Radio Magazines Research Articles

Services of Radio Pakistan in the Promotion of Urdu Language & Literature

Radio is one of the most amazing and effective inventions of the last century. Radio Pakistan came into being with the independence of Pakistan in 1947. From the very beginning, Radio Pakistan made many efforts for the promotion and development of Urdu language, consciously and unconsciously. Urdu programs were started from Radio Pakistan to acquaint people with Urdu language. Later, Urdu experts were hired to correct the accent and pronunciation of Urdu language. The services of Radio Pakistan are very important in popularizing Urdu poetry through music. Drama is an important genre of literature and radio played an important role in bringing and popularizing Urdu drama to the masses. Many radio dramas of Radio Pakistan were later published in book form and proved to be an important addition to Urdu literature. Another important service of Radio Pakistan in relation to the promotion of Urdu language and literature is the publication of the Urdu radio magazine "Ahang". "Ahang" is the only Urdu magazine of Pakistan which has been continuously published since 1948. In short, services of Radio Pakistan for the promotion of Urdu language and literature have been assessed thoroughly.

Закордонні українці в радянському житті Валер’яна Поліщука

The vision of Ukraine as a national and cultural unity within ethnic Ukrainian lands not only did not disappear from the Polishchuk’s works in the Soviet period but was purposefully advanced in his multi-genre cultural practices. Establishing creative contacts with émigré writers as well as Polishchuk’s concept of a literary radio magazine became one of the most important directions of this activity. The article examines the connections of V. Polishchuk with émigré artists Volodymyr Vynnychenko, Mykyta Shapoval, Oleksandr Oles, and Pavlo Kovzhun. Analyzing their contacts, the author finds the permanent need for writers on different sides of the Soviet border to maintain a creative dialogue. The beginning for the dialogue was laid in the pre-Soviet period, that is, in the times of the UNR/Hetmanate/Directorate. In order to delegitimize the activities of Ukrainian political emigration, the idea of “two Ukraines”, Soviet and émigré, appeared in the Soviet discourse of the first half of the 1920s. Despite the use of rhetoric about the existence of “two Ukraines”, the main strategy of V. Polishchuk was not separation, but the combination of the proletarian image of Ukraine with national feelings and literary traditions. In a number of his publications, Polishchuk paid particular attention to the centers of Ukrainian cultural life outside the jurisdiction of the Soviet government (Lviv, Prague) investigating the life of foreign societies and artists. His texts about foreign countries were full of genuine interest. But with all frankness, part of Polishchuk’s biography remained outside the official pro-Soviet discourse, existing in understatements, hints, subtexts. However, we can consider the pre-Soviet period of Polishchuk’s biography as the main factor that influenced his views on the nationally determined Ukrainian cultural identity within the united Ukrainian territories.

Radio, popular music and radio magazines in Brazil: a comparative study of “A Voz do Rádio” (1935) and “Revista do Rádio” (1948)

Radio, popular music and radio magazines in Brazil: a comparative study of “A Voz do Rádio” (1935) and “Revista do Rádio” (1948)

Worlds of Sound

Worlds of Sound

Broadcasting the Italian voice’s broadcasting: opera and Italy on the air, 1920s–1930s

ABSTRACT Within the early twentieth-century Italian radiophonic imagination, opera occupied a complex position. The overriding ‘voice’ of Italy and its radio empire under Fascism, opera supported the new technology as a political and cultural tool, even as it challenged it as a geographical and perceptual fantasy. This article has two aims. First, drawing on materials from 1920s and ‘30s radio magazines, it sketches a history of early radio listening that restores vision and touch to a more central position than they have had in previous scholarly accounts. Second, it investigates radio and the Italian operatic voice as two mutually broadcasting technologies, ones whose critical co-construction was more than an accident of the fraught political moment. Contemporary definitions of radio as bel canto and of bel canto as radiophonic rested on a subtler, conceptual alignment between the two media, each of which foregrounded a tension between sound and meaning and implied the radial dissemination of voice ‘out’ in all directions. This article thus seeks to answer two questions. Did opera, a fundamentally audiovisual genre, become invariably ‘sonified’ through radiophonic transmission? And what happened when that old broadcasting technology, the Italian voice, met the new communications medium?

