Dissertations / Theses on the topic 'Sound in broadcasting'

Thesis (MPhil) -- University of Stellenbosch, 2000.
ENGLISH ABSTRACT: The most neglected element in television reporting is the sound track. The problem is illustrated by the fact that there are currently no specialised textbooks, or training courses, on sound recording for television reporting, anywhere in the world. Textbooks that deal with television reporting dedicate very little space to sound recordings. With the growing competition in television news, news teams are increasingly becoming smaller. It is common practice these days to have a news team consisting of only a cameraperson and a reporter. The cameraperson is also responsible for the sound. Two television stations, namely NYl in New York and Channel One Television in England, have already dispensed with the cameraperson and send out only a reporter. This dissertation addresses the above-mentioned problem by doing research on the sound equipment, recording techniques and production techniques that are useful for effective sound recordings during single camera television reporting. Chapter two explains the functions of the different departments in a television station, as well as the duties of the staff. Chapter three explains basic television principles, terminology and equipment that the sound person uses daily and needs to understand to perform his work optimally. Chapterfour gives the basic terms that are needed to follow a conversation on sound recording. Terms like decibel, stereo and digital sound are explained. The chapter also covers basic electricity and sound equipment. Chapter five covers microphones under three headings, namely: electrical characteristics, acoustic characteristics and microphone design. The chapter also covers associated equipment, explains the sound facilities on video cameras and gives a list of possible sound equipment that can be used during a production. Chapter six covers sound recordings, principles and techniques under the following headings: • Perspective and boom swinging, which deals with sound perspective and boom swinging. • Rigging of cables, which gives practical tips for laying cables inside and outside buildings. • Recording principles, which gives practical tips on sound recordings. • Interviews, which includes recording tips for television interviews and reporting. • Reporting, which covers reporting, media conferences and public events. • Commentary recordings, which deals with the preparation and recording of voice over. • Music recordings, which deals with instruments and bands, and suggests microphone positions. • Telephone lines, which covers the use of telephone lines for reporting. • Location reconnaissance, which gives practical tips on pre-production planning. • Guidelines for sound persons during productions, which concludes the chapter and the dissertation with practical tips on behaviour during local, foreign and/or dangerous productions.
