Colloquial features in the syntax of spoken media in Maribor

2018 ◽  
Vol 26 (1) ◽  
pp. 97-111
Author(s):  
Alenka Valh Lopert
Keyword(s):  
Syntactic Analysis ◽  
Media Discourse ◽  
Radio Stations ◽  
Radio Program ◽  
Commercial Station

AbstractThe article deals with the influence of colloquial syntax on the spontaneous non-prepared media discourse of professional presenters. It presents a syntactic analysis of radio program broadcasts on two Maribor radio stations, i.e. the commercial station Radio City and the Slovene public station Radio Maribor. Specifically, the paper focuses on typical syntactic colloquial features, i.e. incomplete syntactic patterns, interruptions, repetitions and corrections.

scholarly journals From International Shortwave to Digital Rebroadcast

2018 ◽  
Author(s):  
Paul Conway ◽  
Kelly Askew
Keyword(s):  
University Of Michigan ◽  
Voice Of America ◽  
Radio Stations ◽  
Radio Program ◽  
Research And Teaching ◽  
The Us ◽  
Us Government ◽  
Radio Broadcast ◽  
The University ◽  
Musical Heritage

In January 2015, the US government agency Voice of America loaned the Leo Sarkisian Music Library to the University of Michigan with the goal of digitizing and providing access to the materials for research and teaching. Transfer created an archive where once existed a longstanding music resource that supported all aspects of the production of the VOA’s Music Time in Africa radio program. The archive encompasses sound recordings and type-scripts of the radio program (1965-2004), along with extensive recordings of live musical performances made by Leo Sarkisian in his travels through Africa or by African staff trained by Leo Sarkisian to make professional quality recordings on his behalf—often at the radio stations he helped establish. This article describes the Music Time in Africa radio broadcast and then contextualizes efforts to provide access to the digitized recordings in terms of the nature of the post-modern archive, performance studies, and the repatriation of musical heritage resources found in archives. The article concludes with a reflection on the complexities of providing access to digital recordings of international radio and the author’s efforts to explore opportunities for digital repatriation through rebroadcast on social media, which in many ways shares the underlying characteristics of the radio broadcast medium itself.

Plugging and programming: pop radio and record promotion in Britain and the United States

Popular Music ◽  
1993 ◽  
Vol 12 (1) ◽  
pp. 57-68 ◽  
Author(s):  
Keith Negus
Keyword(s):  
United States ◽  
North America ◽  
The United States ◽  
Radio Networks ◽  
Pop Music ◽  
Radio Stations ◽  
Production And Consumption ◽  
Broadcasting System ◽  
Commercial Station ◽  
Talent Acquisition

The radio networks of North America and Britain provide one of the most important promotional outlets for recorded music, setting programming agendas at radio stations and influencing the talent acquisition policies of record labels throughout the world. For many years there have been sharp contrasts in the way in which music radio has operated and been organised in these two countries. The promotion of records in Britain has mainly been directed towards one national non-commercial station, Radio 1, which plays an eclectic mixture of musical styles. In the United States radio promotion has been aimed across a complex of commercial stations which broadcast ‘narrowcast’ music very clearly defined according to various ‘formats’. However, the recent re-regulation of the broadcasting system in Britain has resulted in a proliferation of regional commercial stations that are responding to increasing competition by introducing narrowcasting policies similar to those of North America. With Radio 1's share of listeners declining and the prospect of national commercial stations being granted licences and further challenging Radio 1's dominance of pop broadcasting, it seems particularly pertinent to contrast the practices of record companies and radio stations in Britain and North America and highlight how they directly effect the production and consumption of pop music.

ЖУРНАЛІСТСЬКІ ПРОФЕСІЇ НА РАДІО В ЕПОХУ КОНВЕРҐЕНТНОСТІ МОВЛЕННЯ

2020 ◽  
pp. 48
Author(s):  
V. Kostiuk ◽  
Yu. Kostiuk ◽  
O. Usmanova
Keyword(s):  
Web Sites ◽  
Technology Development ◽  
Media Management ◽  
Radio Stations ◽  
Evolution And Development ◽  
Top Managers ◽  
Class 1 ◽  
E Mail ◽  
Business Media ◽  
Marketing Director

<div><p class="1"><em>The article’s research used the analysis scientific-sources base on a select question, web-sites of the stations (media concern TAVR Media and Internet-station </em><em>SKOVORODA), monitoring.</em></p></div><p><em>Broadcast relieve some periods of improvement, evolution and development, based on it’s features. One of the progress’ reason is technology development connected with radio. The end of last century and twenty years of current one characterise by universalism and convergence, that let media, beyond broadcast, had got the characteristics it never had before: watch the radio, fast connection between audience representers, communication with station’s journalists.</em></p><p><em>It made some influence and changes on the principles of formatting and functioning journalists professions at the radio. First, media concerns started to appeared, which have some stations in their structure, that have same top managers, almost similar department, close principles of airing. Second, Internet-stations let their audience the possibility to observe the air.</em></p><p><em>During the research, we defined, the administration of TAVR Media has the managers on each direction: manager of radio group, financial manager, commercial one (responsible for the sale), marketing director, (pr and image), general producer (manage musician direction), the station’s director.</em></p><p><em>Today, station has to work in active way and communicate with their audience, using messengers, profiles in social media. As a result, radio stations have in their arsenal person or group of persons which responsible for that activity. For example, web-radio SKOVORODA has a man, who manage </em><em><br /> </em><em>IT-work. Main duties of him: work with social medias, site content, deal with e-mail. Station’s of</em><em> </em><em>TAVR Media group (Melodiya FM, Relax, Radio Rocks, Russkoye Radio v Ukrayini, KISS FM, ХІТ FM) also have representers of modern professions: the head of digital department, traffic manager, system admin, etc.</em></p><p><em>Comparative analysis of the professions at radio, which include in the concern TAVR Media and web-station SKOVORODA did in the articleIn.</em></p><p><em>The research results can be used during the further study of radio journalism, teaching of one’s subject during the process of study students at faculture journalism, business media, management, etc.</em></p><p><strong><em>Key words:</em></strong><em> fm-broadcast, web-radio, journalist professions, media concern, radio presenter.</em><em></em></p>

