Public Service Broadcasting

Die Verflechtungsstrukturen deutscher TVSender und Produktionsgesellschaften sind hoch komplex und sehr intransparent gestaltet. Der Versuch, diese schlüssig zu durchdringen, ist für den Fernsehzuschauer angesichts
von verfügbaren Informationen und Veröffentlichungen
der Sender nur mit Mühe möglich. Um dessen Situation möglichst konkret nachzubilden, wurde die Methode reiner Exploration
gewählt. Die diesem Beitrag zugrundeliegende Studie versucht, allen Hindernissen zum Trotz, auf diesem Wege für die – gemessen an den Wirtschaftsdaten – fünf größten deutschen
TV-Sender eine erste Verflechtungsmatrix aufzuzeigen. Sie versteht sich am Ende als Aufforderung zur Erhöhung der Transparenz, die sich insbesondere an die öffentlich-rechtlichen
Leistungsträger richtet.

The study is a long term structural analysis of public service television in Britain and Norway, focusing particularly on the BBC and NRK in the early stages of competition.
The study has  produced results on two levels: Firstly, it has identified a series of similar processes and alliances in the two countries in connection with the establishment and development of broadcasting systems. Secondly, it has produced detailed results regarding the so-called crisis for public broadcasting in the two countries.
The study has demonstrated that while the privileges of the BBC and the NRK have been undermined, they are still expected to fulfil many of their original obligations, obligations which in turn have become more difficult to fulfil.
These developments have presented the corporation with difficult challenges regarding both their financial bases and their social legitimacy. The corporations have both responded these challenges with a dual strategy: On the one hand they have attempted to improve their financial balances and adapt to market-standards, whereas on the other they have strengthened their commitment to some of the areas which they have seen as crucial to their identity as public broadcasters.

This study examines whether and how public media systems contribute to the health of democracies in 33 countries in Europe, Africa, Asia, North America, the Middle East, Latin America, and South America. We gather national economic data and public media funding levels, audience shares, and regulatory data, primarily for 2018 and 2019 but in some cases earlier, due to lack of available data. We then assess correlations with strength of democracy indices and extend Hallin and Mancini's typology of North American and European media systems through hierarchical cluster analysis of these 33 countries. We find five models of public media systems around the world, ranging from "state-administered" systems with low levels of independence (Botswana and Tunisia) to systems aligning with Hallin and Mancini's "Democratic Corporatist" model, with strong and secure (multiyear) funding, large audience shares, and strong regulatory protection for their independence. In between, we identify three mixed models: a "Liberal-Pluralist" model, a "Direct Funding" model, and a "Commercial-Public" model. Correlations and cluster analyses show that high levels of secure funding for public media systems and strong structural protections for the political and economic independence of those systems are consistently and positively correlated with healthy democracies.

La transparencia en las instituciones públicas, además de ser una obligación legal en determinados aspectos, es un deber moral con la ciudadanía, que confía en los representantes políticos para gestionar adecuadamente su país, incluidos los recursos que, vía impuestos, administran dichas instituciones; y es, también, un factor diferencial, un elemento de valor añadido que aporta reputación y prestigio a la administración que apuesta decididamente por ella. Valores que se traducen en confianza hacia esa institución y, lo más importante, en confianza en el sistema político, profundizando así en la participación ciudadana, en su capacidad de decisión, en la configuración de una opinión pública mejor formada y, en definitiva, en la mejora de la estabilidad y la calidad democrática.

Licence-fee funding in many public service broadcasting regimes is in turmoil and Israel is no exception. Since its inception in 1965, public broadcasting has been a continous presence and a central player in Israeli public life and culture, and the licence fee a common fixture. However, in 2014, the law that established the Israeli Broadcasting Authority (IBA) was repealed and replaced by a new law, the Israeli Public Broadcasting Law, and the Israeli Broadcasting Corporation (IBC) was formed to replace the IBA. While the IBA was funded by a combination of a licence fee on television sets, a levy on cars, public service announcements, underwriting on television, and advertising on radio, the IBC is mostly funded by government funding collected through a levy on cars, while the licence fee has been eliminated. The chapter reviews 55 years of rulemaking and policy development regarding the financing of public broadcasting in Israel. It argues that even though Israeli public broadcasting is in the midst of its biggest crisis, it is not the funding mechanism that is threatening its viability but political expediency, disrespect for its public mission, and, probably, corruption and greed.

