Pub Date : 2006-05-01DOI: 10.1207/s15506843jrs1301_5
Sara Spoelders, R. Claes
In Study 1, 93 judges using the Creative Product Analysis Matrix (CPAM) evaluated the creativity of 120 Flemish radio ads, measuring a poor level of "original" while reaching a satisfying level of "useful" and "expressive." Study 2 used critical literature analysis and content analysis on 30 creative formats. Cluster analysis yielded five groupings that were profiled in terms of creativity, confirming that Flemish radio ads shared similar levels of "useful" and "expressive." Two clusters of creative formats proved successful to reach a higher level for "original." These clusters shared an emotional approach of real-life stories, with "SFX" (sound or special effects) and imagery evoking "theatre of the mind." In addition, the third cluster used "testimonial" and "direct address," whereas the fifth cluster used "jingle," "voice-over," "dialogue," "female voices," and "humor."
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Pub Date : 2006-05-01DOI: 10.1207/s15506843jrs1301_9
Charles H. Tillinghast
It is widely believed that radio regulation imposed by the 1927 Radio Act was required to control signal interference that threatened broadcasting with a tragedy of the commons: too many stations producing interfering signals. Thomas W. Hazlett (1990, 2001) disputes this view, contending that powers adequate to cope with interference were already provided by the 1912 Radio Act, but, more important, that no such government regulation was needed to eliminate signal interference, a fact well known to policymakers of the period. This article evaluates Hazlett's claims.
人们普遍认为，1927年《无线电法案》(radio Act)实施的无线电管制是为了控制信号干扰，因为信号干扰威胁着广播，造成了“公地悲剧”:太多电台产生干扰信号。Thomas W. Hazlett(1991,2001)对这一观点提出异议，他认为1912年的《无线电法案》已经提供了足够的权力来应对干扰，但更重要的是，不需要这样的政府监管来消除信号干扰，这是当时政策制定者众所周知的事实。本文对Hazlett的观点进行了评价。
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Pub Date : 2006-05-01DOI: 10.1207/s15506843jrs1301_1
Theresa R. Richardson, E. Johanningmeier
Rockefeller philanthropies' support for educational radio began in the 1920s and increased in the 1930s in response to the Depression. Radio was funded as part of the humanities. Broadcasts were intended to uplift culture and introduce new ideas and practices to schools and families. Educational radio was also seen as a means of social control, to adjust popular culture to changing economic conditions. Rockefeller support for experimental radio in the 1930s significantly advanced the new field of communication studies by the 1940s. The social uses of broadcasting in this period raise questions about the role of media, past and present.
{"title":"Educational Radio, Childhood, and Philanthropy: A New Role for the Humanities in Popular Culture, 1924–1941","authors":"Theresa R. Richardson, E. Johanningmeier","doi":"10.1207/s15506843jrs1301_1","DOIUrl":"https://doi.org/10.1207/s15506843jrs1301_1","url":null,"abstract":"Rockefeller philanthropies' support for educational radio began in the 1920s and increased in the 1930s in response to the Depression. Radio was funded as part of the humanities. Broadcasts were intended to uplift culture and introduce new ideas and practices to schools and families. Educational radio was also seen as a means of social control, to adjust popular culture to changing economic conditions. Rockefeller support for experimental radio in the 1930s significantly advanced the new field of communication studies by the 1940s. The social uses of broadcasting in this period raise questions about the role of media, past and present.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131531979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-05-01DOI: 10.1207/s15506843jrs1301_13
Bradley L. Nason