Almanya’da aşırı sağ hareketler ve medyanın suçlu göçmen söyleminin resmi belgeler ışığında incelenmesi

2017 ◽  
Vol 4 (2) ◽  
pp. 201-226
Author(s):  
Soner Tauscher
Keyword(s):  
Agenda Setting ◽  
Asylum Seekers ◽  
German Society ◽  
Political Agenda ◽  
Substantial Part ◽  
Media Discourse ◽  
Open Door ◽  
The European Union ◽  
Open Door Policy ◽  
Far Right

Avrupa ülkelerinin alışık olduğu düzenli işçi göçü ve kontrollü sığınmacı alımı Suriye iç savaşının üst düzeye ulaştığı 2013/2014 yılından itibaren önemli bir değişim göstermektedir. Avrupa Birliği, kuruluşundan bu yana en yoğun mülteci göçüyle karşılaşmaktadır. Yaşanan bu kontrolsüz ve zorunlu göçe Avrupa toplumları ve devletleri hazırlıksız yakalanmıştır. Mülteci krizini ekonomik olarak fırsata çevirmek isteyen Almanya ise göçmenler için 2015 yazından itibaren açık kapı politikası uygulamaya başlamıştır. Ancak uygulanan açık kapı politikası Alman toplumunun azımsanmayacak bir kesiminde mültecilere ve Müslümanlara yönelik ağır ve şiddetli bir karşı kampanya ortaya çıkardı. Mülteciler ve Müslümanlar aşırı sağ toplumsal hareketlerin gösterilerinde “tecavüzcü”, “işgalci”, “kriminal dolandırıcılar” vb. sıfatlar ile birlikte anılmakta, medya da bu söylemlerin taşıyıcılığını yaparak kamusallaşmasını sağlamaktadır. Böylece aşırı sağı desteklemeyen, apolitik, ya da sığınmacılara karşı hoşgörülü davranan toplum kesimlerinde kamuoyu oluşturularak sığınmacı ve göçmenlere karşı olumsuz algı gündemde tutulmakta, politik olanın merkezine yerleştirilmektedir. Bu çalışmada öncelikle göçmenlere karşı aşırı sağ toplumsal hareketlerin oluşturduğu olumsuz söylemin McCombs ve Shaw’un Gündem Belirleme Kuramı (Agenda Setting Function) bağlamında medya tarafından siyasetin merkezine nasıl oturtulduğu tartışılacaktır. Ayrıca gündemde tutulan mültecilere yönelik olumsuz söylemin gerçeği yansıtıp yansıtmadığı, göçmenlerin ve sığınmacıların biyolojik Almanlardan daha çok suça meyilli olup olmadığı oluşturulan soyut söylemlerden ziyade Almanya İçişleri Bakanlığı’nın yıllık olarak yayınladığı Emniyet Suç İstatistikleri temel alınarak incelenecektir.ABSTRACT IN ENGLISHFar right movements in Germany and evaluation of media discourse of criminal immigrant in the light of official documentsFlows of regular worker migration and regular asylum seekers, of whom European countries are familiar, have significantly changed since 2013/2014 when the civil war of Syria reached its peak. The European Union face probably the most intensive refugee migration since its establishment. European societies and states have not been prepared for this uncontrolled and compulsory immigration. Germany seem to want to turn the refugee crisis into an economic opportunity as evident in their open door policy since the summer of 2015. However, implementation of open-door policy has led a substantial part of German society to a strong campaign against the refugees and Muslims. Refugees and Muslims are referred to as “rapists”, “invaders”, “criminal fraudsters”, and so on in demonstrations of far right movements and media has helped disseminating these discourses. Hence, this manipulated and hateful discourse tries to gain support from the segment of society wh normally does not support far right and often apolitical, or tolerant towards asylum seekers. In this study, the ways in which the negative discourse of far right social movements against immigrants is brought to the centre of the political agenda by media is analysed using the agenda setting framework by McCombs and Shaw. Then, the claims that immigrants are involved in crime, or they are prone to be criminals are analysed and contrasted with the data obtained from the annual Crime and Safety Reports of the German Ministry of the Interior.

Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission

2014 ◽  
Vol 11 (4) ◽  
pp. 418-439 ◽  
Author(s):  
Gabriele Bock ◽  
Siegfried Zielinski
Keyword(s):  
Public Service ◽  
Risk Taking ◽  
Independent Film ◽  
Television Channel ◽  
Policy Context ◽  
Funding Mechanism ◽  
Contemporary Perspective ◽  
Hybrid Character ◽  
Commercial Station ◽  
First Time

This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.

Sign in / Sign up

Export Citation Format

Share Document