Fedazedi

Although television manufacturing in the United States stalled during World War II, the television industry did not simply disappear from 1941 to 1945. Its interrelated components continued to plan, debate, and formulate. That planning drove demand for a trade association to steer and represent industry participants, from the most powerful players to the basic units of broadcasting. The result was the Television Broadcasters Association (TBA). Using archival documents from the Library of Congress’s National Broadcasting Company history files and the Wisconsin Historical Society’s National Association of Broadcasters Records, this article centers the trade association within the development and launch of mainstream commercial television, countering the tendency of media scholars to sideline trade associations or to treat the National Association of Broadcasters (NAB) as the inevitable home of the US television industry. Put very simply, the TBA wanted television, and the NAB did not—at least in the 1940s. As an association organized to facilitate the success of radio, the NAB boasted a mature infrastructure and a sizeable AM membership. The TBA was an upstart, a small group of industry elites aspiring to treat television as inherently special and superior to radio. The story of dueling trade associations highlights the social and institutional entanglements within the web of industry relations and emphasizes the power of local broadcasters. The NAB had integrated the personnel and agendas of radio stations into its structure and governance. And though stations’ participation could be volatile, the TBA eventually discovered that their absence would ensure failure.

1994

2015

2008

The Commentary and Portfolio (introduced in the form of Outputs at the end of each Chapter and particularly following Chapter Three) considers the public space that 'local public service television' might occupy. Taking an historical view and a protagonist or interventionist stance the author demonstrates that a demand for local communications through television broadcasting has had strong public support since the introduction of commercial regional television in the 1950s, although government and regulator have variously thwarted its introduction. The author's background for this task is unorthodox, emerging from a critical art education that questioned the role of institutional norms in the pursuit and interpretation of social knowledge. The methodology is therefore reflective and at times quixotic, working through a variety of methods and forms of organisation and practice in pursuit of what has long been an evident-if overlooked-public objective, the realisation of a more identity enhancing localised form of television broadcasting. Working with several formal and informal associations-including the Institute of Local Television, the Community Media Association, Scottish Association of Smallscale Broadcasters (SASB), The Broadcasting Trust, Media Access Projects Scotland (MAPS), Advisory Committee of (local) Television Operators (ACTO), United for Local Television (ULTV) and the Scottish Local TV Federation-the author has contributed reports and academic papers on local and community television, organised conferences and run small scale television channels under license exempt and shortterm licenses, responded to regulator consultations and drafted amendments to legislation while developing and testing technologies appropriate for delivering programmes to serve local purpose. Through 'local public service television' the author has sought greater representation of civic and cultural views, arguing and debating access to regulate local channels under local control, first on local cable, then as a fifth or sixth terrestrial channel to offer city TV and, most recently, to encourage the introduction of digital spectrum for local public service television to be made available throughout the UK.

2004

This thesis examines the developing role of television channels in the delivery of public service broadcasting in Britain, 1996 - 2002. Starting from a hypothesis that channels are distinct television products in their own right and increasingly important in organising how broadcasters think about their audiences, it argues that channels have identities expressed through their schedules and determined by their relationship to genre and target audience. Based on research at the BBC (from 1998 - 2002), involving interviews with key staff and the analysis of BBC documents, this study examines the television broadcasting functions of commissioning, scheduling, marketing and audience research. It illustrates how these activities created specific identities for television channels and how these identities shaped the programming that reached television screens. It reveals how channels became increasingly important in the television landscape as buyers in a more demand-led commissioning economy and acted as a focus for the creation of media brands. It then discusses how the evolution of a channel portfolio enabled each channel to play a specific role in fulfilling public service obligations and looks at how different models of audience emerged in relation to the different public service television channels, charting the decline of the mass audience and the emergence of the visualisation of audiences in a more individualised way. The thesis concludes by addressing some implications of these developments. It looks at how the different models of audience in circulation affect debates about quality television, and how changing ideas about the construction of public service channels may impact on the regulation of broadcasting. Finally, it explores the effect of multiple channels, each targeted at specific audiences, on the concept of a unitary public sphere and speculates that c

E. Comor (ed) Media, Structures and Power: The Robert E. Babe Collection, 2011

Using the United States and Great Britain as a comparative case study, this article employs a historical framework to consider the broad array of social, cultural, political, and economic contexts that led to divergent outcomes in the early development of broadcasting policy. This comparative historical analysis reveals the causal chains formed before the 1920s despite a period of post- war contingency. As a policy option, government control was removed in the United States but stayed in place in Britain after the war. This comparative approach can help to explain policy outcomes and inform modern policy debates.

Acadiensis, 1994

Journal of Broadcasting & Electronic Media, 2010

Sydney Studies in Society and Culture, 1986

This paper takes a detailed look at one news item, broadcast in March, 1981, by Channel 10 in Sydney. The item was part of the Actionline segment of Channel 10's Eyewitness News, a segment dealing with consumer affairs. It discussed a mail order company which, according to the then Minister of Consumer Affairs of New South Wales, Sid Einfeld, sold fake diamond earrings for a price far above their real value. The first part of the paper discusses the unedited text of the three interviews that formed part of the item. The text was transcribed from a cassette copy of the original soundtrack. In the transcription which follows below, the sections retained in the final edited version of the news item are in italics. Where a 'reverse angle question' (recorded after completion of the interview itself) was used, it has been added to the transcription in italics within brackets. The analysis of the unedited interviews .focusses on three aspects: the types of process used to encode the reported events (d. Halliday, 1976); the kinds of question asked by the interviewer; and the construction of each of the interviews as independent texts, with.emphasis on lexical and conjunctive cohesion (d. Halliday and Hasan, 1976). The second part of the paper discusses the edited version of the news item and considers the way in which the original texts are modified by editing and by the context in which they are now placed: documenting the ideologically motivated transformations effected by editing (an Smith