Collaborative production between audience and producer has been discussed at length as they relate to particular forms of media technologies. The recent discussion to emerge is associated with the affordances of audience participation and a particular type of social media, social TV, which describes how producers are incorporating user activity into television production. An amount of research has been conducted into social media and public service media (PSM) (see for example Dijck and Poell, 2014; Moe, 2013) with very little work exploring the impact and potential of social TV and PSM. This paper tracks the first season of the Australian Broadcasting Corporation’s (ABC) #7DaysLater to understand how they are incorporating user participation into the production model of comedy television. In an attempt to support the ABC’s legislated requirement to provide a space for marginalised voices, social TV plays a significant role in the facilitation and implementation of incorporating users to support and build a national, if not international, culture and public sphere. The problem is how to enable PSM social TV to occur without user marginalisation while creating high quality public service media. The research in this paper addresses this problem and suggests to avoid issues associated with social TV, PSM requires a combination of the skills of experienced cultural intermediaries and a developed policy framework that Brevini (2013) notes as PSB 2.0.

The report shows how the distinct features of the Nordic model—distilled from the analysis by Hallin and Mancini —changed in recent years: Does the press remain strong, widespread, and characterized by political parallelism? Is there still an active state ensuring media pluralism and a strong public broadcasting service? Ohlsson concludes negatively, arguing that the Nordic countries’ media systems have lost their distinctive characteristics. He also states that the differences between the five Nordic countries are too big to make them fit into one model.

A clear shortcoming of the publication, however, is that it fails to place the Nordic region in a comparative perspective that would shed light on common international tendencies. The liberalization that has affected the Nordic media markets has had an even deeper impact in other countries in the Western hemisphere, and it would have been most relevant to observe the actual “displacement” of other national markets toward the liberal model and beyond.

Author(s): Ala-Fossi, Marko Title: Digital Divergence of Terrestrial Broadcasting Systems in Europe Main work: Intermediality and media change Editor(s): Herkaman, Juha; Hujanen, Taisto; Oinonen, Paavo Year: 2012 Pages: 214-241 ISBN: 978-951-44-8147-5 Publisher: Tampere University Press Discipline: Media and communications School /Other Unit: School of Communication, Media and Theatre Item Type: Article in Compiled Work Language: en URN: URN:NBN:fi:uta-201302251032

Summary
article is a short overview on the history of Polish Radio Program Three and its exccptional relations with the listenecs whose proved theirs involvement and fidelity even in the times of decreasing popularity of The Radio. During its forty eight years existence The Radio created own style, recognising profile and deep alliance with the audience, Presented new and unique music genres of five decades, and also features, literature readings, classical music, student's cabarets. Program Three has given the listeners the cultural and educational vralues. The Radio was also resistant to pressure from communist regime ensured neutral opinions and content of programs even in the hardest period of The Martial Law. The political, economical and cultural transformations since 1989 changed position of the Program Three. After the private radio stations have appeared a part of listeners missed The Radio Three out. The decrease of the recipients of The Radio Three was caused, as mentioned above, by deregulation of media market, but also by popularisation of pop music presented on others radio channels; TV stations' aroused offering and the people's changeover in
cultural activity and life style. The crisis was deepen by mistaken decisions in managing and radio programming at the beginning of XXI century. The successive managers of Radio Three would change it over to another one commercial station, with light content and increased
share. The receipt rapidly fell down instead of. Additionally The Radio Three was under pressure of political influences and lost its neutrality. As a result the listeners of The Radio 3 organized themselves into formal and informal groups and began protests to emphasize and
manifest theirs discontent.

Reza, S M S (2012). "From Elite Perceptions to Marginal Voices: Community Radio in Bangladesh" In Gordon, J. (ed) Community Radio in the Twenty First Century, Oxford: Peter Lang.

Please read Introduction for a brief overview of the chapter. Also see Contents.

This book examines television drama in the age of streaming—a time when television has been reshaped for national and international consumption via both linear ‘flow’ and on-demand user modes. It builds on an in-depth study of the Norwegian public service broadcaster (NRK) and some of its game-changing drama productions (Lilyhammer, SKAM, blank). The book portrays the formative first decade of television streaming (2010-2019), how new streaming services and incumbent television providers intersect and act in a new drama landscape, and how streaming impacts existing television production cultures, publishing models and industry-audience relations. The analysis draws on insight gained through more than a hundred interviews with television experts and fans, hundreds of hours of observations, and unique access to industry conferences, meetings, working documents, and ratings. The book combines perspectives from production studies, media industry studies, and fan studies to inform its analysis.