Spectacularization in the print media: analysis of specialized radio magazines.

El artículo tiene como objetivo analizar la espectacularización en las revistas de radio en Brasil en las décadas de 1920, 1930, 1940 y 1950. Con esa base teórica, se utilizó el método cualitativo para la recolección de datos, por sus características que se encuadran en la temática de trabajo de rescate histórico de la comunicación, particularmente del medio impreso. Optamos por la investigación cualitativa porque tiene pasos únicos en el análisis de datos y hace uso de diferentes estrategias de investigación. Los procedimientos cualitativos muestran diferentes perspectivas y pensamos en los efectos de los medios en este contexto. La investigación se llevó a cabo en el Museu da Imagem e do Som, Arquivo Público y Biblioteca Mário de Andrade en São Paulo y también en la Biblioteca Nacional de Río de Janeiro, entre otros centros. El problema de investigación radica en los efectos que este tipo de producción provoca en la sociedad y como resultado concluimos que las revistas iban mejorando en calidad editorial pero, con un enfoque central en la farándula y el mercado, llevó a la banalización de la cultura, la generalización de la frivolidad y el periodismo escandaloso, que lamentablemente persiste en los medios hasta el día de hoy. La investigación contribuyó a comprender que la radio y las revistas, donde una es vector de crecimiento de la otra, se estaban construyendo para la espectacularización de la sociedad y esto en varios momentos ha demostrado tener efectos muy oscuros, pues transformó, por ejemplo, la discusión política en entretenimiento y el periodismo en irresponsabilidad.

The Change of Reporter Communication Process at News Production in Pandemic

Communication is a basic human activity. By communicating, humans can relate to each other both in daily life at home, at work, in the market, in society or wherever humans are. There is no human being who will not engage in communication. Communication is very important for human life. The development of human knowledge from day to day because of communication. Communication also forms a social system that needs each other, therefore communication and society cannot be separated.(Cangara, 2014) Researchers chose a media which was originally a magazine. Broadcastmagz-TV & Radio Magazine is the magazine that was chosen but has switched to online form or broadcastmagz.com is one of the companies that currently has many sectors in various fields, one sector that is very well known by the Indonesian people is the Online Media sector.(Magazine, n.d.) This change in media products is included in media convergence. Visual communication is turning to paperless. Convergence in the Big Indonesian Dictionary means the situation towards one meeting point, convergence, while the definition of convergence or convergence is literally two or more objects meeting or uniting at a point of concentration of eyes to a very close place. Convergence is the joining of traditional telecommunications media with the internet network at once. Convergence is a radical change in the handling, provision, distribution, and processing of all forms of information, whether visual, audio, data, and so on. (Suchroni, 2016)

Interference Communications: Measures of Information Influence On The Formation of State Creation Ecopolitics In The Context of Image Formation In The Globalized Media Systems

In this study the author try to reveal the essence of the organizational culture the context of interrelation of formation of image of the country. Important psychological readiness to evolve that is the base for forming the image of both the country. Media is everything, and the world seems to be nothing without it, media is the most powerful tool of communication. It is difficult to imagine how people get to know some important news without newspapers, radio magazines, internet. We observe the evolution of the media environment, the emergence of new methods and methods of communication in accordance with the demands of time. The article investigates the role of media professionals in creating the image of the political leader and the state, considers some aspects of professional activity and methods of image-makers' work. The generalization is made on the basis of the experience of practitioners, image-makers of politicians concerning the creation and dissemination of author's practical and scientific technologies, the introduction of a positive image color of the object (subject of the image) and author's research. As a result of an information campaign, public opinion on a particular topic can be both positive and negative, and rarely – neutral. Media has a tremendous impact on the public activity of the audience. Media is a powerful tool in shaping the image. Ukraine experienced the impact of Russian hybrid warfare and pro-Kremlin disinformation earlier than most other states, these disinformation messages a distorted worldview that shapes people’s thinking about the meaning and possibilities of political change. The content of this work captures the essence of problems creation of a positive image of Ukraine in the media that fully reflected in the monograph "Formation of Ukraine's image in the media."

