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Lez Cooke

2 Regional broadcasting Since the 1920s the development of regional broadcasting in the UK has been subject to a number of interrelated factors: technological, geographical, cultural, financial and political. Among these the technological and geographical have arguably been the most significant. The designation of geographical regions has been determined mainly by the availability of broadcasting frequencies and the range of transmitters, rather than by any idea of shared community interests or indigenous regional identities. Writing about regional and local

in A sense of place
Jonathan Bignell

on television broadcasting contexts, comparisons and contrasts will be made with BBC radio, which was for a long time committed to broadcasting original experimental drama in the Third Programme (later Radio 3), and with avant-garde (especially European) cinema and video art. Eckart Voigts-Virchow (1998) is one of the few writers about Beckett’s television work who positions the plays in a critical and historical context centring on broadcast television. His approach is similar to my own in this book, though he neglects the tradition of avant-garde television

in Beckett on screen
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Jeffrey Richards

only a living audience can provide. But the great audience of the Lux Radio Theatre was America. For nearly nine years after that June evening in 1936, I spoke ‘Greetings from Hollywood’ on Monday nights to an ever-growing audience, in homes across the whole broad country, in hospitals, later in camps and installations of the armed forces, wherever there was a radio within range of the Columbia Broadcasting System; and every Monday night after an hour of good

in Cinema and radio in Britain and America, 1920–60
The BBC and national identity in Scotland
Thomas Hajkowski

5 Broadcasting a nation: the BBC and national identity in Scotland T his chapter argues that the BBC and its station in Scotland played an important role in sustaining and reinforcing a complex sense of Scottish national identity during the period from 1923 to 1953. The BBC did not act as an agent in the anglicization of Scotland, nor did it seek to impose a wholly metropolitan, southern English culture or identity on Scotland. Rather, the BBC, perhaps the most powerful institution for the dissemination of information and entertainment in Scotland, constructed

in The BBC and national identity in Britain, 1922–53
Annabelle Littoz-Monnet

2997 The European Union and culture 26/2/07 09:31 Page 71 4 The Communitarisation of broadcasting regulation: the ‘Television Without Frontiers’ Directive The very nature of broadcasting, as both a commercial activity and a cultural product, created acute rivalries among policy actors desirous of imposing their own concerns on public political agendas. Broadcasting is also a policy sector closely associated with member states’ ‘sovereignty’, thus resulting in unwavering tensions between EU institutions’ propensity to intervene in the audio-visual field and

in The European Union and culture
Thomas Hajkowski

4 Rethinking regional broad­casting in Britain, 1922–53 T he first four chapters of this book examined the BBC as a nationalizing institution and its role in the construction of a British national identity inclusive of English, Scottish, Welsh, and Northern Irish identities. They highlighted the fluidity of British national identity, the tensions inherent in the BBC’s construction of Britishness, and the contests over this version of Britishness inside the Corporation. The focus of this book now shifts to broadcasting within the nations that, along with

in The BBC and national identity in Britain, 1922–53
Thomas Hajkowski

6 BBC broadcasting in Wales, 1922–53 In 1949, Alun Oldfield-Davies, Controller of the BBC’s station in Wales, declared: “the basic job of the BBC in Wales is to nourish and encourage national unity and to add wealth, depth, and value to all aspects of national life.”1 At first, this seems to be a rather straightforward testament to the role of the BBC in Wales. For Oldfield-Davies, Wales was not a region but a nation, albeit one that lacked a cohesive culture or identity. The BBC, he suggested, could and ought to participate in the process of forming a national

in The BBC and national identity in Britain, 1922–53

Examining the ways in which the BBC constructed and disseminated British national identity during the second quarter of the twentieth century, this book focuses in a comprehensive way on how the BBC, through its radio programmes, tried to represent what it meant to be British. It offers a revision of histories of regional broadcasting in Britain that interpret it as a form of cultural imperialism. The regional organisation of the BBC, and the news and creative programming designed specifically for regional listeners, reinforced the cultural and historical distinctiveness of Scotland, Wales and Northern Ireland. The BBC anticipated, and perhaps encouraged, the development of the hybrid ‘dual identities’ characteristic of contemporary Britain.

Mel Bunce

Media Trust Is Local? Findings from the 2018 Poynter Media Trust Survey ’, (accessed 30 September 2018) . Hamilton , J. and Jenner , E. ( 2004 ), ‘ Redefining Foreign Correspondence ’ Journalism 5 , 3 pp. 301 – 21 . Hannides , T. ( 2015 ), Humanitarian Broadcasting in Emergencies: A Synthesis of Evaluation Findings , Research Report , 7 , October ( London : BBC Media Action ). Harsin

Journal of Humanitarian Affairs
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The television plays

This study analyses Samuel Beckett's television plays in relation to the history and theory of television, arguing that they are in dialogue with innovative television traditions connected to Modernism in television, film, radio, theatre, literature and the visual arts. Using original research from BBC archives and manuscript sources, it provides new perspectives on the relationships between Beckett's television dramas and the wider television culture of Britain and Europe. The book also compares and contrasts the plays for television with Beckett's Film and broadcasts of his theatre work including the Beckett on Film season. Chapters deal with the production process of the plays, the broadcasting contexts in which they were screened, institutions and authorship, the plays' relationships with comparable programmes and films, and reaction to Beckett's screen work by audiences and critics.