Radio Journalism

As radio shifts from analog to digital, the Hong Kong Radio Industry faces a challenge that they have not prepared for. To say the least, they have been running on deficit. In addition, it seems that they had become outdated, falling behind in terms of technology and exhibiting a lack of awareness about how online social media interaction between disk jockeys and listeners could attract more attention and increase their listener base. Significantly, Hong Kong radio is notable for not having archival systems for their sound recordings and radio content that could provide public and educational access after live radio sessions, and that might have helped maintain, if not increase their audiences who are increasingly used to accessing radio on demand via streaming services. This highlights the urgent need to set up a system for preserving Hong Kong's precious recordings. Using ethnographic approach, the researcher adopted a qualitative method where they observed and interacted with the study's participants in their real-life environment. Moreover, the paper applied a usability in a user-centered service design to help them analyze the problem, which includes the relevant domain, audience, process, goal, and context. Using an ethnographic study within a usability project enables researchers to thoroughly analyze the design problem and notice all associated issues to come up with a better solution. This paper focused on the radio industry in Hong Kong, particularly addressing crucial issues and questions that have been understudied in existing academic research.

Michelangelo believed that a piece of marble already contained a work of art – his role was to liberate what was inherent. But the majesty, grace and beauty he saw in the stone that became David remained invisible to sculptors who had previously tackled it. In a similar way, the interview can be all or nothing to writers, journalists and oral historians. A person sits across a table, with stories to tell, ideas to impart, facts to confirm or deny, perhaps a lifetime of emotions to convey – but our ability to perceive who is before us, and to engage with what we are hearing, will critically affect what ensues

In a bid to create an infrastructure for research and innovation (R&I) in the Maltese Islands, the Malta Council for Science and Technology (MCST), issued a report in which it outlined its vision
for R&I between 2007 and 2010. MCST stated that ‘it is strongly argued… that a comprehensive and multi-pronged science popularisation strategy is of fundamental importance’ (MCST, 2006: 67).

The multi-pronged strategy sought, amongst other things, to ‘launch on-going science journalism and science TV and radio programmes’ (MCST, 2006: 67). Science On The Air was a science communication initiative designed to explore the potential for a science-based radio programme in Malta. The project involved developing a pilot 15-minute science radio programme in the Maltese language. A lack of similar programmes and research into their audience appeal in Malta
meant that evaluation was an essential component of the study.

This research work was partly funded by Malta Government Scholarship Scheme grant number MGSS/2006/014.

Telefones celulares, tablets, internet. Com a presença a cada dia mais freqüente de dispositivos multitarefa no cotidiano do público, os meios de comunicação são levados a revisar sua estrutura, suas rotinas e suas estratégias para alcançar o ouvinte. É desta mudança que trata Debora Cristina Lopez no livro “Radiojornalismo hipermidiático: tendências e perspectivas do jornalismo de rádio all news brasileiro em um contexto de convergência tecnológica”. Trata-se de uma análise a partir da convergência jornalística e da perspectiva tecnológica, que busca apontar tendências e perspectivas para o novo rádio.

A observação da autora, que analisa emissoras all news brasileiras, se insere no contexto da revolução que afeta o rádio contemporâneo. Ele já não é mais um meio de comunicação monomídia, mas utiliza linguagem multimídia, dispositivos multiplataforma e novos formatos para o jornalismo. E neste cenário se apresenta o rádio hipermidiático, de perspectiva multimídia, que é pensado para uma nova realidade e um novo perfil de audiência, e que traz desafios constantes e mutáveis para a rotina do jornalista.

« Postmodernité et postradiomorphoses : contexte, enjeux et limites », in Sebastien Poulain (sous la direction de), « La radio du futur : du téléchromophotophonotétroscope aux postradiomorphoses », Cahiers d’histoire de la radiodiffusion, n°132, avril-juin 2017, https://radiodufutur.wordpress.com/2017/10/24/sebastien-poulain-postmodernite-et-postradiomorphoses-contexte-enjeux-et-limites/, http://cohira.fr/cahier-n-132-avril-juin-2017/ et https://fr2.slideshare.net/SebastienPoulain/postmodernit-et-postradiomorphoses-contexte-enjeux-et-limites

"Is podcasting the future of radio? Is podcasting that missing link connecting radio and the Net that Internet radio stations were not able to establish? Is podcasting a revolutionary or a transitory
cultural trend?
Furthermore, is podcasting a way towards a more democratic audio media system or is it rather a new tool in the hands of the multinational recording industry?
This article will explore these questions, providing an historical framework to the introduction of digital sound (from 1991 to 2007) and related social practices, distinguishing four main phases: the birth of the popular use of digital music; Web radio; Music for free; the iPod and Podcasting."