AFRIKAANSE OPSOMMING: Die veranderlike wat die meeste afgeskeep word in televisieverslaggewing, is die klankbaan. Die probleem word onderstreep deur die feit dat daar wêreldwyd tans geen gespesialiseerde handboeke of opleidingskursusse bestaan wat oor klankopnames vir televisieverslaggewing handel nie. Handboeke wat handeloor televisieverslaggewing wy ook baie min ruimte aan klankopnames. Met die groeiende kompetisie in televisienuus raak nuusspanne toenemend kleiner. Dit is reeds algemene praktyk dat die nuusspan slegs uit 'n kamerapersoon en 'n verslaggewer bestaan. Die kamerapersoon moet dus ook die klankopnames doen. Twee televisiestasies, naamlik NYl in New York en Channel One Television in Engeland, het reeds die kamerapersoon uitgeskakel en stuur slegs 'n verslaggewer uit. Hierdie verhandeling spreek bogenoemde probleem aan deur navorsing te doen oor die klanktoerusting, opnametegnieke en produksietegnieke wat nuttig is vir effektiewe klankopnames tydens enkelkameratelevisieverslaggewing. Hoofstuk twee verduidelik die funksies van die verskillende departemente in 'n televisiestasie sowel as die pligte van die personeel. Hoofstuk drie verduidelik basiese televisiebeginsels, -terminologie en -toerusting wat die klankpersoon daagliks mee werk en dus moet verstaan om sy werk optimaal te verrig. Hoofstuk vier gee die basiese terme wat nodig is om 'n gesprek oor klankopnames te volg. Begrippe soos desibel, stereo en digitale klank word verduidelik. Die hoofstuk behandelook basiese elektriese beginsels en klanktoerusting. Hoofstuk vyf bespreek mikrofone onder drie indelings naamlik: elektriese eienskappe, akoestiese eienskappe en mikrofoonontwerp. Die hoofstuk dek ook aanverwante toerusting, verduidelik die klankfasiliteite op videokameras en gee 'n lys van klanktoerusting wat tydens produksies gebruik kan word. Hoofstuk ses is die belangrikste en bespreek klankopnames, beginsels en tegnieke onder die volgende opskrifte: • Perspektief en boomhantering, waaronder klankperspektief en boomhantering behandel word. • Lê van kabels, wat praktiese wenke gee vir die lê van kabels binne en buite geboue. • Opnamebeginsels, wat praktiese wenke gee in verband met klankopnames. • Onderhoude, wat opnamewenke gee in verband met televisieonderhoude en verslaggewing. • Verslaggewing, wat verslaggewing, nuuskonferensies en openbare geleenthede dek. • Kommentaaropnames, wat handeloor die voorbereiding vir, en opneem van kommentaar. • Musiekopnames, wat musiekinstrumente en orkeste bespreek en mikrofoonposisies voorstel. • Telefoonlyne, waaronder die gebruik van telefoonlyne vir verslaggewing bespreek word. • Terreinverkenning, wat praktiese riglyne gee vir voorproduksie-ondersoeke. • Riglyne vir klankpersone tydens produksies, wat die hoofstuk en die studie afsluit met praktiese wenke vir gedrag tydens plaaslike, buitelandse en/of gevaarlike produksies.

