Director Of Radio Research Articles

Н.О. Волконский – режиссер радиотеатра

The article deals with the creative biography of Nikolay Volkonsky and his influence on development of the radio theatre directing school in Soviet Union. Main stages of Volkonsky formation as a radio director are outlined. At the very early productions by Nikolai Volkonsky, some techniques are outlined, which soon become canon for the radio theatre. In these first national radio performances Evening with Maria Volkonskaya and Lulli the Musician, Volkonsky uses new sound directing methods that were innovative for broadcasting of that time. They at transforming the time and space of the stage action, presenting the characters through their speech pecularities. Under the leadership of Nikolai Volkonsky, Osip Abdulov and Erast Garin start their work at the radio. They subsequently will be known as the masters of the microphone. There are numerous productions by Nikolai Volkonsky on the radio. The author of the article has selected three performances that can help to create the most complete picture of the creative individuality of the director. These are the radio play The Plant based on the novel by Camille Lemonnier, the radio composition Journey through Japan based on the essays by Gregory Gausner and the monumental pathetic oratorio The Nine Hundred and Fifth Yearbased on the poem by Boris Pasternak. The early years of the soviet radio drama are revealing the common processes in developing of art radio programs when this new unexplored field of creative representation of reality has stood at the forefront of the cultural process. The pioneers of the radio theatre innovatively solved creative tasks by their own experience, gradually asserting the main principles of radio performance. Thus it soon became an independent art direction, important in the process of theatre transformation in the twentieth century and in the genre evolution of national art broadcasting.

Business strategies for their websites of the most listened to radio stations in Buenos Aires

Este artículo propone un acercamiento explorativo por las estrategias de producción de contenidos y de comercialización de las radios de AM y FM más escuchadas de Buenos Aires, Argentina, para sus sitios webs. De esta manera, y como objetivo general del trabajo, se busca indagar y descubrir innovaciones o experiencias en la generación-producción de contenidos radiofónicos digitales así como en su comercialización o venta publicitaria.El estudio de los cambios que propone la convergencia tecnológica y mediática para las empresas de medios de comunicación implica la realización de distintos trabajos simultáneos. La observación y el análisis de los contenidos es sólo una parte que se complementa, en este trabajo, con la realización de entrevistas a productores, gerentes y directores de radios. En especial de sus secciones o departamentos digitales.De esta forma, uno de los principales hallazgos de este trabajo consiste en la falta de estrategias definidas, la ausencia de producciones radiofónicas específicas para la web y una búsqueda de mayor complementariedad con los contenidos tradicionales a través de textos y videos. En este marco, lo incierto del comportamiento del mercado publicitario tradicional atenta contra la toma de iniciativas por parte de las gerencias.

The Impact of the Director’s Personality on Television Work

The study aimed at identifying the role of the director in crystallizing aesthetic values and explaining the role he plays and his relationship with the working team in addition to the role he plays in directing television programs in a way that suits all societies. The researcher discusses the effects of television output, method, means and general rules. The researcher tried to shed light on the role of the director and his qualifications and tasks in addition to the elements to influence the viewer. The study was based on descriptive statistical analytical method to provide data on the problem of the study, analysis and scientific interpretation. The study reached several results, the most prominent of which are the following: The work of the director is the basis of the information process and therefore the effort of the team depends on the achievement. The art of directing a self - standing science depends on the personality of the director and type of material produced. The art of directing is considered the spirit of the TV product and the last portal in the media work system. The most important recommended by the researcher:-The director must be comprehensive and briefed on all sections of television work and the importance of the team working with him and his ideas. There must be a separation between television and radio director and journalist to give each director his distinctive characteristic in the field of specialization The Sudanese director should keep pace with the developments in the media and work on the personal industry that he wishes to provide and continue the training and not only the studies he has received.