O trabalho busca mapear as interfaces entre radiojornalismo e jornalismo de agências, salientando pontos convergentes e divergentes de cada modalidade, ao mesmo tempo em que pontua impactos da digitalização em ambas. São revistas algumas experiências históricas e atuais do radiojornalismo de agências de notícias, com ênfase na América Latina e no Brasil. Ao final, tomando por objeto os serviços de rádio e de áudio – conceituando estas diferenças – de sete agências de notícias de propriedade estatal ou pública de seis países latino-americanos, examinam-se as estratégias destas organizações para promover a circulação de informações num meio de comunicação cada vez mais negligenciado pelos atores privados: o rádio, particularmente das cidades de pequeno e médio porte, tendo por suporte as facilidades de produção, gravação, transmissão e reprodução oferecidas pela convergência digital.

Frédéric Antoine, Nicolas Becqueret, Jean-Jacques Cheval, Étienne Damome, Christophe Deleu, Ariane Demonget, Séverine Equoy Hutin, Laurent Fauré, Laurent Gago, Hervé Glevarec, Anne-Caroline Fiévet, Isabel Guglielmone, Albino Pedroia, Sebastien Poulain, Pascal Ricaud, Nozha Smati, Analyser la radio, méthodes et mises en pratique, in Frédéric Antoine (sous la direction de), De Boeck Supérieur, Bruxelles, 2016, 550 000 signes, http://fr.calameo.com/read/00001585689e056dbfc2f,  https://static.fnac-static.com/multimedia/editorial/pdf/9782807300330.pdf et http://radiography.hypotheses.org/2066 (Extrait mis en ligne par De Boeck Supérieur)

The remit of the BBC as one of the foremost broadcasters in the world has been largely
unchanged in eighty years: to provide programmes that will inform, educate and entertain. The
BBC is also afforded by many the role of upholding the British language. As the 2003 News
Style Guide says, ‘our use, or perceived misuse of English produces a greater response from
our audiences than anything else. It is in nobody’s interest to confuse, annoy, dismay, alienate
or exasperate them.’
The BBC takes the style of its programmes seriously and throughout the years has produced
Style Guides and Programming guidelines. In particular it is the language of its news bulletins
which it feels has to be clear and effective, unbiased and grammatically correct. Many former
BBC radio newsroom journalists, interviewed as part of a larger study into radio news writing,
lament what they see as a decline in standards. This paper looks at the changing views on style
in BBC Style Guides for News programmes since 1967. It focuses on four elements in
particular: Americanisms, ‘try and’ vs. ‘try to’, ‘concede defeat’ vs. ‘concede victory’, and
‘go(ne) missing’. It then compares what the guidelines say with what was actually written in a
sample of news bulletins from the last forty years and occurrences of those selected words and
phrases in the British National Corpus. The aim is to determine if and to what extent the
guidelines on BBC language and the actual language might have changed.
Keywords: Style Guides, BBC, Radio News writing, Media Language

The text presents the results of a study of stories about everyday life during the last years of the socialist past (1983-1989) by representatives of a specific professional group-'Estrada musicians'. The main goal is to highlight the differences in the two regimes of history in the memories of the socialist popular culture. The first regime of remembrance (1990-1992) is a time of the emotionally charged anti-communist speech in the media like the Democracy newspaper, and vice versa-a strong defense of socialist values in the Duma newspaper. The second regime of remembrance is after 2010, when "nostalgia for socialism" stands out as one of the dominant emotions.

Este  artigo  pretende  delinear  como  os  estudos  de  rádio  e  mídia  sonora  abarcam  questões  relacionadas  ao  podcast,  destacando  algumas  contribuições  teórico-metodológicas dos pesquisadores da área. Para tanto, foi realizado um levantamento bibliográfico de artigos publicados nos anais dos principais eventos de comunicação do país que trazem a palavra podcast no título. No total, foram encontrados 34 trabalhos distribuídos entre os seguintes eventos nacionais: Alcar, Compós, Intercom e SBPJor. Como principais resultados, encontramos um processo de consolidação dentro dos estudos de rádio e mídia sonora acerca dos temas relacionados ao podcast, além de verificarmos que esse formato retrabalha diversas maneiras anteriores de expressão sonora em uma variedade de configurações que desafia uma definição única.