Thesis (MPhil)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: In this work I explore the use of sound as a means of presenting news to the user of the Internet. I accept that news sound as such, as it is presented on radio, is an effective mass communication medium. From there I ask the question if this sound, with the same underlying principles used in radio, can be effectively used on the Internet. This opposed to real changes made in the gathering, preparation and presentation of sound to be effective on the Information Superhighway. In the first chapter I look at the methods (good and bad) utilized to present sound on the radio. When I present a model for Internet use later in the work (chapter 5) I use these as a starting point. Some definitions are formulated, which also become important in chapter 5. In the second chapter I touch on the origins of the Internet and the use of web sites to provide a news service. I explore the methods employed by news specific sites to communicate information to Internet users and I compare that to uses on a non-news site, in this case National Geographic.com. Again I use the positive aspects of the study of these sites to form part of the model presented in chapter 5. Chapter 3 is dedicated to the technological development of the Internet and the use of multimedia to convey information. I also touch on the future of the information system and the expectations and requirements these developments would put on journalists working on the medium. In chapter 4 I compare the way in which three news sites handled the covering of the terrorist attack on America. Because of the territorial advantage, I choose to look at the coverage one year after the event. The positive use of text, video, sound and images on these three sites are used to format the model in the next chapter. As said previously, chapter 5 contains a model for the use of multimedia, specifically sound, to convey news information on the Internet. While the focus is on sound, I suggest here that the model is applicable to all the aids available to the Internet producer.
AFRIKAANSE OPSOMMING: In hierdie werkstuk ontleed ek die gebruik van klank as 'n werktuig om nuus aan die Internetgebruiker oor te dra. Ek gaan van die beginsel af uit dat nuusklank op sy eie, met ander woorde soos dit op die radio uitgesaai word, wel 'n effektiewe, vinnige metode is om nuus aan massas mense oor te dra. Die vraag word gevra of klank op dieselfde manier, met dieselfde grondbeginsels en gebruike, 'n effektiewe medium is om nuus op die Internet aan te bied. Dié vraag word in teenstelling geplaas met die moontlikhede dat klank liefs op die radio hoort en nie deel behoort te wees van nuuswebtuistes nie, of dat daar wesenlike veranderinge gemaak behoort te word aan die nuus wat op die radio aangebied word, voor dit effektief op die Internet gebruik kan word. In die eerste hoofstuk kyk ek na die oorsprong en geskiedenis van radio en daarna na die ontwikkeling van nuus op radio. Ek behandel die beginsels van radionuus, met die doelom hierdie kenmerke dan later in die werkstuk (hoofstuk 5) te gebruik as die grondbeginsels vir 'n model vir die gebruik van klank om nuus op die Internet oor te dra. Ek kyk na die goeie en slegte praktyke wat in die oordrag van nuus op radio ontstaan het en probeer hierdeur sif om nie dieselfde swakplekke by die bogenoemde model in te sluit nie. In hierdie hoofstuk formuleer ek dan definisies vir die verskillende gebruike van klank om nuus oor die radio oor te dra. Hierdie definisies word ook later gebruik in die model vir die effektiewe gebruike van nuusklank op die Internet. In die tweede hoofstuk kyk ek na die oorsprong van die Internet, en dan (in meer detail) na die ontstaan van nuuswebtuistes. Ek ontleed die manier waarop inligting aan Internetgebruikers oorgedra word, op webtuistes wat spesifiek vir nuus geskep is, maar ek vergelyk dit ook met 'n webtuiste wat na my mening die Internet se kenmerke behoorlik aanwend om inligting oor te dra, nl. NationaIGeographic.com. Die goeie en slegte punte van die oordrag van inligting op die medium word ontleed, om ook later deel te vorm van die model in hoofstuk 5. Ek kyk in die derde hoofstuk na die tegnologiese ontwikkeling van die Internet en die gebruik van multimedia op die netwerk. Daar word ook geraak aan die toekomsmoontlikhede van die oordrag van groot hoeveelhede data (soos klank en video) op die netwerk. Soos die tegnologie ontwikkel, moet die persoon wat die produk daarstelontwikkel, en ek kyk na die vereistes wat aan joernaliste/vervaardigers van Internetnuus gestel word. In die vierde hoofstuk vergelyk ek die Internetaanbiedings van 'n spesifieke nuusgebeurtenis, die aanval op Amerika op 11 September 2001, van drie nuuswebtuistes. Ek kyk na die aanbiedings van die BBC, CNN en die SAUK, spesifiek na die gebruik van teks, grafika, video en klank om nuus aan Internetgebruikers oor te dra. Die (goeie en minder goeie) gebruik van klank op dié drie webtuistes vorm dan die basis van die model wat ek in hoofstuk 5 aanbied. Die vyfde hoofstuk word gewyaan die daarstelling van 'n model om klank as nuusmedium op die Internet te gebruik. Ek kyk na die beginsels van die goeie gebruik van klank wat in die eerste hoofstuk daargestel is en probeer dit verwerk vir gebruik op die Internet. Hoewel ek nie spesifiek die gebruik van ander media, soos teks, video en grafika, behandel nie, doen ek in hoofstuk 5 voor dat die model vir al die hulpmiddels op die Internetnuuswebtuiste kan geld.