Just imagine what Orson Welles might have done with today’s technology: a “The Boy Wonder” blog to publicize cuts made in his films by studios fighting his cost overruns; the Internet to link the crossover influences among Welles’s theatrical, film, and radio works; podcasts of his radio dramas; or DVDs of original sound effects, complete with demonstrations of how they were created. The list is endless. As it was, Welles was the original King of All Media. In his superbly researched book, The Medium and the Magician: Orson Welles, the Radio Years, 1934–1952, author Paul Heyer remains true to his mission of completing the unfinished chapter of radio in what is the collective biography of the director, actor, writer, and “stage magician” (p. xiii). Heyer does so by thoroughly describing Welles’s radio contributions but also by showing how influential radio was in Welles’s other work. “It was,” he writes, “a time when the evocative power of radio put the auditory in popular culture more on par with the visual than is the case in our current image-laden era” (p. 129). Part of the Critical Media Studies: Institutions, Politics, and Culture series, the text is broken into three chronological parts comprising nine chapters, an introduction and an epilogue, and what the author calls a “Selected Radiography,” listing “most, but not all of the broadcasts Welles did during his radio years” (p. 217). The first of the three parts, “The Road to CBS,” provides a brief biography and description of Welles’s early theater work, which led to his anonymous—difficult to imagine now—debut on radio following several unsuccessful auditions. Given both a voice that was “so suited for the medium” (p. 17) and his success on stage to that point, Heyer raises the implausible question of who could have beaten out Welles for a part. Success soon followed, including his work for The Columbia Workshop, as the star of The Shadow and with the Mercury Theater on the Air—the platform, of course, for the War of the Worlds broadcast. The book’s second section, and middle three chapters—“Genesis,” “Exodus,” and “Revelation”—are devoted to the October 30, 1938, Panic Broadcast on CBS. This is the most interesting part of Heyer’s study, not only for the technical descriptions of the broadcastbutalso for theanalysisofhowit all came together.Although it seems incredible today, when episodes of so-called reality television programming are filmed and the results embargoed for months, the War of the Worlds broadcast was put together, as most of the productions were then, in a week. In fact, Heyer writes, Welles did not even discuss the idea of “capitalizing on the escalating tensions in Europe by dramatizing an interplanetary conflict” (p. 78) until just 10 days before the actual broadcast. Heyer attributes the success—depending, of course, on one’s perspective—of the broadcast in large part to what he calls the play’s “radio vérité style”: “It effectively
想象一下奥逊·威尔斯(Orson Welles)用今天的技术会做些什么:一个名为“奇迹男孩”(The Boy Wonder)的博客，公布制片厂为抵制他的成本超支而在他的电影中删减的部分;利用互联网将威尔斯的戏剧、电影和广播作品之间的交叉影响联系起来;他的广播剧播客;或者原始音效的dvd，并演示它们是如何制作的。这样的例子不胜枚举。事实上，威尔斯是最早的全媒体之王。作者保罗·海耶(Paul Heyer)在其研究精深的著作《媒介与魔术师:奥逊·威尔斯，无线电年代，1934-1952》(The Medium and The Magician, The Radio Years, 1934-1952)中忠于自己的使命，完成了关于无线电的未完成章节，这是一部集导演、演员、作家和“舞台魔术师”于一体的传记(第13页)。海耶通过全面描述威尔斯对无线电的贡献，同时也展示了无线电在威尔斯其他作品中的影响力。“那是，”他写道，“一个收音机唤起的力量使听觉在流行文化中与视觉更平等的时代，而不是在我们这个充斥着图像的时代”(第129页)。作为《批判媒体研究:制度、政治和文化》系列的一部分，本书按时间顺序分为三个部分，包括九章、引言和尾声，以及作者所称的“精选放射摄影”，列出了“威尔斯在他的广播生涯中所做的大部分广播，但不是全部”(第217页)。三部分的第一部分《通往CBS的路》(The Road to CBS)简要介绍了威尔斯早期的戏剧作品，在几次试镜失败后，他以匿名身份(现在很难想象)首次在电台亮相。考虑到他的声音“非常适合这个媒介”(第17页)，以及他在舞台上的成功，海耶提出了一个令人难以置信的问题:谁能击败威尔斯获得一个角色?他很快就获得了成功，包括他为哥伦比亚工作室工作，作为《影子》的明星，并在空中的水星剧院工作——当然，这是世界大战广播的平台。这本书的第二部分和中间的三章——“创世纪”、“出埃及记”和“启示录”——专门讲述了1938年10月30日CBS的恐慌广播。这是海耶研究中最有趣的部分，不仅是对广播的技术描述，而且是对所有这些是如何组合在一起的分析。虽然在今天看来不可思议，当所谓的电视真人秀节目被拍摄下来，结果被禁止几个月的时候，《世界大战》的播出是在一周内完成的，就像当时的大多数制作一样。事实上，海耶写道，威尔斯甚至没有讨论过“通过戏剧化星际冲突来利用欧洲不断升级的紧张局势”的想法(第78页)，直到实际广播前10天。海耶将这部剧的成功——当然，这取决于个人的观点——在很大程度上归功于他所说的“广播录影带风格”:“它很有效