Il nuovo giornalista sarà sempre di più un content producer: dovrà essere in grado di intercettare l’informazione, di analizzarla, valutarla, e ridiffonderla, possibilmente in diversi formati. È questo l’identikit del professionista nell’era digitale disegnato da Marco Marsili nel libro “La rivoluzione dell'informazione digitale in Rete. Come Internet sta cambiando il modo di fare giornalismo” (Odoya, Bologna, 2009; prefazione Gianpiero Gamaleri, postfazione Massimo Esposti).

Selezionare nella marea di informazione del web sta diventando il vero valore aggiunto della professione. Trovare news davvero utili e favorirne la diffusione è una delle sfide più difficili per chi vuole esercitare questa professione in un momento storico di grandi cambiamenti: le barriere di accesso, tanto per cominciare, sono sempre più basse e chiunque può fare informazione attraverso il suo blog o caricare un servizio video. La crisi attuale di molte imprese editoriali e la dilagante sfiducia dei lettori verso la stampa sono altri segnali evidenti di un settore al bivio.

È vero che la rivoluzione digitale apre nuovi scenari molto interessanti: la lenta erosione del potere di una casta, lo spirito di collaborazione e condivisione delle notizie, la partecipazione dei lettori e il boom del citizen journalism, gli straordinari sviluppi delle tecnologie di connessione (si parla già di web 3.0!) e il sempre più facile accesso ai servizi. Non ultimo la prospettiva di nuove figure professionali. Ma la rete pone anche delle
problematiche di non facile soluzione: quanto è neutrale il web? Chi controlla l’accesso? Chi garantisce la sicurezza? Come combattere il digital divide?

Problematiche che Marco Marsili, docente di Teorie e tecniche del linguaggio giornalistico presso l’Università degli Studi dell’Insubria,
direttore responsabile de "La Voce d’Italia" (uno dei più importanti quotidiani indipendente on line), prospetta già nelle prime pagine di introduzione, per poi affrontare in ogni capitolo tutti i diversi aspetti del giornalismo di oggi. Giornalismo inteso come processo, come lavoro e come industria. Ne esce un vero manuale non solo per chi fa questa professione o vi aspira, ma utile per coloro che vogliono capire di più dell’ecosistema delle telecomunicazioni, dei modelli di produzione e fruizione delle news, dei rapporti tra politica e informazione, degli interessi nascosti, delle distorsioni degli aiuti statali, delle problematiche aperte e delle false ideologie che circolano nell’era del web 2.0.

Ogni capitolo presenta in genere qualche elemento storico che rende più completa la lettura del presente e meno azzardata – anzi, sempre circostanziata e molto argomentata - di qualche ipotesi di sviluppo futuro. Si comincia dalla stampa: un focus sul panorama editoriale italiano e internazionale, il passaggio dalla carta al web, lo stato di salute dei giornali (non certamente buono), i rapporti tra informazione e politica. La chiarezza sulle dinamiche di potere presenti dietro i giornali non serve a innescare una sterile polemica, piuttosto aiuta a capire perché una
testata fa determinate scelte e non altre, e quali sono le conseguenze di avere in Italia solo editori il cui core business non è mai l’impresa editoriale: costruzioni, motori, moda, tutto ma non i giornali.

L’approccio è lo stesso anche per gli altri capitoli sulla pubblicità on line, le reti dell’informazione e del sapere (documentatissima la sezione dedicata alla banda larga), il giornalismo on line in tutte le sue articolazioni (tecnogiornalismo, tv su web, cellulari, peer to peer, video, social network…), la proprietà intellettuale e la privacy fino al funzionamento dei motori di ricerca. Tanti i nodi che via via emergono, a partire dalla crisi della stampa, la mancanza di indipendenza e pluralismo, la partita del digitale terrestre, il freno del monopolio allo sviluppo delle infrastrutture per la connessione veloce a Internet, il problema del rispetto della privacy da parte delle piattaforme di behavoural targeting.

Pagina dopo pagina il lettore si sente così più accorto e consapevole delle straordinarie opportunità che la rete offre per fare informazione ma anche dei suoi problemi, delle questioni chiave che bisognerebbe affrontare per realizzare un sistema editoriale più solido, capace di produrre informazione di qualità. “Collaborazione, organizzazione e innovazione costituiscono i presupposti irrinunciabili sui quali deve essere fondata
qualsiasi iniziativa che voglia avere una qualche possibilità di successo”, dice in sintesi l’autore. Come agire in questa direzione, però, non è di così semplice evidenza.