This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.

Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.

While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.

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.

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

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This work is the result of research undertaken in the Programa de Pós- Graduação Interdisciplinar em Direitos Humanos da Universidade Federal de Goiás, master's level, and has as a research subject to Brazilian legislation on images and sound broadcasting and Public Policy for Human rights in Brazil. The overall objective of the research is to identify what are the regulatory provisions and recommendations of the Brazilian legislation for the operation of television stations that integrate the system of public broadcasting of images and sounds. In this sense the research seeks to answer the following questions: What are the normative legal provisions and present recommendations on the Brazilian legislation on broadcasting and the Public Policies for Human Rights in Brazil to operate the stations that make up the public broadcasting system sounds and projected images in Article 223 of the Federal Constitution of 1988? These regulations and recommendations are focused on the communication security as a fundamental human right and the defense and promotion of human rights in Brazil in the field of broadcasting? To answer such questions, the work will hold: 1) an analysis of the legislation on broadcasting images and sounds that comprise the laws and decrees promulgated on the broadcasting of images and sounds between the years 1931 and 2014; and 2) an analysis of Public Policies for Human Rights in Brazil, which will deal with the National Human Rights Plans 1996, 2002 and 2009, the World Programme of Education for Human Rights of 2005 and the National Plan of Education on Human Rights 2007. Before that, in order to support the above-mentioned analysis, the study will conduct a literature review of authors from different fields of knowledge with the specific objectives of: 1) understand the communication as a fundamental condition for ensuring the dignity and human rights from the concept of law in other authors as Arendt, Lyotard, Chauí, Ruiz Santos, among others; and 2) understand the communication as the foundation of social and an essential human right today and the role of mass media, especially television, from systems thinking thought Niklas Luhmann. Thus, the study aims to contribute to the interdisciplinary field of studies and research on Human Rights to seek to reflect on the important role that public television can and should play in ensuring communication and information as a human right and the promotion and defense of rights humans in Brazil.
O presente trabalho é resultado de pesquisa empreendida no âmbito do Programa de Pós-Graduação Interdisciplinar em Direitos Humanos da Universidade Federal de Goiás, nível mestrado, e tem como objeto de pesquisa a legislação brasileira sobre radiodifusão de imagens e sons e as Políticas Públicas para os Direitos Humanos no Brasil. O objetivo geral da pesquisa é o de identificar quais são as disposições normativas e recomendações da legislação brasileira para a atuação das emissoras de televisão que integram o sistema público de radiodifusão de imagens e sons. Nesse sentido a pesquisa procura responder as seguintes questões: quais são as disposições normativas e recomendações legais presentes na legislação brasileira sobre radiodifusão e nas Políticas Públicas para os Direitos Humanos no Brasil para atuação das emissoras que compõem o sistema público de radiodifusão de sons e imagens previsto no Artigo 223 da Constituição Federal de 1988? Essas normativas e recomendações estão voltadas para a garantia da comunicação como um direito humano fundamental e para a defesa e promoção dos direitos humanos no Brasil no campo da radiodifusão? Para responder a tais questões, o trabalho realizará: 1) uma análise da legislação sobre radiodifusão de imagens e sons que compreenderá as leis e decretos promulgados sobre a radiodifusão de imagens e sons entre os anos de 1931 e 2014; e 2) uma análise das Políticas Públicas para os Direitos Humanos no Brasil que abarcará os Planos Nacionais de Direitos Humanos de 1996, 2002 e 2009, o Programa Mundial de Educação para os Direitos Humanos de 2005 e o Plano Nacional de Educação em Direitos Humanos de 2007. Antes, porém, a fim de subsidiar as análises acima citadas, o estudo realizará uma revisão bibliográfica de autores de diferentes campos do conhecimento com os objetivos específicos de: 1) entender a comunicação como condição fundamental para a garantia da dignidade e dos direitos humanos a partir do conceito de direito do outro em autores como: Arendt, Lyotard, Chauí, Ruiz, Santos, entre outros; e 2) entender a comunicação como fundamento do social e um direito humano essencial na atualidade, bem como a função dos meios de comunicação de massa, em especial da televisão, a partir do pensamento sistêmico de pensamento de Niklas Luhmann. Desse modo, o estudo visa contribuir para o campo interdisciplinar dos estudos e pesquisas em Direitos Humanos ao procurar refletir sobre o importante papel que a televisão pública pode e deve desempenhar na garantia da comunicação e informação como um direito humano e na promoção e defesa dos direitos humanos no Brasil.

The interest in the effects of television violence on children has resulted in thousands of studies over the last 20 years. Previous research on laughter has generated many laughter theories and several studies show that laughter may influence mirth expressions and funniness ratings of material. The purpose of this study was to determine if a television laugh track affected children's perceptions of television violence. A review of the literature covered the areas of laughter and television laugh tracks, children's processing of television, and children's television violence perceptions. Forty-two children, aged 6 to 8 years old, were divided into two groups. One group watched a televised violent scene accompanied by a laugh track, and the other group watched the same scene without a laugh track. The children then answered questions on a Likert scale about their perceptions of the pain and violence in the scene. The data was analyzed using the t-statistic. At a .05 significance level, there were no significant differences between the control and treatment groups, supporting the null hypothesis. These results supported previous research showing that laugh tracks and laughter in general do not always increase funniness or other ratings, and that children may not be identifying closely with the characters. Suggestions for future research were presented.
Graduation date: 1993