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Pub Date : 2006-05-01DOI: 10.1207/s15506843jrs1301_4
Christopher Lucas
Between 1998 and 2001, a citizen-generated policy proposal called for the implementation of a low-power FM (LPFM) radio service in the United States, leading to fierce debates within the FCC, among civic and industry leaders, and in the engineering community. This article is a case study of the regulatory developments surrounding LPFM, including an analysis of the institutions, individuals, and civic groups involved in this process and how the provisions of the policy changed over time. Drawing together the ideas of Thomas Streeter, Tony Bennett, and Jim McGuigan, it considers this process as an instance of cultural policy formation, including the range of influences, crucial transition points, rhetorical lines of attack, and the compromises that ultimately undermined LPFM's chances of becoming a vibrant, alternative site of broadcasting.
1998年至2001年间，一项由公民提出的政策建议呼吁在美国实施低功率调频(LPFM)无线电服务，这在联邦通信委员会内部、公民和行业领袖以及工程界引起了激烈的争论。本文是围绕LPFM的监管发展的一个案例研究，包括对参与这一过程的机构、个人和民间团体的分析，以及政策条款如何随着时间的推移而变化。汇集了Thomas Streeter, Tony Bennett和Jim McGuigan的观点，它将这一过程视为文化政策形成的一个实例，包括影响范围，关键的过渡点，攻击的修辞路线，以及最终破坏LPFM成为一个充满活力的替代广播网站的机会的妥协。
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Pub Date : 2006-05-01DOI: 10.1207/s15506843jrs1301_14
David A. Dzikowski
{"title":"Book Review—Jack W. Mitchell, Listener Supported: The Culture and History of Public Radio","authors":"David A. Dzikowski","doi":"10.1207/s15506843jrs1301_14","DOIUrl":"https://doi.org/10.1207/s15506843jrs1301_14","url":null,"abstract":"","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"601 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123191976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-05DOI: 10.1207/s15506843jrs1301_6
Hugh Chignell
BBC Radio 4's Analysis was first broadcast in 1970 and represented a striking departure from the tendency to combine news and comment in radio current affairs. It was created by a small network of broadcasters who believed that current affairs was distinct from radio journalism. The publication of the controversial document Broadcasting in the Seventies in 1969 and the outcry that followed it gave this group the opportunity to produce an elite form of radio.
BBC广播4频道的《分析》节目于1970年首次播出，这一节目明显背离了广播时事中新闻与评论相结合的趋势。它是由一个广播员的小网络创建的，他们认为时事新闻不同于广播新闻。1969年出版的有争议的文件《70年代的广播》(Broadcasting in 70s)以及随之而来的强烈抗议，给了这个团体创造一种精英广播形式的机会。
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Pub Date : 2005-09-01DOI: 10.1207/s15506843jrs1202_11
Jacob Anfinson
{"title":"Book Reviews—Ted Patterson, The Golden Voices of Baseball, and Ted Patterson, The Golden Voices of Football","authors":"Jacob Anfinson","doi":"10.1207/s15506843jrs1202_11","DOIUrl":"https://doi.org/10.1207/s15506843jrs1202_11","url":null,"abstract":"","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"526 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132352893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-09-01DOI: 10.1207/s15506843jrs1202_6
M. Matelski
The evolving history of Roma Radio is not unlike other attempts to engender media support for underserved audiences. This essay employs Radio C as an example (a) to understand ethnic minority populations and the challenges they face in maintaining a strong cultural identity, (b) to explore the advantages and disadvantages of radio as a medium for unifying the Roma culture in Eastern Europe, and (c) to suggest a framework for radio and Gypsy cultures in other areas of the world as well as for other nomadic or diasporan cultures.