Proprio di fronte a un quadro così completo sembra ancora più difficile rispondere a quelle domande iniziali poste dall'autore: come sta cambiando il giornalismo con la rete? Chi sopravviverà a questa rivoluzione digitale? E soprattutto quali forme sta assumendo il giornalismo in un mondo di contenuti gratuiti dove il problema è disporre di un budget sufficiente a garantire la ricerca di fonti attendibili, l’accuratezza dei contenuti, il giusto compenso del collaboratore, la sopravvivenza di una testata?

Certamente Marsili offre “una messe rilevante di dati e di chiavi interpretative”, spiega Gamaleri nella prefazione, aiutandoci a formare “le griglie mentali che ci consentono di cogliere il cambiamento”, perché la più grande sfida per l’uomo è sempre stata quella di “padroneggiare la trasformazione che egli stesso ha messo in movimento”.

INTRODUCTION

According to College Grad (2014), the broadcasting industry consists of radio and television stations and networks that create content or acquire the right to broadcast taped television and radio programs. Networks transmit their signals from broadcasting studios via satellite signals to local stations or cable distributors.
Radio and television stations and networks broadcast a variety of programs, such as national and local news, talk shows, music programs, movies, other entertainment, and advertisements. Stations produce some of these programs, most notably news programs, in their own studios; however, much of the programming is produced outside the broadcasting industry.

In Kenya, The Communications Authority of Kenya is mandated to license all broadcasting service providers in accordance with the Kenya Information and Communications (Amendment) Act, 2013.
Digital migration is being undertaken in Kenya following the International Telecommunication Union (ITU) Regional Radio communication Conference 2006 (RRC-06) which resolved, in a treaty, that member states migrate from analogue to digital broadcasting by 17th June 2015.
In accordance with provisions of Section 46C of the Kenya Information and Communications Act, 1998, it is illegal to provide any form of broadcasting service in Kenya without a license. Contravention of this law attracts a fine not exceeding Kshs. 1, 000,000 or imprisonment for a term not exceeding three years or both.
According to Digital Kenya overview (2014) Digital migration is the transition from analogue broadcasting to digital broadcasting. Digital broadcasting is transmitted on radio frequencies through terrestrial space in the same way as standard analog television, with the primary difference being the use of multiplex transmitters to allow reception of multiple channels on a single frequency range (such as a UHF or VHF channel) known as sub channels.
In Kenya a Digital Migration Taskforce was set up in 2007 to aid in the development of a frame work for the migration process. The main Recommendation were: Establishment of the Digital Transition Committee (DTC) to manage and oversee the migration following recommendations of the Taskforce, Signal distributors to roll out digital platform and finally Analogue Switch-Off (ASO) timelines
Analogue television therefore requires a large amount of bandwidth to transmit sound and picture. Digital signals on the other hand require much less bandwidth and can therefore carry more content and provide better quality pictures and sound.
Although there are a good number of benefits resulting from digital migration, there are as well a number of challenges that cannot be escaped. The Digital Kenya overview suggest a number of benefits as result of digital migration that include; better picture quality, more choice to the audience, more access, better viewing pleasure, electronic program guides as well as better utilization of the frequencies.

As it begins to spreead its antennas in India, community radio raises certain conceptual issues that need to be clarified for the benefit of practitioners and academics alike. For instance, should it be conceived primarily as a tool for development or as a medium for democratization and perhaps eventual radicalization? Should it be viewed as a means of building communities and strengthening communal bonds where these exist, or as a vehicle for taking the underprivileged from their place on the wrong side of the digital divide on to the ramp to globalization's information superhighway and then to the space of global discourses and conversations1? Not the least, is it reflective of a Western nostalgia for gemeinschaft that has little relevance in countries like India, where modernity has not been able to erase traditional lines of communication and the bonds these foster? It is necessary to address these issues, because the binaries presented above do sometimes appear mutually exclusive. I do not claim to have an answer to these questions; the aim of this short essay is only to initiate a discussion.

« Radio Ici et Maintenant face à la normalisation », « L’année radiophonique 1987 », in Thierry Lefebvre (sous la direction de), Cahiers d’histoire de la radiodiffusion, n°133, juillet-septembre 2017, http://cohira.fr/cahier-n-133-juillet-septembre-2017/ et https://fr.slideshare.net/SebastienPoulain/radio-ici-et-maintenant-face-a-la-normalisation