Tese de Doutoramento em Ciências da Comunicação
A Lusofonia engloba o espaço onde a língua portuguesa é falada e entendida como a língua mãe da comunicação entre as pessoas. Trata-se de uma paisagem linguística que contempla sonoridades tão distintas quanto a diversidade dos países que compõem o espaço lusófono. A pluralidade de sotaques e de géneros musicais, oriundos deste espaço interligado por um oceano em tempos navegado, reflete uma panóplia de possibilidades sonoras na tentativa de sintetizar uma mediapaisagem sonora da Lusofonia. Este espaço de constrastes, tanto do ouvido como da representação dos países de expressão em língua portuguesa nas instâncias lusófonas, é objeto de estudo do presente trabalho. E porque o território da Lusofonia é o habitado por todos os falantes de Português, estendemos a nossa análise ao contexto das várias diásporas da língua portuguesa espalhadas pelo mundo, além dos oito países de língua oficial portuguesa que desde a expansão colonial a adotaram como sua, sonorizando-a de forma particular na sequência do cruzamento com as línguas locais. Sendo a rádio o meio mais dotado de som, sintetizaremos a sonoridade da Lusofonia em duas frentes: a rádio pública, porque é no serviço público que encontramos, pelo menos em teoria, os princípios fundamentais da pluralidade e da diversidade nos média, conceitos chave para o tratamento da cultura lusófona; e os programas de rádio produzidos para a diáspora, onde se consolidam as representações sonoras do distanciamento e a afirmação de um sentimento de pertença à nação de origem que se pode traduzir em sotaques e produtos culturais musicais. A polifonia lusófona também se afirma através dos vários géneros musicais que nasceram no espaço da Lusofonia – sendo alguns destes géneros produto do cruzamento de influências musicais transatlânticas. Neste caso, o oceano uniou o que sempre separou; mas será que este oceano, em particular o que se estende entre Portugal e o Brasil, é navegável através de ondas hertzianas? O Brasil é o maior território de falantes de língua portuguesa e o país a quem muitos julgam caber a responsabilidade de assumir o estandarde da Lusofonia. Portugal foi, historicamente, o catalisador da empreitada marítima que tornou o Português a língua oficial de lugares tão distantes uns dos outros, como Rio Grande do Sul e Timor- Leste. E existirá entre estes dois países um fluxo mediático mais intenso, reflexo de um interesse mais demorado um pelo outro, ou estaremos perante uma típica relação conjugal em que um parece estar mais apaixonado do que o outro? Para responder a estas questões de investigação, analisaremos com profundidade alguns estudos de caso, nomeadamente programas na rádio pública sobre cultura lusófona em Portugal e no Brasil e programas de rádios produzidos para a diáspora portuguesa no Brasil, de forma a registar um mapeamento sonoro das representações da cultura lusófona na rádio em ambos os países.
Lusophony envolves the space where Portuguese language is spoken and understood as the mother tongue for people to communicate. It stands as a linguistic landscape that that overviews sounds as different as the countries that are part of it. Plurality of accents and musical genres rooted to this space by the ocean, reflects a wide range of sound possibilities that can represent Lusophony’s sound mediascape. A place of contrasts, from the hearing to the countries that are represented there; this is our object of study. And because the lusophone territory is inhabited by all Portuguese speakers, we will include in our analysis the contexto of Portuguese-speaking diásporas, as well as the 8 countries that have adopted the language throughout the colonization process, even if it has been crossshaped by local languages. Radio is the real sound médium, so we will resume our analysis in two settings: public radio, because in public service broadcasting we find (theoretically at least) plurality and diversity as founding principles, essential to deal with the Lusophone culture; and radio shows aimed at the diaspora, where distance and a feeling of belief can be translated into accents and music products. The Lusophony is poliphonic and it also stands out through the diferente music genres that where born in this space. Some of these genres are even a product of transatlantic musical influences. The ocean has united what it has always separated; but is it possible to sail this ocean (especially between Portugal and Brazil) over heartzian waves? Brazil is the largest Portuguese-speaking territory and this is why some thinkers believe that it should take on the responsability for the lusophone territory. Portugal has spread its language over a huge territory, from Rio Grande do Sul, in Brazil, to East Timor. Therefore, is there greater mediatic flow between the two countries, as they may be more interested in one another, or are we looking at a typical couple where one loves the other more? In order to answer these research questions, we will analyse deeply a few case studies: public radio shows on the Lusophone culture in Portugal and Brazil radio shows produced for the Portuguese diaspora in Brasil. By doing so, we will be able to record a sound map of how Lusophony is represented in radio in both countries.
Esta dissertação foi redigida em Língua Portuguesa, seguiu o Manual de Estilo das Publicações do Centro de Estudos de Comunicação e Sociedade, baseado no estilo APA e teve o apoio da Fundação para a Ciência e a Tecnologia. Bolsa de Doutoramento com a referência SFRH/BD/95915/2013.