Hört zu!

Artikelbeginn:[English title and abstract below] Die Mediengeschichte zeigt, dass mit dem Aufkommen neuer Medien immer auch literarische Stoffe von ihnen aufgegriffen wurden, sei es in Form von traditionellen, neu erschienenen oder eigens für sie geschriebenen Texten. In Deutschland trifft diese Feststellung auch auf den Rundfunk zu, der flächendeckend ab 1923 in Form von dezentralen Rundfunkgesellschaften aufgebaut wurde (vgl. Halefeldt 1997), die ab 1924 ein Programm für Kinder und Jugendliche anboten. Hört zu! lautete der an sie gerichtete Aufruf. Listen!Children's and Youth Literature on the Radio during the Weimar Republic and the Era of National Socialism This article presents some results from a research project on German-language children‘s and young people‘s literature in the media network from 1900 to 1945, focussing on radio programmes, from 1924 on, that engaged with this literature. The sources of information about the programmes were radio magazines, which were only published until 1941 due to the constraints of the Second World War. In the initial phase, readings of fairy tales and legends dominated; from the early 1930s on, more and more fairy tale radio plays were produced. Punch and Judy radio plays by Liesel Simon, for instance, were broadcast regularly from 1926. Book recommendations aimed at parents and young people also played an important role as did readings by contemporary authors such as Felix Salten, Lisa Tetzner, Erich Kästner, Irmgard von Faber du Faur and Will Vesper. While the new political and social start with the Weimar Republic in 1918/1919 did not result in a caesura in the market for children’s literature, because authors who had been successful up to that point continued to be published, it did introduce several innovations, for which there was little room after Hitler came to power in 1933.

Difundir y convencer. La propaganda radialduranteel Plan de Emergencia Económica del peronismo(1952)

This article studies the production of radio propaganda by the Peronist government during 1952, the time of the presentation and implementation of the Plan de Emergencia Economica. In the midst of an economic crisis and growing political tension scenario, Juan Domingo Peron’s administration presented an economic program that meant a shift in the orientation implemented up to that moment. The government used the production of radio propaganda to disseminate the measures that the Plan de Emergencia Economica implied, and to convince the population to adopt a range of new practices and habits. The actions of the Division de Accion Radial, part of the Subsecretaria de Informaciones, are explained, and we analyze two radio productions developed to enhance the impact of the economic Plan presentation. For this purpose, a variety of documentary sources are used, such as radio broadcast audios, scripts, state documentation, newspapers, as well as film and radio magazines. We tackle a key feature for the construction of hegemony of Peronism that was little explored, such as radio, and the relations that the Peronist government established with that media.

GDR Cinema on Swedish Television

This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.

The “tribal drum” and Literary Radio: The Postcolonial Poetics of the Transcription Centre’s Africa Abroad

On June 1, 1963, J. P. Clark’s poem “Agbor Dancer” was recorded for the London-based Transcription Centre’s program Africa Abroad, an English-language radio magazine program distributed for broadcast on multiple African stations. Africa Abroad producer Lewis Nkosi praised the poem and recorded it in its entirety in his review of the anthology Poems from Black Africa, edited by

The Transistor, an Emerging Invention: Bell Labs as a Systems Integrator Rather Than a ‘House of Magic’