“Brilliantly combining production studies with fan studies, Television Drama in the Age of Streaming is state-of-the-art scholarship. Vilde Schanke Sundet has interviewed an array of industry insiders, expertly analysing executives’ strate-gies, digital flagship productions, and new paradoxes of audience making. Streaming may have shifted contemporary TV drama into a “world champion-ship” of globalised brands, but Sundet reminds us of the need to focus on national and cultural contexts. There’s so much great content in this book, I binged it in one sitting. And now you can too.” Matt Hills, Professor, University of Huddersfield, UK

“This excellent book engagingly explores why the television industries are chang-ing in the age of streaming and how to think of the implications from a specific national and cultural perspective as well as from an international and transna-tional point of view. The book is an important contribution to media industry and television studies (or should one now say streaming studies?).” Eva Novrup Redvall, Associate Professor, University of Copenhagen, Denmark

“This book is an innovative attempt to look at streaming from the perspective of Norway, a small country with its own distinctive culture and a huge appetite for the transnational drama that forms the backbone of contemporary streaming. It is very well researched, and offers in-depth analyses of the transnational strategies and digital production cultures that public service broadcaster NRK has developed to appeal to demanding audiences. It constitutes a great resource for scholars and professionals trying to understand transformative changes in screen cultures.” Jeanette Steemers, Professor of Culture, Media & Creative Industries, King’s College, UK

“Television Drama in the Age of Streaming is a well-timed and germane book, dealing as it does with the latest phase of globalization, media convergence, and digitalisation, and how global streaming services are offering new opportunities for producing as well as distributing and consuming drama. What is particularly impactful about the book is how it focuses on NRK, the Norwegian public service broadcaster, seemingly at the margins of the global television industry; but in how this book realigns our thinking about how television content is being commissioned and made, but also ‘published’ across multiple platforms makes for indispensable read. This book is welcome, necessary and an important addition to any bookshelf for those studying transnational TV business, production and distribution trends.” Janet McCabe, Reader in Television and Film Studies, Birkbeck, University of London, UK

In this article I undertake a stakeholder-based institutional analysis of a
national public service media sector in order to understand its complexity, but also in order to explore the realistic opportunities to become hubs of creative production and citizenship. The time has come to reconsider public options for the media, in the event of failing markets and uneven results of citizen or community journalism projects.One cannot impose quality journalism where there is no market demand for it, and
one can hardly invent civil society in areas where there had been none. It is at least thinkable to envision democratic governance, pluralism, a public interest agenda, and fun in a sustainable public service media system. In order to explore the limits and opportunities of a given public service media sector, I undertake a stakeholder analysis of the Romanian public service media sector, starting from the international interested parts, moving to the national ones, up to the internal influential groups. This kind of approach allows for a realistic consideration of the workings and
dynamic of a sector, giving space to all parties involved, and bringing a pointed perspective on the object of study.

Destabilizzate dalle crisi del mondo moderno e dal ciclone Internet, le industrie culturali tradizionali necessitano di un decisivo riposizionamento. Una ridefinizione cui non può sottrarsi un settore portante come quello della televisione. Cambiano le abitudini di fruizione; emergono nuovi modelli produttivi e di business; si afferma la pubblicità responsabile, attenta al rapporto qualità della programmazione/reputazione pubblica dell’inserzionista. La tv di flusso è integrata da una library di prodotti audiovisivi consultabile. Sono questi solo alcuni dei cambiamenti che investono un mezzo di comunicazione tutt’altro che morente. La questione della crisi della televisione non è nuova ma, così come in passato le recessioni sono state seguite da momenti di rilancio, anche oggi la crisi, se ben gestita, potrebbe rigenerare le potenzialità del mezzo. In momenti di difficoltà c’è bisogno dei media della ricomposizione e di un Public Service che diano, in particolare ai giovani, sfuggenti alle maglie dei palinsesti tradizionali, riferimenti e valori che permettano di affrontare il futuro. La questione televisiva passa anche per la competenza e la formazione dei professionisti dell’audiovisivo, spesso in bilico tra codici deontologici poco definiti, etiche personali e generazionali e difficoltà di accreditamento sociale e professionale.