Orientação: Luís Cláudio dos Santos Ribeiro
A investigação aqui apresentada analisa um conjunto de características e acontecimentos relevantes da história da rádio, capazes de mostrar a evolução do meio ao longo do tempo através da construção de um quadro epistemológico com destaque para o impacto do médium ao longo da sua existência e tendo em conta o seu fundamento enquanto meio sonoro e elemento de construção de comunidades A capacidade de atração que os fundamentos da rádio apresentam tornam forçosa a compreensão de fenómenos associados à construção de uma dinâmica própria de um meio puro que utiliza o som como elemento estrutural e funcional. Ao longo da sua história a rádio foi adicionando funções que não estavam presentes na sua génese e que são sustento da importância que ainda hoje a rádio assume, independentemente da estratificação social, regimes políticos e tecnologia disponível. Demonstra-se que o fundamento sónico da rádio ofereceu ao médium novos espaços agregados a uma valência própria de cada época. No presente trabalho destacamos aspetos relacionados com uma génese da rádio associada a um conjunto de necessidades humanas, funções que foram reforçando o papel da rádio do ponto de vista técnico, social, artístico, político e, também, económico, através da criação de um modelo de negócio capaz de oferecer subsistência à rádio. Por último, interessou-nos analisar a deslocação da rádio para o digital e, sobretudo, para o seu ingresso nas novas plataformas tecnológicas, alterando parte das suas funções de meio puro sonoro e constituindo híbridos associados ao sentido da visão.
The research hereby presented is an analysis of the many characteristics and relevant facts in the history of radio and this data will be able to show the evolution of the medium throughout this century, building an epistemological framework, with special focus on the impact of this medium throughout its own existence and taking in to consideration that at its roots, we find a sound medium that allowed for the building and developing of communities.The fundamentals of radio present such an attraction that it became important the understanding of the associated phenomenon and the developing of its own dynamics based on this pure medium that uses sound as a structural and functional element. Throughout history, radio has gained new functionalities that were not present in its origin, this new added functions turned out to be structurally important for it to continue playing an important role independently of the social stratification, political regimes and available technology. This work demonstrates that the fundamentals of the radio, sound or sounds gave the medium a different positioning, overcoming challenges presented at different periods in time. The present paper underlines the aspects that clearly show the correlation between radio and a vast number of human needs. These functions reinforced a stronger protagonist role from a technical, social, artistic, political and economic point of view, due to the creation of a successful business model able to sustain radio as it exist today. Finally, the subject of this study considers an interesting point, the analyses of the digital shift, in particular, the input in the new technological platforms, changing part of the pure sound function by developing hybrids with in association of the vision factor.

