field.

O objetivo geral da pesquisa é realizar uma abordagem histórica da produção de documentários da TV Cultura de São Paulo entre 1969 e 2004, procurando estabelecer recortes conceituais e eixos temáticos para sua análise. Destacando as particularidades de uma TV Pública cultural e educativa e utilizando-se de fontes diversificadas, os objetivos específicos referem-se às atividades de levantamento e sistematização das obras e das informações disponíveis sobre elas, produzindo e/ou tornando acessíveis documentos, informações e reflexões relevantes para pesquisadores nesse campo. A partir do registro de depoimentos e da análise do acervo, procurou-se valorizar a trajetória dos profissionais que trabalharam na emissora e suas relações com a história do Documentário Paulista (e Brasileiro) no período enfocado. / The general purpose of this research is to undertake a historical approach of the documentary production of TV Cultura de São Paulo between 1969 and 2004, trying to establish conceptual clippings and thematic axis for its analysis. From testimonies records and collection analysis, evaluation of the path of professionals who worked for the TV broadcaster and their relationship with the São Paulo (and Brazilian) Documentary history during that period was pursued. Highlighting the peculiarities of a public cultural and educational TV broadcaster based on diversified sources, the specific objectives refer to the surveying and systematization activities of the works and information available on them, producing or providing access to documents, information and reflections relevant for researchers in this field.

La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.<p>Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips). / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished