This dissertation re-examines a particular period of American broadcasting regulation in the 1920s, namely the "chaos" period traditionally labeled as the brief time in between the breakdown of federal radio regulation in early 1926 and the passage of the Radio Act of 1927. Using the ideas of heteroglossia and vernacular discourse drawn respectively from Mikhail Bakhtin and Gerard Hauser, I argue that the media scholarship understanding of chaos needs to be expanded beyond the conventional interpretation of a fatalistic moment which inevitably resulted in the support for broadcast commercialization on a national scale. This theoretical expansion reflects three trends that can be studied in this period: several years of uncertainty in regulatory decision-making, the attempted emergence of a greater variety of stations, and a substantive public debate about the direction of regulation towards commercialization. Chaos can ultimately be looked at as a positive term with ties to the traditional ideal of public interest in broadcasting. I explore three levels and local examples of public discourse to make this argument about chaos, in the process concentrating on Chicago area stations, in particular WCFL and WJAZ, and their experiences during this period. First of all, congressional records of debate over radio regulation as well as the early actions of the Federal Radio Commission establish a level of governmental discourse that struggled to rationalize the elimination of stations towards network commercialization. Second, trade journals such as Radio Broadcast reflect a level of public discourse in close collaboration with regulators, but also reflective of listener voices resistant to the predominance of big commercial stations. Thirdly, WCFL programming, as characterized differently by both Chicago newspaper accounts and station literature, is regarded as contemporary evidence of the heteroglossic and vernacular quality of local broadcasting in urban environments, to be affected negatively by the regulatory turn towards the networks. Re-exploring this period with a more positive evaluation of "chaos," however, can aid scholars in drawing on historical support for media reform movements in an ever-changing communication environment.

Este trabalho busca contar a trajetória do Balancê, programa radiofônico de variedades que estreou em 07 de abril de 1980 na Rádio Excelsior AM, pertencente à Rede Globo de Rádio e Televisão, e foi encerrado em novembro de 1988 no pool de transmissão das rádios Record e Gazeta AM, todas emissoras da cidade de São Paulo. Uma das experiências mais singulares do rádio brasileiro, o Balancê foi realizado pela equipe de esportes da Rádio Globo, mas não abordou apenas assuntos esportivos, dedicando suas pautas à política, às artes e à cultura, sempre com uma abordagem ampla, descontraída e bem-humorada, levando aos seus microfones o momento vivido pela sociedade brasileira no processo de redemocratização, ao longo da década de 1980. A primeira parte trata da história do programa, a partir de uma grande transformação vivida pelo rádio na década de 1960, para esclarecer suas maiores realizações, o papel dos seus principais personagens e, também, o contexto de mercado ao qual o programa esteve inserido em sua evolução. A narrativa histórica foi construída a partir de matérias de jornais e revistas, materiais bibliográficos referenciais e, principalmente, gravações do programa e entrevistas gravadas com vários participantes da atração. A segunda parte busca observar esse quadro histórico sob o prisma dos elementos fundamentais da radiofonia, observados por Gisela Swetlana Ortriwano e Jesús Martín-Barberto, de modo a compreender, no exemplo prático do Balancê, como esses elementos funcionaram, quais foram os méritos do programa dentro desse campo conceitual e o que seu exemplo agrega ao corpo de conhecimento relacionado ao rádio. / This paper aims to tell the story of Balancê, a variety radio show that premiered on April 7th, 1980 on Excelsior AM Radio, of the Globo Radio and Television Network, and ended on November 1988 on Record and Gazeta AM broadcasting pool, all broadcasters of São Paulo city. One of the most extraordinary events in Brazilian radio history, Balancê was developed by the sports department of Globo Radio, but it did not only discussed sports. It also delved into politics, culture and the arts, always with a broad, relaxed and good humored approach. The show brought to its microphones the moment lived by the Brazilian society during the process of redemocratization in 1980s. The first part deals with the history of the show, beginning with the great transformation of radio broadcasting in the 1960s, the media\'s major achievements, the role of its main characters and the show\'s context during this era. The research is based on newspapers and magazines materials, bibliographical references and most importantly, archival recordings and interviews with several participants of the show. The second part deals with the observation of this historical path of radio broadcasting with the support of the radiophonics fundamental elements set by Gisela Swetlana Ortriwano and Jesús Martín-Barberto. With Balancê as a practical example, we will observe how these elements worked, and what were the merits of the show within this field. The study of this show adds more knowledge to our understanging of how radio works.

This study examines the representation of Local Education Authority (LEA) secondary schooling in England and Wales as it was portrayed in non-fiction British Broadcasting Corporation (BBC) programmes in the twenty-one years that followed the 1944 Education Act. The primary sources drawn on for this study include the surviving microfilmed radio scripts, dating from 1944–1965 and held at the BBC Written Archives (BBC WAC). The correspondence files from contributors to programmes also provide a key source from BBC WAC. The majority of the programmes considered are radio broadcast, however some documentary films on the topic of secondary education, made by the BBC and transmitted on television, are also analysed. Where audio-visual copies have survived, the programmes were viewed at the BFI Viewing Services. The study draws on 235 BBC programmes in total, made in the years 1944–1965. The details of these broadcasts can be seen in the three Appendices accompanying this study. The study also employs the use of drawing to present key ideas. This study explores how broadcasts are formed as cultural products. The research questions address: what was the content of these programmes? Who collaborated to create and edit these programmes and how were the programmes devised to inform the public about the provision of secondary education? What was the role of the All Souls Group (ASG) in this collaboration? The public included a domestic audience in England and Wales and an overseas audience for whom distinct broadcasts were usually created. A further element of the research is a scrutiny of the BBC as an organization that positions itself as neutral. The considered programmes enabled a group of eloquent educationalists to use their rehearsed and edited ‘conversation’ on a public stage. As the study unfolds it becomes apparent that the members of the informal education discussion group, the ASG, were lobbying to encourage the topic of secondary education to resurface sufficiently often on air. The study concludes with recognition that the reinforcing of loyalties between overlapping networks, such as the BBC and the ASG, should no longer be approached with reticence in academic research.

Este trabalho busca contar a trajetória do Balancê, programa radiofônico de variedades que estreou em 07 de abril de 1980 na Rádio Excelsior AM, pertencente à Rede Globo de Rádio e Televisão, e foi encerrado em novembro de 1988 no pool de transmissão das rádios Record e Gazeta AM, todas emissoras da cidade de São Paulo. Uma das experiências mais singulares do rádio brasileiro, o Balancê foi realizado pela equipe de esportes da Rádio Globo, mas não abordou apenas assuntos esportivos, dedicando suas pautas à política, às artes e à cultura, sempre com uma abordagem ampla, descontraída e bem-humorada, levando aos seus microfones o momento vivido pela sociedade brasileira no processo de redemocratização, ao longo da década de 1980. A primeira parte trata da história do programa, a partir de uma grande transformação vivida pelo rádio na década de 1960, para esclarecer suas maiores realizações, o papel dos seus principais personagens e, também, o contexto de mercado ao qual o programa esteve inserido em sua evolução. A narrativa histórica foi construída a partir de matérias de jornais e revistas, materiais bibliográficos referenciais e, principalmente, gravações do programa e entrevistas gravadas com vários participantes da atração. A segunda parte busca observar esse quadro histórico sob o prisma dos elementos fundamentais da radiofonia, observados por Gisela Swetlana Ortriwano e Jesús Martín-Barberto, de modo a compreender, no exemplo prático do Balancê, como esses elementos funcionaram, quais foram os méritos do programa dentro desse campo conceitual e o que seu exemplo agrega ao corpo de conhecimento relacionado ao rádio. / This paper aims to tell the story of Balancê, a variety radio show that premiered on April 7th, 1980 on Excelsior AM Radio, of the Globo Radio and Television Network, and ended on November 1988 on Record and Gazeta AM broadcasting pool, all broadcasters of São Paulo city. One of the most extraordinary events in Brazilian radio history, Balancê was developed by the sports department of Globo Radio, but it did not only discussed sports. It also delved into politics, culture and the arts, always with a broad, relaxed and good humored approach. The show brought to its microphones the moment lived by the Brazilian society during the process of redemocratization in 1980s. The first part deals with the history of the show, beginning with the great transformation of radio broadcasting in the 1960s, the media\'s major achievements, the role of its main characters and the show\'s context during this era. The research is based on newspapers and magazines materials, bibliographical references and most importantly, archival recordings and interviews with several participants of the show. The second part deals with the observation of this historical path of radio broadcasting with the support of the radiophonics fundamental elements set by Gisela Swetlana Ortriwano and Jesús Martín-Barberto. With Balancê as a practical example, we will observe how these elements worked, and what were the merits of the show within this field. The study of this show adds more knowledge to our understanging of how radio works.

No description available.

My thesis's topic is radio and its influence on society in the First Czechoslovak Republic. The topic of this thesis is approached form a perspective of history of technology. This historical discipline is most widely used within the Western Europe, especially in the Netherlands. The history of technology pays attention to the technology not from excessively technological view, but rather from sociological and cultural view. One of main interests of this historical discipline, lies in the scientists, whose work led to the discovery and technological progress. In my thesis, I will first of all pay attention to the radio as a technological phenomenon. I am going to try to present a new interpretation of the radio. Main interest of this thesis, is going to be technological development of radio from its conception to the spread of this technology, political discussions within the parliament and cultural reflections of this new technology. Key words: radio, history of technology, Czechoslovakia, technology, amateur radio operator, HAM Radio

The main question in this dissertation is: How can the emergence of local and commercial radio and the ensuing changes within each be understood in relation to intermedial and intramedial competition? This overarching question is broken down into four research questions. What driving forces contributed to the implementation of local and commercial radio respectively? (How can the competitive context of these two radio forms be described and periodized? In what ways have the practices of producing radio output, radio audiences and brands changed during the period covered by this study? What similarities and differences have emerged between local radio and commercial radio over time? This study can be seen as an institutional media history, focusing on two distinctive periods in the history of Swedish radio and television, Decentralization (1977-1987) and Commercialization (1987 onwards). The empirical material consists of documents, press clippings and some forty semi-structured in-depth interviews. Theoretically the dissertation combines political economy with a cultural perspective on media production and institutional intentionality. The empirical content is a two-part study on local radio and on commercial radio, presented through narrative principles of chronology and periodization. The results of the study are integrated to a large extent into the historical presentation that makes up the major part of the dissertation. More specifically, this historical exposition shows that issues of competition were important also before the deregulation of Swedish radio in 1993, and that the competitive conditions for these two parts of the Swedish radio landscape are on the one hand fundamentally different and on the other have become more similar over the years, especially when it comes to competitive strategies and production philosophies.

No description available.