碩士
國立金門技術學院
閩南文化研究所
97
On October 25 1949, the Chinese Communists launched a nocturnal attack from the coast of Fujian on the Kinmen island, which was held by the Kuomintang Party. A tragic battle thus unfolded. Kinmen island became the spotlight of international politics, as well as the frontline of battlefield. It was also at this same era, during the middle of the twentieth century, that broadcasting business rapidly gained foothold in many countries, and became a major source of entertainment for the public. But under the premises of confidentiality, espionage activities and national security, Kinmen banned or restricted the use of many forms of entertainment equipment, including kites, basketballs and radios. Until 1992 when Kinmen was relieved of its warzone status, the only kind of broadcasting people in Kinmen could hear was of a different kind. When the wind was blowing in the right direction, the soldiers and civilians along the coast could hear the “loud” broadcasting “messages” from across the sea. From a world perspective, the broadcasting business in Kinmen was definitely far behind times. Instead of playing its traditional role of encouraging commerce, promoting education, and providing entertainment, broadcasting in Kinmen had intense military and political agendas. That was why people in Kinmen, both military and civilians, associated broadcasting (shouting propaganda) with political ambience and the restrictions of thoughts and actions. Radios were regulated due to safety concerns, creating a very special audience relationship in Kinmen. As this unique broadcasting era was set in wartimes, this paper will focus on the period between 1949 when the Guningtou battle happened, and 1992 when Kinmen was relieved of its warzone status. This paper attempts to study the workings of broadcasting and propaganda shouting, the people behind these endeavors, as well as its effects. Due to its special status as a warzone, this study will also examine “propaganda shouting” in addition to the regular wireless broadcast and community wired broadcast. The wartime broadcast in Kinmen that took place half a century ago had became an obsolete part of history; perhaps it was deliberately erased or hidden. Most literature only mentioned broadcasting either briefly, or not at all. This study hopes to present a portrait of the broadcasting scenario and its effects in wartime Kinmen, thus providing more understanding of Kinmen and its wartime past, and creating a better foundation for future studies.

In the beginning of the theoretical part this diploma thesis deals with the history of television broadcasting with emphasis on sport content. It continues with analysis of sport news programs Branky, body, vteřiny and Sportovní noviny and deals with their history and progress. In the theoretical part there are also presented visual and sound elements of TV broadcasting (such as shot composition, axis rule, sound, rush etc.). There is also introduced complete process of making television sport story from redactor's point of view. Practical part of the thesis contains, due to the periodic recording of the two sport programs, the presentation of current structure and shape of shows Branky, body, vteřiny and Sportovní noviny. Both programs are processed from the technical point of view (working with cameras in the studio and outside of the studio, working with sound track, expression and pronunciation of anchormen and redactors etc.) as well as from the content point of view, where there is showed three-week analysis of each broadcast day. The analysis is trying to show technical differences between the shows, as well as to present what is their overall structure and also which sports they present the most.

The central concern of this study is how media personnel in one area of community based radio, namely Maltese radio broadcasters operating in Melbourne, come to understand their cultural output and their status as "cultural producers"; what is their perception of the role of "ethnic media" in a multiculturalist context and to what degree does their output in Maltese language based radio programs help to create and sustain cultural identity. What role do they think they are playing in implementing this project? In this context, this study will attempt to uncover some of the underlying cultural assumptions of what they put to air and of what they say about their fimction as "ethnic broadcasters". A key question then becomes to what extent are these media personnel serving as cultural producers who are governed by a "philosophy" of "assimilationism", "difference" or what Stuart Hall (1992, 1993) calls "hybridity".

This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify and Indianise Indian South Africans, preparing them for their role as a middle-class racially defined group, a homelands group without a homeland. South Africanised popular music, and Indian South African Western semi-classical, popular music, or jazz performance was rejected by the SABC. Ambiguous nationalisms shaped Indian South African aesthetics. Global monopoly controlled the music industry. Similarly, disruptions in the global market enabled local musicians and small business groups to challenge the majors. In the late forties and fifties, this resulted in a number of locally manufactured records featuring local and visiting musicians, and special distribution rights under royalty to an independent South Asian company. The local South African records were largely characterised by their syncretic nature, and generated a South African modernism which had the capacity both to draw and repel audiences and officials alike. A glossary of non-English terms and a discography of Indian South African music have been included.
Thesis (Ph.D.)-University of Natal, Durban, 1999.