Broadcasting and time

This thesis brings together work I have published in the last five years in academic journals and edited book collections. All the material presented in the thesis, much of it substantially rewritten, will appear in the trilogy I have been working on since my last published book, Radio, Television and Modern Life (Blackwell 1996). The organising structure of the thesis and its substantive concerns corresponds with that of the three books that will come out of it. The form and content of the thesis, and its relation to the books, is discussed in some detail in its introduction. Its fundamental concern is with human time which I have explored in all my writings since I began research thirty years ago, with my late friend and colleague David Cardiff, into the early history of the British Broadcasting Corporation. The medium of radio is time. Historiography deals with past time. The academic work of writing history on the other, and the temporality of radio and television on the one hand, are the first two themes of this thesis which shows that the orders of time in which they work are divergent rather than convergent. The third section of the thesis attempts their reconciliation through the recovery of meaningful time.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

BBC Experiments in local radio broadcasting 1961-62

In the early 1960s, the BBC was given the opportunity to demonstrate that it had the skills and resources to create localized broadcasting, by organizing a series of experimental stations across the UK. Although the output was not heard publicly, the results were played to the Pilkington Committee on Broadcasting, who were deliberating about the future direction of radio and television. Using archival research, featuring contemporary BBC documents, this paper argues that these experimental stations helped senior managers at the BBC to harness technological innovation with changing attitudes in society and culture, thus enabling them to formulate a strategy that put the BBC in the leading position to launch local radio a few years later in 1967

Dallas Bower: a producer for television's early years, 1936-39

Having worked in the film industry as a sound technician and then director, Dallas Bower (1907-99) was appointed in 1936 as one of two senior producers at the start of the BBC Television service. Over the next three years Bower produced as well as directed many ground-breaking live programmes, including the opening-day broadcast on 2 November 1936; the BBC Television Demonstration Film (1937, his only surviving pre-war production); a modern-dress Julius Caesar (1938), in uniforms suggestive of a Fascist disctatorship; Act II of Tristan and Isolde (1938); Patrick Hamilton’s play Rope (1939), utilising extended single camera-shots camera-shots; numerous ballets, among them Checkmate (1938); and ambitious outside broadcasts from the film studios at Denham and Pinewood. Developing the working practices of producing for the theatre, film industry and radio, Bower was a key figure in defining the role of the creative television producer at the start of the medium. Among his innovations, according to his unpublished autobiographical fragment ‘Playback’ (written 1995), was the introduction of a drawn studio plan for the four cameras employed in all live broadcasts from Alexandra Palace. Using Bower’s writings (among them his 1936 book Plan for Cinema), his BECTU History Project interview, the BBC Written Archives and contemporary industry coverage, this article reconstructs the early development of the role of staff television producer in order to consider the questions of autonomy, agency and institutional constraints at the BBC in the pre-war years

Intermedial Relationships of Radio Features with Denis Mitchell’s and Philip Donnellan’s Early Television Documentaries

Writing of the closure in early 1965 of the Radio Features Department, Asa Briggs identifies one of the reasons for the controversial decision as ‘the incursion of television, which was developing its own features.’ ‘[Laurence] Gilliam and his closest colleagues believed in the unique merits of “pure radio”. The screen seemed a barrier’ (The History of Broadcasting in the United Kingdom, Vol. 5, p. 348). Rather than the screen being ‘a barrier’ for them, a number of the creators of the emerging television documentary were from the late 1950s onwards able to transfer and transform distinctive techniques of ‘pure radio’ into highly effective visual forms. Two key figures were the producers of ‘poetic’ documentaries Denis Mitchell and Philip Donnellan, who employed layered voices, imaginative deployments of music and effects, and allusive juxtapositions of sound and image, to develop an alternative (although always marginal) tradition to the supposedly objective approaches of current affairs and, later, verité filmmakers. And a dozen years after the dismemberment of the Features Department, Donnellan paid tribute to it in his glorious but little-seen film Pure Radio (BBC1, 3 November 1977). Taking important early films by Mitchell and Donnellan as case studies, this paper explores the impact of radio features on television documentaries in the 1950s and early 1960s, and assesses the extent to which the screen in its intermedial relationships with ‘pure radio’ was a barrier or, in the work of certain creators, an augmentation

The Uses of Stance in Media Production: Embodied Sociolinguistics and Beyond

While many conversation analysts, and scholars in related fields, have used video-recordings to study interaction, this study is one of a small but growing number that investigates video-recordings of the joint activities of media professionals working with, and on, video. It examines practices of media production that are, in their involvement with the visual and verbal qualities of video, both beyond talk and deeply shaped by talk. The article draws upon video recordings of the making of a feature-length documentary. In particular, it analyses a complex course of action where an editing team are reviewing their interview of the subject of the documentary, their footage is being intercut with existing reality TV footage of that same interviewee. The central contributions that the article makes are, firstly, to the sociolinguistics of mediatisation, through the identification of the workplace concerns of the members of the editing team, secondly showing how editing is accomplished, moment-by-moment, through the use of particular forms of embodied action and, finally, how the media themselves feature in the ordering of action. While this is professional work it sheds light on the video-mediated practices in contemporary culture, especially those found in social media where video makers carefully consider their editing of the perspective toward themselves and others

Kommunikativ intentionalitet i radio og fjernsyn

Den engelske medieforsker Paddy Scannell har i en årrække arbejdet på et stort projekt om radio og TV´s socialhistorie og i særlig grad været interesseret i en sociologisk analyse af programmer (se omtale af hans seneste bog i anmeldelsessektionen). Som sådan repræsenterer han en modgående tendens til receptionsanalysen og "Cultural Studies"- traditi- onen, der længe har domineret engelsk medieforskning. På opfordring af MedieKulturs redaktion præciserer Paddy Scannell her de teoretiske overvejelser, der ligger bag hans mediesociologiske arbejde. Radio- og TV-programmer skal opfattes og analyseres som en type social interak- tion, der nok har egne karakteristika, men principielt ikke er forskellig fra andre typer af kommunikativ interaktion. Centralt i analysen står den gen- sidige relation mellem afsender og modtager, der teoretisk kan belyses gennem begrebet om kommunikativ intentionalitet. Oversættelse fra eng- elsk ved Stig Hjarvard