This article considers the implications of rising sports rights fees and emerging digital media technologies for legacy public service broadcasters. I argue that, while the Hockey Night in Canada sublicensing agreement with Rogers prompted a significant amount of criticism of the CBC at the time, it is consistent with the broader history of the program. Furthermore, the situation is most significant in that it exposes the tensions between the CBC and the marketplace as manifested in CBC-TV. I suggest that this deal illustrates that the CBC should exit the commercial television marketplace. I conclude by suggesting that the CBC should shift its focus toward a renewed emphasis on noncommercial programming in areas often neglected by the commercial media. This approach could potentially provide a model for how legacy public service media institutions might reassert their civic and cultural value in an increasingly convergent and commercialized mediascape.

The UK independent sector has been an important economic success story in UK plc. But it has also added a great deal of cultural value through the shared commitment to, and understanding of, public service broadcasting (PSB) that runs across independent television and digital media companies (Indies). In turn, this investment in PSB has driven economic growth in the sector.
In this report, produced as part of a two-year
Arts & Humanities Research Council project (AH-H0185622-2) on ‘multiplatform public service broadcasting’, focusing on factual/specialist factual as a case study, we detail the role Indies play in PSB. We set out how PSB informs the production cultures of independent companies, the tensions that are experienced between profit and public service and the impact multiplatform commissioning and production practices have had on the sector.
Our conclusion is that a fragile ‘compact’ between the PSBs and the independent sector underpins much of the cultural and economic success of the UK’s television and multiplatform industries. This compact is built on the balancing of economic reward with the cultural commitment to the purposes, characteristics and production modes of PSB found across the independent sector, which provides benefits to UK audiences, the working lives of producers in the sector, and UK plc as a whole.

Il volume analizza la storia della televisione italiana delle origini a partire da una prospettiva sociale. Tramite l’utilizzo sia di dati statistici sugli ascolti televisivi, conservati presso gli archivi RAI, sia di memorie degli spettatori di quegli anni, rintracciate in diari e autobiografie, questo libro propone una storia del pubblico televisivo attraverso i mutamenti della società del “miracolo”. Quali sono i programmi televisivi entrati a far parte dell’immaginario del nostro paese? Quali erano le dinamiche di visione, privata e collettiva, messe in atto dalla TV delle origini? Ribaltando la prospettiva gerarchica della tradizione di studi sulla televisione italiana, il libro rivisita la TV degli anni cinquanta e sessanta a partire da un’analisi dei suoi pubblici.

La primera parte presenta aquellos momentos más significativos del régimen que cuentan con una relación directa con los medios de comunicación. Conservando un notorio tono de denuncia, el autor desgrana las contradicciones entre una legislación que autoproclama la libertad de prensa al mismo tiempo que coarta cualquier posibilidad de llevarla a la práctica mediante un sinfín de restricciones. La proximidad con el catolicismo más radical y el ensalzamiento de

Winter 2020

Study of the evolution of public broadcasting. Examination of public broadcasting's mandates, roles, modes of operation and strategic action plans in the areas of radio, television, and emerging media. Study of Canadian government policies and initiatives with regard to the creation of public space.

“Innovation” is a ubiquitous and value-laden term in many journalism organizations, and one that is often ill-defined or unquestioned. This study examines the management and meaning of innovation within public radio organizations. The question I address is, how do employees and managers make sense of innovation within their organizations in relation to a rapidly evolving digital media environment? I apply an interdisciplinary body of literature on innovation stemming from strategic management and journalism research to data from interviews with 56 employees and experts from 11 different public radio stations. Results show how people in public media organizations make sense of innovation by relying primarily on process-oriented, rather than product-oriented frames. I also introduce the terms “autodisruption,” or how organizations attempt to disrupt themselves, and “storytelling innovation,” a hybrid way of operationalizing process and product innovation in this industry context. The findings provide insight into the meaning and practice of innovation within the understudied environment of public service broadcasting, and contribute to innovation research in journalism institutions more broadly.

"A history of Italian tv broadcasting in its vital but confuse shift from a state owned monopoly to a duopoly between private and public broadcasting. A period that ends with reality television and the coming of digital television.

