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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.
The importance of films in the cultural and social life of both Britain and the United States has long been recognized. Although radio survived in Britain more or less intact, by 1960 it too had taken second place to television as the prime domestic medium. This book begins by analysing the very different relationships between cinema and radio that emerged in Britain and the United States. It moves on to examine the ways in which cinema adapted radio programmes in the fields of comedy and detective fiction and then how radio dramatized films. When radio first took off in the United States in the late 1920s, it was regarded by the film industry as a rival, something to keep people at home and away from the cinema. But during the 1930s, Hollywood began to appreciate the value of radio in publicizing and promoting its films. The British broadcasting service was set up in 1922 with a monopoly and finance from a licence fee following negotiations between the Post Office, which controlled the air waves, and the radio industry, which manufactured the equipment. Radio in wartime was informational and inspirational. It provided news, entertainment, and propaganda. The book concludes with a look in detail at the ways in which the two media have dealt with three popular fictional characters, the
This article explores the serial dynamics behind and within the succession of B-films Columbia Pictures developed from the popular CBS radio programme The Whistler. It examines how this anthology series developed within Columbias on going strategy of low-budget production, while responding to specfiic industrial challenges facing 1940s B-films. Besides looking at broader synergies between radio and cinema during this period, the article also qualies the tendency to categorise the Whistler movies as films noir, suggesting it is more productive to view them as products of a broader pulp serialscape that is shaped by alternative cultural and industrial logics.
, 2019 : 8) through child rights clubs, child-friendly spaces and educating communities on child rights and the impacts of child marriage ( Plan International, 2019 : 18). The Girls’ Education South Sudan Project (2019 –24) represents an example incorporating a range of interventions including cash transfers, behaviour change communication (including radio programmes and life skills activities), research and funding for schools – focused on transforming life chances for girls through education. Some of the challenges affecting child marriage programming in South
children, others utilise traditional medicine for a variety of reasons including, among others, ease of access and a distrust in western medicine. Respondents reported that many members of the community have come to depend on Save the Children, through the support groups, for information about child health and nutrition. The ideas from the group have spread mostly through word of mouth from members to non-members. The awareness from Save the Children is supplemented by information received from radio programmes, from hospitals during antenatal visits, and from other
family, the world of public affairs’.22 However, the French army, as well as Franz Fanon and the FLN, were quite right to see radio as the most powerful instrument for reaching out to an illiterate audience that was isolated and scattered over a huge and difficult terrain. But before examining the content of the radio programmes that were specifically designed for women, we take a look at the propaganda use of film which provided another powerful, visual means for reaching an uneducated audience: as General Jacquier noted in November1960, ‘The film is, along with the
, quite incredibly, The Smiths. When invited on the long-running BBC radio programme Desert Island Discs, Cameron selected ‘This Charming Man’ as one of his indispensable recordings.35 This interest has been underlined by the Conservative leader’s well-publicised visits to Salford Lads Club, the principal place of homage for fans of The Smiths.36 On one such occasion, Cameron returned surreptitiously to avoid a repeat of previous protests against his presence by local Labour activists, and recreated Stephen Wright’s famous photograph of the group outside the building
Comedy was consistently the most popular genre of radio programme. In a 1946 US survey, 59% of respondents listed comedy as their favourite form of programme. 1 This is perhaps not surprising, given the background first of economic depression and later world war. People wanted to be cheered up. But radio imposed certain restrictions on comedy. Visual comedy such as slapstick was impossible. Comedy needed to be predominantly verbal and radio was the home of
useless as a consultant’; Sempill was ‘flashy’; Chamier, the Secretary-General of the Air League, was ‘intelligent and honest’ but a disappointing broadcaster. 71 For its next feature on Empire and aviation the BBC tuned in to other voices. Empire air transport reappeared on the National Service in 1938 as part of a series of four radio programmes
The final chapter summarises the monograph’s findings and illustrates the changes and continuities in representations of Italian youth in the late 1970s and 1980s. I argue that although the late 1970s witnessed the proliferation of youth-oriented popular media, including self-produced magazines and radio programmes, youth nevertheless still tend to be homogenised by the media. The chapter also highlights how the expanding definition of ‘youth’ in the period from 1958 to 1975 contributed to the creation of a generational identity for Italian young people, which was impossible before this category was naturalised in popular media.