Bellenden Ker Television Project

Two historic papers from 1974/75 detailing the construction of the Bellenden Ker television broadcasting station in far north Queensland.

Sharq al-Adna

Sharq al-Adna, or the Near East Arab Broadcasting Station, was a covert, British radio station that broadcasted in Arabic from 1941 to 1956, at first from Palestine before moving to Cyprus in 1948, where it posed as a commercial station but, in reality, was controlled by British Special Intelligence Services until the military commandeered it at the time of Suez. In the intervening fifteen years, its mainly Arab staff, loosely supervised by a small number of British personnel, broadcasted a mixture of music, drama, discussion, educational and religious programs, albeit with a subtle British slant to its news. In this article, which is based on archival sources, including the memoirs of some of those involved and some material originally published in Arabic, the author assesses the station’s contribution to British propaganda efforts in the Middle East and to the development of Arab broadcasting.

"WE SHALL TELL YOU THE TRUTH": "VOICE OF AMERICA" IN THE GLOBAL INFORMATION SPACE (1940-IES – BEGINNING OF THE XXI CENTURY)

The aim of the article is to provide a complex survey of the American broadcasting station "Voice of America’s" history since its establishment to the beginning of the XXI century. The methodology of the research is based on combination of the general and special historical methods and principles of historical cognition, namely scientificity, historicism, systematicity, objectivity. The principles of historicism, systematicity and scientificity provide for tracing the activity of "Voice of America" and its causal relationships with the historical and political background and, in particular, the foreign policy agenda of the US government. The objectivity principle is involved while highlighting the activity of the broadcasting station. Alongside with the critical analysis of the source base, it stands for defining the conceptual background of "Voice of America’s" operation, its regularities and certain aspects. The principle of systematicity makes it possible to create a holistic image of a broadcaster’s activity in 1940-ies-at the beginning of the XXI century. Taking into account the specifics of the topic, the article employs an interdisciplinary approach actualized due to categorial and scientific-research instruments of other social and humanitarian sciences, particularly politology. The scientific novelty of the article is attained by a pioneer attempt in the Ukrainian historiography to conduct a complex analysis of "Voice of America’s" activity throughout its history. The results obtained by the author prove that "Voice of America" has been an important constituent of the US policy in the global information space. Thereat, it is not a representative of a certain power or public group, the activity of journalists and editorial offices in forming the information content is independent and based on the principles of journalism ethics. Due to this factor, the broadcasting station has a reputation of an independent and reliable source of topical and balanced information. "Voice of America" has adapted to the qualitative transformations in the globalization epoch information space in the course of XX-XXI centuries and turned into a powerful multimedia system attracting the largest audience in the world.

Kontestasi Persaingan Program Acara Berita dalam Bisnis Media Televisi

This paper aims to explain the contestation among news programs in deal with a television media business. This research appropriated the Media Economic Theory derived from Vincent Moscow and the Theory of Media. The research uses a postpositivism paradigm. This paper follows a descriptive-qualitative approach. Findings: the contestation among news programs has a good and quality competition of television media business. And also, this research explains how broadcastiong station strategy can produce a program to reach an success and beyond a rivality in similar program that propose by the other broadcasting station.

Desafios de uma rádio universitária diante do compromisso com a educação e a cidadania

A visita dos graduandos em Pedagogia ao estúdio da Rádio da Universidade Católica de Petrópolis tem ocorrido no contexto de aulas-passeio, prática concebida por Freinet, surgindo questões relacionadas com a possibilidade do uso pedagógico da Rádio. A inserção dos universitários levaria os ouvintes ao exercício da cidadania, hipótese do presente estudo. Situações ligadas a crenças, status e poder nos remeteram à Teoria das Representações Sociais. Apoiando-nos na Hermenêutica da Profundidade, a investigação deu-se em dois níveis: a partir dos emissores e dos receptores das mensagens. Opiniões do coordenador da emissora ermitiram, no sentido a que Thompson refere-se, identificar a ideologia subjacente à formação das representações para "cultura" e "educação". Resultados revelaram haver coerência entre conteúdos veiculados na programação e a ideologia presente na administração centralizadora da emissora. Índices de audiência assinalam a necessidade de reformulação das mensagens, reivindicação dos grupos pesquisados, em defesa de uma Rádio que promova a cidadania, difundindo a cultura e a educação. Palavras-chave: rádio; cidadania; cultura; ideologia; educação. Abstract The visit of the students to be graduated in Pedagogy to the studio of Radio UCP has been happening on the context of "journey-classes", an experience conceived by Freinet, raising questions related to the possibility of pedagogical sage of this Radio. An insertion of university students would lead its listeners to a citizenship exercise, hypothesis of this study. Situations related to beliefs, status and power remitted us to the Theory of Social Representations. Looking for methodological support in Hermeneutics of Depth, the investigation occurred in two levels: from the emitting and receptors of the messages. Opinions coming from the broadcasting station co-ordinator allowed us to identify the ideology underlying to the background of representations to "culture" and "education". Results revealed existence of logical consistency between contents spread throughout the programme and ideology that makes itself present on the centralising administration of the broadcasting station. Rates of audience points out a need of rewording messages - claimed by researched groups - in defense of a Radio that promotes citizenship, outspreading culture and education. Keywords: radio; citizenship; culture; ideology; education.

Curatorial Statement: Salt. Washing. Beuys. Fat. Royalty. Copper. Canadian Club. John. Locked. Bear. Drum. Circle.

The image included on the cover of this journal is from Tahltan artist Peter Morin’s performance, Salt. Washing. Beuys. Fat. Royalty. Copper. Canadian Club. John. Locked. Bear. Drum. Circle. The image portrays Morin being suffocated by a rye-soaked British flag while kneeling in front of the Macdonald statue in Kingston. This action, one of many taken by Morin during the performance, evoked the continuing erasure of Indigenous cultures in Canada and the stifling of Indigenous presence by assimilative forces. Kneeling in front of Macdonald, Morin connected ongoing Indigenous suffering to the Prime Minister and, more broadly, to the construction of Canada as a British colonial nation. Despite the pain of the action pictured here, through further performative actions Morin repurposed the statue into a pirate broadcasting station. Morin invited audience members to hold copper pipes to the statue’s base. He then spoke and sang into the pipes, allowing his voice to be brought up through the pipes and through the statue into the air and across the universe. Morin’s words and song communicated resilience and sovereignty to Indigenous peoples across Turtle Island and to the ancestors. In this action, and throughout his performance, Morin briefly removed the power of the colonial symbols of the statue and Prime Minister, and instead used them for his own voice. Through this repurposing of colonial iconography, Morin truly spoke back to John A Macdonald.