La storia della televisione italiana nel suo confuso e vitale passaggio dal monopolio alla concorrenza, fino all'arrivo della reality tv e del digitale.
""

At the end of the millennium radio was considered residual technology that had it's peak during the middle of the last century and is threatened to be marginalized on media landscape due to development of new technologies of audio and video transfer by the use of internet connection. Fast forward a decade and it can't be further from the truth. Radio is facing it's second renaissance precisely because of internet. Technology made broadcasting tailored to personal preferences of every single listener possible which started outright evolution of this classic medium, making sure it will survive and develop further in the future. (*Uncorrected & uncleared version)

Mano interrogates the evolving role of the state in public broadcasting, which he argues remains strong.  He is interested in the emerging local and global forces that are undermining the centrality of nation-states to broadcasting. The challenge to state power is emanating from new power relations involving local and global actors. In the African context, the state-led broadcasting frameworks are still significant but are now under negotiation due rival power centres using more effective strategies. The chapter considers Sparks’ elite continuity theory and examines the case of Zimbabwe to analyse the role of the state in public broadcasting in historical and contemporary terms. It is shown through continuity and change of state control over broadcasting that to some extent Zimbabwe fits in with elite continuity theory.

This article considers the world for children created by the Australian Broadcasting Commission (ABC) and its predecessors between the 1920s and the 1970s. Beginning with the ‘Aunts’ and ‘Uncles’ of early radio, it looks at the ABC’s endeavours in the areas of children’s and educational broadcasting, focusing particularly on the Argonauts Club, Kindergarten of the Air and Let’s Join In. It also explores the work of ABC identities including composer Bernard Heinze and eurhythmics teacher
Heather Gell, and a succession of innovative and committed programmers. But it goes beyond on-air programming to consider the extracurricular world created for young listeners by Australia’s public service broadcaster. The article points to the interactivity of Australian broadcasting, examining how a mass medium sought to build communities of young listeners across Australia, and the role of ABC
programmes and associated activities in children’s lives.

Jazz Britannia is a UK-produced three-part BBC television documentary about the post-war development of jazz in the United Kingdom. We analyse the programmes to examine how the narrative, form and assumptions of the series can be understood within a series of contextual debates about jazz historiography, history on television, and the value of historiographic method in public service television. We utilize the debates around
Ken Burns’s US-produced ten-part documentary series Jazz, to develop an argument about the way that the British documentary constructs a very different history from Jazz, but using many of the approaches and techniques deployed by Burns. We locate the
series within questions of quality television and other forms of television history. Finally, we seek to explore the way that the programmes produce a totalizing narrative in which the primary material is ordered to tell a predetermined story about innovations and an identifiably British form of jazz.

Every day, radio broadcasters go into a studio, sit in front of a microphone, and talk to their (imagined) audience in such a way that the (actual) audience feels addressed, and responds. Somehow effective radio broadcasters produce the indicators of friendship, sympathy and intimacy that a listening public will accept as authentic. This study asks how Australian Broadcasting Corporation talk radio presenters construct this on-air identity. It finds that this work is both more sophisticated and more authentic than orthodox answers imagine. Contrary to early assumptions, the study finds a real relationship between presenter and audience. Identity is built in the flux of that relationship: uncertain at first, more secure with time. In each interaction, fragments of information are used to create a fluid, dynamic and concurrent conception of the audience: ‘a collective mass, one at a time’.

"One of the most common arguments in the current debate about financing public service media in Finland is that the traditional TV fee has become obsolete due to the technological development.

However, instead of having abandoned TV for new media, people are actually using their traditional TV sets even more like before. Rather than being a victim of technological obsolescence, the problem of the TV fee is its diluting social acceptance due to a growing dominance of a neoliberal media paradigm. "

La radiotelevisione svizzera di lingua italiana nel periodo del grande sviluppo dei nuovi generi radiofonici e della nascita della nascita della televisione di servizio pubblico in Svizzera

Contributi nel volume di : Gabriele Balbi, Ruth Hungerbühler, Marco Marcacci, Giorgio Passera, Mattia Piattini, Paolo Sala, Nelly Valsangiacomo

The Fairness Doctrine, one of the most famous and controversial media policies ever enacted, suffered a final deathblow in August 2011 when the Federal Communications Commission permanently struck it from the books. However, the Doctrine continues to be invoked by proponents and detractors alike. This study historically contextualizes the Fairness Doctrine while drawing attention to how it figures within contemporary regulatory debates. By tracing over time the shifting ideologies and discourses surrounding the Fairness Doctrine, we can see how political conflict shapes the normative foundations of core media policies, especially those involving positive freedoms.