The transistor is one of the most consequential human inventions with dissemination of the eventual MOS-FET design estimated to exceed one quintillion devices. However, the transistor’s genesis remains poorly understood. Many received accounts associate transistor invention closely with a small group of Bell Labs scientists during the 1947-1948 period. This paper argues that such a view is too narrow. Rather, the transistor – as a solid-state amplifier – emerged over a period of several decades starting with early observations of anomalous amplification in semiconductor crystals and early device designs during the 1910s and 1920s. Other types of relevant knowledge evolved in the form of advances in solid-state physics and materials processing techniques during the 1930s and early 1940s. Bell Labs identified, absorbed, evaluated, and integrated such diverse but interrelated knowledge streams – making Bell Labs appear much more like a systems integrator than the prototypical closed innovation organization it is often portrayed as. The Bell Labs transistor effort was both mission- and device-oriented with the specific goal of turning existing but imperfect solid-state amplifier designs into reliable substitutes for vacuum tubes – as such the research program is better described as applied industrial research rather than basic research. Through its systems integration activities, Bell Labs catalyzed a qualitative shift in the hitherto fragmented semiconductor field, enabling greater resource allocation and intensified research activity, as reflected in a hike in publication growth rates and the later introduction of marketed products. Thus expanded research activity eventually led to the 1959 MOS-FET design as the transistor’s dominant design used in large-scale dissemination such as in modern computer chips. Consequently, I propose to view the transistor as an emerging invention – in contrast to a discrete or singular one – with an emergence period spanning several decades. I propose to distinguish between an exploration phase (~1920-1945), a consolidation phase (1945-1950), and a maturation phase (1950-) whereas the intermediate consolidation phase represents a topological transition as is characteristic of emerging fields. Another emphasis of this article lies on the role of informal knowledge in the invention process. In the transistor case, such informal knowledge included patent specifications with proposed device designs, amateur radio magazine articles with reported anomalies, and oral anecdotes in practitioner circles describing experimental configurations of interest. This research asserts that such kinds of informal knowledge played an important role early on in the invention process as they guided both early research campaigns and managerial decisions, including at Bell Labs.

Music and speech content of the Radio magazine (1935)

The presented article continues a series of author's investigations devoted to the annual analysis of book prints and periodicals, which were published in Ukraine at different times. The problem of development of music radio broadcasting in the Ukrainian Socialist Soviet Republic (USSR) is raised in the work. Based on the annual notebook of the all-Ukrainian scientific and technical magazine "Radio" for 1935, the author examines its music and speech content and concludes that despite the curtailment of the Ukrainization campaign, the magazine remained a platform for discussing the problems of national and cultural construction in Ukraine. At that time, the magazine's reporters raised questions about music and speech quotas on the radio network, demanded an increase in the percentage of Ukrainian folk songs, Ukrainian classical music heritage, and works by Ukrainian Soviet composers. It is clear that this process was controlled and managed by the ruling Bolshevik Party and state authorities. At the same time, the articulation of these issues made it possible to preserve the positions of the political course on indigenization (Ukrainization) declared in 1923. The obvious dominance of folk traditions in the musical creativity of the composers of the USSR, in particular, the symphonies and operas of Levko Revutsky and Borys Lyatoshynsky, prompted the Stalinist authorities to organize a field trip of specialists in recording on gramophone records in Ukraine. The latter carried out unprecedented work at that time, ensuring the preservation of more than 100 works of Ukrainian musical art, namely, folk songs, dances, symphonies, opera arias and more. During the competitive selection, not only the best performing styles were revealed, but also previously unknown bands from the most remote corners of Ukraine. The Ukrainian Radio Committee was actively involved in the popularization of Ukrainian musical content, under the auspices of which a large symphony orchestra, an orchestra of folk instruments, an ensemble of bandura players, numerous musical radio theaters, etc. worked.