A raíz del proyecto “La Universidad de Chile apoya el Fortalecimiento de la Educación Pública con el Liceo Gabriela Mistral” (2016), se incorpora, al diseño original de talleres de educación sexual, ciencias, calidad de vida, etc., un taller de radio para la comunidad escolar de este liceo público de la comuna de Independencia, en la capital chilena, con el apoyo de la Radio Juan Gómez Millas.
El taller de radio se propuso sentar las bases para la instalación de la futura radio escolar del establecimiento como un eje vector y de encuentro del proyecto educativo, toda vez que, del total de estudiantes, el 60% son migrantes. En este contexto, la convivencia se entendía como un problema crítico a enfrentar o resolver por parte de los distintos actores de la comunidad. Dentro de la formación en radio, desde lo técnico hasta la producción de contenidos, se propone un taller de radioteatro, con una metodología participativa que incluyó definir la temática en conjunto y la actuación de estudiantes, profesores y apoderados de distintos países. Así nace en diciembre de 2018 el radioteatro “Navidad Multicultural”, que fue transmitido y publicado en línea por el sitio web de la emisora, junto con entrevistas y programas realizados por los estudiantes del Liceo Gabriela Mistral, como protagonistas de la experiencia radiofónica.

Podcast genres are very diverse ranging from music, comedy, religion, sport, news, politics, and current affairs. In this report, the authors focus mainly on news, politics, and current affairs podcasts. The aim of the report is to examine Australians’ podcast listening habits and trends in comparison with other countries and to identify key industry issues. Part 1 of the report is an analysis of data from 40 countries surveyed in the Reuters Institute Digital News Report 2020. In Part 2, nine expert contributions from around the globe representing Asia, Africa, Europe, the Americas, and Oceania are presented.

Radio is considered as the most widespread electronic mass medium in the world and a unique means of reaching the world‟s poorest communities. However, as far as community radio (CR) is concerned, it addresses issues relevant to the public interest of a particular geographic group or community. It is the foremost medium that gives the marginalised a voice, when their voices are suppressed by the haves and the mainstream mass media which is also under the control of haves. The community radio in Sri Lanka has a four decade old history; yet, the country stands the risk of having this pioneering experience with CR locked away as a memory, as, of now, there is no community radio in true sense available in Sri Lanka. This paper has attempted to find out the reasons behind the failure of community radio broadcasting in Sri Lanka. Using semi-structured indepth interviews, eight leading community radio activists, advocates and researchers in Sri Lanka were interviewed. The causes identified...

El artículo propone un análisis histórico del documental sonoro, entendido como género artístico de la radio, con el objetivo de conocer su relación con el arte radiofónico, reconocer características y elementos clave, e identificar su desarrollo más actual. Basándose en el método histórico, a través de una revisión bibliográfica exhaustiva, se reconocen tres etapas del género, se debate sobre su significado y se aprecian las formas que asume hoy el documental. Este goza de una renovada vitalidad, gracias a las tecnologías portátiles y plataformas digitales de producción y reproducción, a las nuevas formas que adopta a través del podcasting, y el auge de la no ficción sonora. Palabras clave: radio; arte radiofónico; documental sonoro; no ficción sonora; evolución histórica.

El confinamiento por la pandemia del Covid-19 entre marzo y mayo de 2020 generó un inusitado incremento a escala global del consumo de información y entretenimiento. En este escenario la radio se erigió, de nuevo, en el medio más inmediato, personalizado y confiable, y su acción no sólo sirvió para seguir la evolución del coronavirus, sino también para estrechar los vínculos emocionales de colectivos y grupos sociales desagregados por el distanciamiento. Este artículo describe el caso de Radio Nebrija, que puso en marcha su primera producción real a través de un podcast semanal con los objetivos de reforzar el contacto académico e institucional de su comunidad y dar continuidad a la formación radiofónica de los alumnos. Su labor ha recibido una mención de la Fundación Gabo como ejemplo de innovación periodística durante la cuarentena.

Pendant plusieurs décennies, des années 1950 jusqu'au début des années 2000, les nuits radiophoniques françaises étaient peuplées de voix multiples, célèbres puis anonymes, souvent feutrées et confidentes, qui s'accordaient avec l'atmosphère particulière de la nuit. D'Allô Macha aux Routiers sont sympa en passant par Les Nuits magnétiques, Le Pop Club et les nuits des stations pirates, la radio nocturne constituait un espace de rêves et d'expérimentations, de rencontres et de dialogues, offrant aux auditeurs un accompagnement, une fenêtre ouverte sur le monde, sur les autres et sur l'intime. Histoire des productions radiophoniques, des pratiques et des perceptions nocturnes, cet ouvrage met en lumière le monde des ondes de nuit, en distinguant les différentes phases de son développement et ses spécificités, de l'un et l'autre côté du poste. Situé au carrefour de l'histoire des médias et de celle de la nuit, Micros de nuit se présente aussi comme une contribution à l'histoire des sensibilités du second xx e siècle car, comme l' écrivait Jean Cocteau en 1958, « écouter la radio toute une nuit renseigne sur l'époque ».