{"title":"Hungary's Roma Radio: Underserving the Underserved?","authors":"M. Matelski","doi":"10.1207/s15506843jrs1202_6","DOIUrl":"https://doi.org/10.1207/s15506843jrs1202_6","url":null,"abstract":"The evolving history of Roma Radio is not unlike other attempts to engender media support for underserved audiences. This essay employs Radio C as an example (a) to understand ethnic minority populations and the challenges they face in maintaining a strong cultural identity, (b) to explore the advantages and disadvantages of radio as a medium for unifying the Roma culture in Eastern Europe, and (c) to suggest a framework for radio and Gypsy cultures in other areas of the world as well as for other nomadic or diasporan cultures.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121163719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-09-01DOI: 10.1207/s15506843jrs1202_8
A. T. Anderson
For most of the 20th century, international broadcasting was characterized by state-run broadcasts carried over shortwave radio. Such broadcasting was at the core of the Cold War and World War II, as well as the decade leading up to World War II. After the end of the Cold War in the early 1990s, the geopolitical context that had structured international broadcasting for so long dissolved, allowing for the possibility of significant changes in international broadcasting. One of these changes since the end of the Cold War is the development of Web radio. The year 1995 marks the point when broadcasting over the Web began in earnest. Included in this movement were a number of the primary broadcasters who had been, and still were, active in international shortwave broadcasting. Then, in 2001, after gradually reducing shortwave output to North America, Australia, and New Zealand, the BBC World Service terminated official shortwave broadcasts to these areas. In place of shortwave, listeners were directed to receive BBC World Service programming primarily through Web broadcasts and secondarily through local AM/FM rebroadcasts. The announcement of the termination of these shortwave broadcasts provoked a large and vocal opposition to the cuts from shortwave listeners, professionals in international broadcasting, and even the British Parliament. This article documents the BBC World Service's announcement as well as the reaction it generated.
{"title":"Changes at the BBC World Service: Documenting the World Service's Move From Shortwave to Web Radio in North America, Australia, and New Zealand","authors":"A. T. Anderson","doi":"10.1207/s15506843jrs1202_8","DOIUrl":"https://doi.org/10.1207/s15506843jrs1202_8","url":null,"abstract":"For most of the 20th century, international broadcasting was characterized by state-run broadcasts carried over shortwave radio. Such broadcasting was at the core of the Cold War and World War II, as well as the decade leading up to World War II. After the end of the Cold War in the early 1990s, the geopolitical context that had structured international broadcasting for so long dissolved, allowing for the possibility of significant changes in international broadcasting. One of these changes since the end of the Cold War is the development of Web radio. The year 1995 marks the point when broadcasting over the Web began in earnest. Included in this movement were a number of the primary broadcasters who had been, and still were, active in international shortwave broadcasting. Then, in 2001, after gradually reducing shortwave output to North America, Australia, and New Zealand, the BBC World Service terminated official shortwave broadcasts to these areas. In place of shortwave, listeners were directed to receive BBC World Service programming primarily through Web broadcasts and secondarily through local AM/FM rebroadcasts. The announcement of the termination of these shortwave broadcasts provoked a large and vocal opposition to the cuts from shortwave listeners, professionals in international broadcasting, and even the British Parliament. This article documents the BBC World Service's announcement as well as the reaction it generated.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124851155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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