Language diversity in a Mediterranean mediascape

The article analyses a particular form of linguistic and cultural diversity performed in two radio magazines, Kantara and Mediterradio, produced as part of transnational media cooperation in the Mediterranean region. The analysis focuses on the interplay between language, discourse and journalistic practices, rooted in a specific journalistic and civic culture that aims at constructing a shared public sphere in opposition to mainstream media reports about the Mediterranean. The results demonstrate a particular polycentrism and mobility of media production, observable in language, discourse and journalistic features, in which localities traditionally considered “at the periphery” of global media flows, such as the Western Mediterranean islands Sicily, Sardinia and Corsica, constitute crucial points. The article approaches the resulting multilayered transculturality by grasping the specific culture inspiring the work of the network, and the multiple identities related to it. To this aim, a transdisciplinary approach integrating sociolinguistics, discourse, media and cultural studies with a specific focus on mediatized transcultural communication is developed.

『初歩のラジオ』の創刊理念とその教育的意義 : わが国最初の子ども向け月刊ラジオ雑誌の登場

『初歩のラジオ』の創刊理念とその教育的意義 : わが国最初の子ども向け月刊ラジオ雑誌の登場

The radio magazine: The evolution of successful hybrid formatin the big generalist Spanish television channels

Resumen es: El magazine es el formato radiofonico mas hibrido de todos y uno de los originales en este medio. Con el objetivo de observar si estos programas han evol...

Integrated audiovisual production: “Morning Glory” and “Blind Date”

Transmedia storytelling is a communication strategy that uses multiple platforms to develop a message that is enriched with features of each language and format used. This convergence creates a novel link between media companies and the public. This article, which uses the deductive hypothetical method, demonstrates that transmedia projects generate stories that are expanded in different media in ways that allow the receiver to obtain a thorough experience. To prove it, in the analytical part we opt for a non-experimental qualitative method. We focus on the case of the first online radio magazine in Spain, “Morning Glory”, a pioneer of integrated production in our country. It was a product designed simultaneously as an audiovisual production, and its success with audiences has encouraged development of a broader communication experience, such as the television drama series “Blind Dating” seen on private channel 4.

Cuando María Cinta Balagué radió el primer magazine

This paper will reveal who was the first radio broadcaster of Catalonia and what were her contributions to the medium. Maria Cinta Balagué, a cultured and conservative woman, developed the first radio magazine when in the early 20s all were monologues and lectures in a catalan radio stations. It happened in Barcelona in a feminine program.

The Listener's Voice: Early Radio and the American Public

The thesis of The Listener's Voice is that radio listeners “participated in the formation of radio” in the United States during the 1920s and 1930s. The book offers a different emphasis in American radio history. It goes beyond business and legal histories, and also audience histories, to show how the latter affected the former previously overlooked ways, perhaps precisely because they were informal and unorganized and thus not explicitly documented. Even so, Elena Razlogova has found them by reading numerous listener letters in a new light. The book documents a range of ways audiences affected the shape of radio in these decades. Razlogova effectively shows that large corporations did not have their way unimpeded. Instead, she describes multiple ways listeners at first countered the concentrated power of radio corporations and networks, as well as the Federal Radio Commission, in efforts to influence radio development. In the 1910s and 1920s audiences provided feedback to experimental broadcasters to help them develop better technologies. In the 1920s local stations welcomed and responded to listener letters about their programs. When the 1927 Radio Act reallocated broadcast frequencies and licenses from small to large stations and networks, listeners wrote to support local stations and protest the changes. Radio magazines for radio amateurs in the 1920s, like local radio stations, forged a mutual relationship with their readers. Eventually, they were displaced in the 1930s by fan magazines published by large “pulp” houses, more interested in leading than listening to readers. Still they retained letter-to-the-editor columns where listeners could voice their opinions. Radio serial writers attended to listener letters and drew from them ideas for scripts. However, Razlogova finds that by the late 1930s radio's moral economy broke down as network concentration and audience measurement took hold. But the story did not end there. After the war, the arrival of television, and the decline of network radio, there was a revival of listeners' voices and of local stations listening to those voices.