متن کامل کتابچه ای که در حکم مانیفست رادیو زمانه بود و قرار بود در یک برنامه سه ساله به آن دست یابد که در نیمه راه متوقف شد. این کتابچه به زبان انگلیسی است و اصول فکر رسانه ای مرا برای یک رادیوی مشارکتی در سال 2007 نشان می دهد. زمانه آخرین رادیویی بود که در پایان عصر رادیو می خواست در آشتی با وب حیات رادیو را ادامه دهد. رادیویی صوتی، تصویری، خوانداری و با محتوایی که شنوندگان اش تهیه می کردند- شهروندخبرنگارانی که عمدتا وبلاگ نویس بودند. برای طراحی این کار دانیال کشانی دستیار جوان و خلاق من بوده است. ایده متفاوت بودن فکر زمانه را در قالب طرحی متفاوت ریختیم و او به نحو عالی آن را اجرا کرده است.

Rating is the measurement of television, radio and other media based on audible and audience subscales shown by statistical sampling data. The rating affects and becomes a deciding factor in television and radio advertising. Rating data has the potential to determine the economics of media institutions with an unprecedented level of control, program deadlines and content. As the number of media channels increased, advertisers needed a basis for advertising. Only two privately owned companies, Lanka Market Research Bureau (LMRB) and Survey Research Lanka (SRL), rank the electronic media broadcasts in Sri Lanka. What is the attitude of the media industry towards the ranking of electronic media broadcasts in Sri Lanka? is the research problem. Mixed methodology was used to achieve research objectives based on the hypothesis that "the media industry's attitude towards broadcast rating is negative." The questionnaire was used under the primary data collection method to obtain quantitative data. The top eight channels in the LMRB-2018 report were selected as four radio and television, and seven advertising agencies that created the ad campaigns for the 2018 Sumathi and Raigam Awards were selected for the research. 50 questionnaires were given to the top management of the six divisions of the respective institutions. The seven advertising divisions of the seven advertising agencies were also given 50 questionnaires and 100 questionnaires in total. Four qualitative interviews were also conducted to obtain qualitative data. Data obtained through questionnaires were analyzed using SPSS, EXEL software and selfanalysis of data obtained through negotiation discussions. The analysis of the results showed that "The attitude of the media agency officials towards the rating of electronic media broadcasts in Sri Lanka is negative and the attitude of the advertising agencies is positive." It was found that the sample used for data collection should be broadened and the methodology should be transparent.

Experiment as a radio genre
The main aim of this article is to describe the nature of radio experiment, its genre pattern and relations with modern radio art and to define the ruling principles of this form. Literature Theory, journalism genres (both press and radio), genre’s pattern theory will be the referring points for this study.  Radio experiment can be understood as an autonomic radio genre, even though it is a very complex and internally diverse form. Experimental forms have been always outside of the mainstream radio research although they had an influence on the development of radio genres in the past and their contemporary form. This article describes the matters of structure, aesthetics and non-aesthetics in the field of audio experiment.
Streszczenie
Celem tego artykułu jest wyjaśnienie istoty eksperymentu audialnego, określenie jego związku z innymi gatunkami radiowymi, współczesną sztuką audialną oraz sformułowanie praw rządzących eksperymentem fonicznym i jego wyznaczników gatunkowych. W badaniu eksperymentu posłużę się opracowaniami literaturoznawczymi, które będą stanowić dla mnie punkt odniesienia teoretycznego. Ze względu na próbę określenia eksperymentu jako gatunku, metodą, którą wybrałam, jest radioznawcze podejście genologiczne z wykorzystaniem wzorca gatunkowego. Eksperyment radiowy może być traktowany jako autonomiczny, mimo wewnętrznego zróżnicowania, realizacje wykazują pewne cechy wspólne. Formy eksperymentalne znajdowały się na marginesie badań radioznawczych, mimo że miały duży wpływ na rozwój i oceny kształt klasycznych gatunków audialnych. Artykuł omawia również kwestie struktury, estetyki i antyestetyki radiowych dzieł eksperymentalnych.

" In 1920s Germany, radio became a factor in election campaigning. But the state soon stepped in to make public broadcasting services strictly nonpartisan. This made any election news coverage extremely problematic, while growing government control opened ways for certain political interests to slip in. Campaigns spots on radio and more political coverage came again toward Weimar's end, but that effectively eased transition from an independent radio structure to full government control by Nazi propagandists after 1933.