Le téléthéâtre québécois des premiers temps : croisements médiatiques (Hubert Aquin, Claude Jutra, Marcel Dubé et Louis-Georges Carrier)

This article studies intermedial combinations that characterized Radio-Canada’s early 1950’s television plays, by analyzing the works of three tv writers mostly known for their non-television career: Hubert Aquin, Claude Jutra and Marcel Dubé. We will first see that the author Hubert Aquin, hired as a radio director in 1954, quickly became familiar with the television media by developing in his first teleplay Histoire d’amour (1955) a certain sensibility to the dramatic qualities of the small screen. Secondly, we will observe that Claude Jutra used most of his film knowledge in his screenplay L’École de la peur, broadcasted by CBFT in 1953, making his television drama a work mostly determined by cinematographic properties. Finally, among the dramatics that Marcel Dubé submitted to television treatment, we will analyze more specifically Chambre à louer, composed in 1953 and adapted by Louis-Georges Carrier in 1954, studying the changes that the director made to the text while transposing it to the television format. In light of our observations on Radio-Canada’s early teleplays, we will notice that radio-canadian television fictions developed in partnership with several forms of expression, contributing in creating the emerging Québec television a composite medium, at the boundaries of theater and cinema.

Elia Kazan's first testimony to the house committee on Un-American activities, executive session, 14 January 1952

The controversy surrounding Elia Kazan's testimony to the House Committee on Un-American Activities, in particular in 1999 when Kazan was awarded a Life Achievement Award at that year's Academy Awa...

Broadcasting freedom: the Cold War triumph of Radio Free Europe and Radio Liberty

Broadcasting Freedom. The Cold War Triumph of Radio Free Europe and Radio Liberty. Arch Puddington. Lexington, KY: The University Press of Kentucky, 2000. 382 pp. $27.50 hbk. The second half of the last century saw a hot war congeal into a cold war of bluster and polemic. President Truman in 1950 declared as vital the effort to add a strong American voice to the campaign against communism. Policy thinkers turned to the powerful reach of radio. The rebuilt Voice of America from World War II served official government policy. Serving a more independent role were Radio Free Europe, powered up on May Day 1951, and Radio Liberty, joining battle about two years later. These stations fought Soviet jamming to broadcast to the entire Communist bloc, RFE to Eastern Europe, and RL to Soviet Russia and its republics. Refugees and dissidents provided the talent to what became a project unlike any in U.S. history or tradition: a far-reaching propaganda campaign during peacetime. It was strategy for a new war, political instead of military, an idea to which the author credits to diplomat George F. Kennan. The author's comprehensive history of RFE-RL relies on official archives as well as some 100 interviews with many of those pivotal to RFE-RL survival over forty years. As a former RFE-RL New York bureau deputy director, Paddington offers particular understanding of the freedom radios' operation. As a historian he relies on extensive primary evidence to offer a final response to a question asked through the decades by presidents, dictators, and radio pundits: just how effective was this CIA-- financed broadcast operation? Not many people knew about the connection, not for the first thirty years at least. That secret was maintained by the radio directors' evasive answers to early cold-war-era journalists, who chose not to pursue the matter. RFE-RL was advertised as democracy's voice supported by contributions from the American people. Somewhat true. Well, 19 percent true, actually, according to Paddington. Contributions alone could not support such a long reach and a staff of hundreds based in Munich, however, requiring majority funding from the beginning. As the U.S. military activity in Vietnam drew to an end, CIA meddling became a scapegoat for U.S. foreign policy failures left and right. Congress assumed control of RFERL. The freedom radios faced a heavy hand of partisan pressure more intense by far than broadcasters had known under surprisingly open-minded policies. A peevish assault by Arkansas Sen. J. William Fulbright nearly marked RFE-RL's demise, but the Reagan administration later restored support. The end of the cold war and the Clinton administration budget cuts that followed marked the first major reduction to an operation that stretched more than forty years. …

The Radio Director as Magician: Radio Drama Production . Rome Krulevitch, Walter Krulevitch.

The Radio Director as Magician: Radio Drama Production . Rome Krulevitch, Walter Krulevitch.

The Radio Director as Magician

The Radio Director as Magician