By Andrew Crisell
This can be an available and concise background of British radio and tv. The e-book considers the character and evolution of broadcasting, the expansion of broadcasting associations and the relation of broadcasting to a much broader political and social context. starting with the genesis of radio on the flip of the century, Crisell discusses key moments in media background from the 1st instant broadcast in 1920 to the current. Key themes lined contain: * The institution of the BBC in 1927 * the final strike, notions of public provider broadcasting and the cultural values of the BBC * Broadcasting in wartime * The heyday of radio within the Nineteen Forties and Nineteen Fifties and the increase of tv * BBC2, Channel four and minority tv * The altering function of radio in a tv age * The convergence of broadcasting and different media * destiny concerns for broadcasting.
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Extra info for An Introductory History of British Broadcasting (1997)
Consequently, except in the case of news bulletins, regular or ‘fixed point’ scheduling – the practice of offering the same or similar programmes at the same times every day – was deliberately avoided. The high-minded intention was continually to renew the listener’s alertness to the medium, not only to make her listen instead of merely hear but to ‘surprise’ her into an interest in a subject she had previously not known about or disliked, and at all times to give her ‘something a little better than she thought she wanted’.
Popular music Rather less ‘cosmopolitan’ than its view of the classics was the BBC’s attitude to popular music, for much of the latter originated from America, specifically that sought-after negro music called jazz, and the Corporation set itself against American influences as being vulgar in tendency. The question was not simply what ‘the best’ jazz was, but whether jazz had any merit at all, especially as it was widely denounced as ‘jungle music’, an unnatural sexual stimulant. Again, some knowledge of the historical context renders this view slightly less bizarre than it seems.
It gave the unions’ point of view but little else. It explained what was happening and what the citizen could do, but not why the strike came about. The company was twice humiliated by the government, first when its attempt to bring a union leader to the microphone was vetoed, and second when it was bullied into refusing to broadcast a peace formula devised by the Archbishop of Canterbury. Nevertheless it achieved much. The tone in which it reported the strike was cheerful and conciliatory throughout.
An Introductory History of British Broadcasting (1997) by Andrew Crisell