Also available at http://www.politik-kommunikation.de/ressorts/artikel/wahlrauschen-im-roehren-radio

In den 1920ern wurde das Radio zum Faktor im Wahlkampf. In Weimar aber sollte der Staatsfunk strikt überparteilich sein.
Schlagwörter: Radio, Reichstag, Rundfunk, Rundfunkordnung, USA, Volksbegehren, Volksentscheid, Wahlen, Wahlkampf, Weimarer Republik, Young-Plan
Organisationen: Berliner Funk-Stunde, Deutsche Stunde in Bayern, DNVP, Drahtloser Dienst AG (Dradag), DVP, KPD, Norag (Nordische Rundfunk AG), NSDAP, Reichspost, SPD, Stahlhelm, Telefunken, Zentrum
Personen: Hans Bredow, Calvin Coolidge, Konrad Dussel, Paul Fleischer, Karl Führer, Paul von Hindenburg, Adolf Hitler, Alfred Hugenberg, Wilhelm Marx, Franz von Papen, Heinz Pohle, Joseph Räuscher, Ernst Thälmann, Carl Severing, Ernst Scholz
Publikationen: Badische Presse, Berliner Funk-Stunde, Deutsche Stunde in Bayern, Drahtloser Dienst AG (Dradag)"

Аннотация: Анализ развития «конвергентной журналистики» на протяжении последних двадцати лет показывает, что журналистика в целом и радиожурналистика в частности оказались достаточно внутренне устойчивыми к «техноутопии»: создания внутренне целостного «кросс-медийного» (или «мультимедийного») типа журналистского произведения так и не случилось, несмотря на серьезные сдвиги в технологиях и практиках медиабизнеса. Причины и возможные последствия этого в настоящей статье исследуются с применением методов культурологического анализа (воспроизводство культурных объектов, овеществление / развеществление и артефакт / практика). Abstract: The article investigates a question of insistent resistance of journalism and particularly radio journalism to convergence in the course of last twenty years using theoretical standpoints transferred from the field of 'cultural studies', such as reproduction of cultural objects, reifying / disreifying processes and integrity of artifact / practice. The article concerns the dramatic shifts in media technology and media business and the lack of such shifts in journalistic practices and, especially, the lack of any kind of properly multimedia or transmedia 'work of radio journalism'.

Audio New’s unique characteristics stem from it being sound based, and immediate. These two words sum up the motivation that spurs on this distinct style of journalism.    It’s an inimitable reporter who can flourish in an environment that demands a rapid turn around of stories, telephone tenacity, and a voice that blends friendliness with competency.  These journalists differ markedly from their print colleagues in how they write, interview and gather news.    All because their work is transmitted through AM, FM and online.
Their audience  acess the  news and information via their ears, not through their eyes as in newspapers or television.

The existence of community radio at SMP Negeri 2 Susut, along with the spread of the corona virus, paralyzes all existing activities, one of which is in the education sector. The existence of this corona virus outbreak hinders teaching and learning activities which usually take place face-to-face, which are carried out online or remotely. The use community radio has several problems, among others: the lack of community participation itself, the human resource factor, the lack of a budget, and the lack of infrastructure. The aim of this research is in this study, we want to see the effectiveness and efficiency of learning through radio broadcasts. The supporting variables of the studied are learning broadcast management: the effectiveness and efficiency of learning, infrastructure and learning broadcast content. These three variables will support the final process of achieving the function of community radio as a learning information medium which is able to provide learning information services to students during the Covid-19 pandemic. This research uses a case study method with a qualitative approach. The study concluded that the effectiveness and efficiency of learning was minimal and limited. The infrastructure that YG9DAP supports is quite adequate. While the broadcast content is good for talk shows such as question solving consultations, live learning according to subject matter and entertainment events. Unfortunately, licensing processes are still hampered by regulations on radio transmitting equipment set by the government.

Latem 1944 r. Berlin był już mocno zbombardowanym miastem. Jego mieszkańcy ze zdziwieniem zapewne przyglądali się wysokiemu, prawie dwumetrowemu mężczyźnie z brawurą jeżdżącemu wśród ruin eleganckim, otwartym kabrioletem. Wielu zapewne zastanawiało się nad tożsamością tego człowieka. Ich ciekawość byłaby zapewne tym większa, że samodzielne prowadzenie samochodu w Berlinie w drugiej połowie wojny było kategorycznie zakazane'. Tymczasem anonimowa twarz kierowcy należała do najbardziej rozpoznawalnego i znanego komentatora radiowego Trzeciej Rzeszy, Hansa Georga Fritzschego. Mimo że nigdy nie popełnił żadnej zbrodni, wyjątkowa popularność jego głosu doprowadziła go rok później na ławę oskarżonych Procesu Norymberskiego.

O artigo propõe uma aproximação teórica entre o conceito de narrativa radiofônica e a perspectiva teórico e metodológica que interpreta o jornalismo como narrativa, articulando preceitos da Hermenêutica e da Pragmática. O objetivo é traçar apontamentos que conduzam a uma nova abordagem para os estudos de rádio, ao considerar a narrativa não somente como gênero ou formato textual, mas como processo de ordenamento e atribuição de sentidos às experiências humanas. O texto tensiona ambas as perspectivas, indicando potencialidades e especificidades para a aplicação metodológica da Análise Crítica da Narrativa (MOTTA, 2013) às narrativas radiofônicas. Palavras-chave: Narrativa; Jornalismo; Rádio; Análise Crítica da Narrativa. Considerações Iniciais O que é narrar? O que caracteriza e define uma narrativa? De imediato, a resposta mais provável a estas questões nos remete a um tipo específico de texto. A narrativa conta uma história, seja ela ficcional ou factual. Caracteriza-se pela existência de um narrador, um enredo (trama ou conflito), personagens e um contexto espacial e temporal, como nos endossa Gancho (1995, p. 9): "Sem os fatos não há história, e quem vive os fatos são os personagens, num determinado tempo e lugar". Narrar, portanto, significa relatar um acontecimento, de forma lógica e coerente. Com base nesse entendimento, podemos tomar o jornalismo como um tipo de narrativa. Diariamente jornais, programas de TV ou de rádio, sites e tantos outros meios de comunicação nos contam histórias, relatam os mais diversos acontecimentos. São narrativas que, geralmente, se afastam do modelo assentado pelo senso comum; diferem-se dos mitos, contos, fábulas ou mesmo das narrativas historiográficas. A narrativa jornalística das hard news não segue uma lógica temporal; inicia pelo fim e organiza fatos e personagens não de forma sequencial, mas pelo seu grau de importância no desenrolar da trama. No rádio informativo torna-se ainda mais complexa: a narrativa é efêmera e fragmentada, enriquecida com recursos sonoros, entonações, música, silêncios e ruídos.

Ao longo de mais de 30 anos, a TSF destacou-se no panorama mediático em Portugal. A “rádio que mudou a rádio” tornou-se numa emissora inovadora, não só no próprio estilo como nas rotinas jornalísticas. Com o advento da internet e das tecnologias digitais, novos canais de distribuição e outras linguagens agregaram-se à rádio, dotando-a de um conjunto de características e ferramentas. O que é apresentado neste trabalho de investigação, inspirado na história da emissora, consiste na proposta de uma linguagem complementar ao jornalismo radiofónico. O objetivo é valorizar e potenciar a reportagem radiofónica com recurso à tecnologia de realidade aumentada e som binaural. Este protótipo assenta na premissa da mobilidade permitida pelos smartphones, enquanto o ouvinte pode, através de uma aplicação de realidade aumentada, apontar para o logótipo específico da TSF e “aumentar”, i.e. ouvir, uma reportagem de cinco minutos, com recurso ao wearable mais comum: os headphones. A diferença é que a reportagem é reproduzida com som 3D, especificamente som binaural, de maneira a que o elemento privilegiado seja o áudio e o ouvinte possa usufruir de todas as sensações transmitidas pela paisagem sonora.

Current public and academic discussion in the US tends to support the view that American commercial radio has taken a totally new direction for two reasons: the massive station
ownership concentration after the Telecom Act of 1996 and the new digital technology. This view is very common among radio scholars and industry professionals – as well as journalists who write about radio media in the US. Some critics argue that this new form of corporate radio, owned by enormous, publicly traded companies, has changed radio’s economic power structure so that these giants may now – using the latest in digital technology – transform what had been lively and local commercial radio into a sheer generic commodity. Local productions have been replaced with syndicated content and in the smaller markets many stations are programmed
with pseudo-local and pseudo-live pre-recorded content, using the method of computerized, remote voice tracking also known as “cyber-jocking”.

The  rapid  progress  of  China  and  its  role  in the international  market  give  unique  status  to  the country  in the international  market.  China  wants to  maintain  this  status,  for  this  purpose  the country initiated OBOR, this project is one of the big projects of the modern era. The main theme of framing is to draw attention to certain news or object. The findings of this study agreed with the findings of Yousaf and Ahmad (2018), which the Leading press of both countries framing positively about the news stories of CPEC. Gilgit-Baltistan has some concerns about CPEC. It is needed to resolve these reservations.