Broadcasting Sound Archives in the Federal Republic of Germany

Total Page:16

File Type:pdf, Size:1020Kb

Broadcasting Sound Archives in the Federal Republic of Germany This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Broadcasting sound archives in the Federal Republic of Germany Kresing‑Wulf, Felix 1989 Kresing‑Wulf, F. (1989). Broadcasting sound archives in the Federal Republic of Germany. In AMIC‑Deutsche Welle Workshop on Documentation and Archival Techniques : Singapore, Nov 28‑Dec 7, 1989. Singapore: Asian Mass Communication Research and Information Centre. https://hdl.handle.net/10356/91507 Downloaded on 29 Sep 2021 12:42:51 SGT ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Broadcasting Sound Archives In The Federal Republic Of Germany By Felix Kresing-Wulf Paper No.16 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Broadcasting Sound Archives in the Federal Republic of Germany Before starting with my review of the broadcasting sound archives in the Federal Republic of Germany I'd like to give you a brief introduction to the structure of West German broadcasting. This structure is based on the results of the Second World War. After the German surrender in May 1945 the country was decentralized. Ten states, the so-called Lander, including Berlin were created. Soon the Allies started broadcasting in their zones of occupied Germany. In 1948 those stations, which had been founded by the American, the British and the French military governments, were transferred to the responsibility of the German states. Today there are nine regional broadcasting systems, which produce up to five daily radio programms of 18 or more hours for the citizens of their regions. They also contribute productions to the First German Television which was established as a nation-wide television channel in 1953. The number of contributions to this channel depend on the regional station size. The largest, Westdeutscher Rundfunk (WDR), provides 25 percent, while the smallest stations, Saarl&ndischer Rundfunk (SR) and Radio Bremen (RB), each contribute 3 percent. Furthermore these broa'dcasting corporations produce programs for the regional third television channel. All of them are organized as corporations with control in the hands of representatives of the public. They are financed mainly by the fees of the listeners and viewers of their region and secondarily by the charges for the commercials, which they are allowed to broadcast in a strictly limited time. The Deutsche Welle and the Deutschlandfunk were founded in 1960 under federal law. The Deutsche Welle broadcasts in 34 languages on shortwave to countries around the world. The transcription services of the Deutsche Welle produce various radio and television programms, which can be ordered and transmitted by foreign broadcasting stations free of charge. The Deutschlandfunk, broadcasting on the long and medium waves, covers Europe in 13 languages. The Deutsche Welle is financed entirely from the federal budget, similar to the external services of other countries, while the Deutschlandfunk gets 50 percent of its budget from the regional broadcasting corporations. All of these 11 regional or federal broadcasting corporations are members of the Association of the Public Broadcasting Corporations of the Federal Republic of Germany (ARD), which was founded in 1950 in order to strengthen and to coordinate the cooperation of these radio systems. The RIAS (Radio in the American sector of Berlin), which was founded and for a long period funded by the USA, hasn't come under full German control, although it has been mainly financed by the federal budget for several years. Sa the RIAS hasn't become a full member of the ARD up to now, but its representatives take part in all conferences of the ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library ARD as non-voting members. The Second German Television (ZDF) was founded in 1961 as a joint institution of the West German states. Although it's also a public broadcasting corporation, the ZDF didn't become a member of the ARD, because one of the intentions of establishing a second German television channel was the desire for competition in making good programs. Since 1981, when the Federal Constitutional Court decided that the public corporations should no longer have a monopoly on broadcasting because of essential developments in transmitting techniques, many private broadcasting companies have been founded in all parts of Germany. State Broadcast Regulatory Offices were established, which are responsible for giving the necessary broadcasting licenses. Coming back to the topic I want to talk about this afternoon, I have to confess that I can only talk about the sound archives of the public broadcasting organizations. Only a few of the major private broadcasting companies have set up their own sound archives up to now. I don't know anything about these sound archives, because there hasn't been any collegial cooperation. All of the 13 public broadcasting corporations which I have introduced to you have several archives and libraries. Firstly I would like to explain to you the organizational structure of these departments. You may possibly think that there aren't any differences in the organizational structure of these archives, but due to several distinctions in the historical development of the broadcasting corporations various organizational models were worked out. In most of the broadcasting corporations the sound archives are parts of an overall archives and documentation department. Such departments were created at Deutschlandfunk (DLF), Hessischer Rundfunk (HR), RIAS, Saarlandischer Rundfunk (SR), Sender Freies Berlin (SFB), Siiddeutscher Rundfunk (SDR), Sudwestfunk (SWF), Westdeutscher Rundfunk (WDR) and Zweites Deutsches Fernsehen (ZDF). Beside the sound archives the libraries, the press archives and in some cases also the television archives are integrated in these departments. At the Bayrischer Rundfunk (BR), Deutsche Welle, Norddeutscher Rundfunk (NDR) and Radio Bremen (RB) the various archives and libraries work as separate units. The size of the various sound archives depends on the size of the broadcasting corporation'itself and the number of programms, which are produced and transmitted daily. The Deutsche Welle, the BR, the NDR and WDR have the "biggest sound archives with up to 40 employees. In the contrast the staff of the sound archives of the smallest German broadcasting corporations, Radio Bremen and the Saarlandische Rundfunk, are less than 10 people. The next figure shows, that the majority of the German broadcasting sound archives, whether they are parts of an overall department or not, belong to the radio division. Only the sound archives of the WDR and the ZDF, which are included in their archives and documentation departments, ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library -a— are integrated in the administration division. In most of the broadcasting corporations the heads of the archives departments or" of the separate sound archives have to report to the director of radio, in some cases to the programme supervisor (BR, RB, SR) and in three broadcasting corporations (NDR, WDR, ZDF) to -the heads of other departments. Because the internal - organizational structure of the broadcasting sound archives varies greatly, it's impossible for me to compare them in this matter, but I can give you some examples. The sound archives of the Deutsche Welle, which employs 40 persons, is divided into 4 sections : the music documentation, the spoken word documentation, the information section and the preservation section. The sound archives of the HR with employees consists of the sections music documentation, music library, preservation (temporary and long-term storage) and spoken word documentation, which is combined with the historical archives. Leaving this topic and coming to the problems of cataloguing, I'd like to introduce to you the ARD cataloguing manuals for . spoken word and for music recordings. These cataloguing rules, originally set up in 1970's, have been obligatory since 1988 in a revised edition for all sound archives of the members of ARD and for€ the sound archives of the ZDF. The creation of these manuals, which lasted, many years, was necessary to improve the cooperation of the broadcasting archives. The rules considerably differ from the rules of the German National Library, which are used by all German public libraries and by most of the scientific libraries, because the specific needs of the programme-making and of the technical departments of the broadcasting stations would*nt have been fullfilled., if the library manuals had been adopted. The main advantage of elaborating an obligatory manual for, the cataloguing of music recordings was the possibility to establish a joint institution of ARD and ZDF, which is responsible for the formal description of all commercial music records with light and folk music. This institution, called the central record cataloguing department (ZSK), was founded in 1978 as a new department of the German Broadcasting Archives (DRA) in Frankfurt. It is financed by the 12 broadcasting corporations of the ARD (including RIAS) and by the ZDF. All German broadcasting corporations have signed a contract with the German branch of the International Federation of Phonographic Industry (IFPI). This contract guarantees, that all sound archives and the central record cataloguing department get one copy of each record, which is published on the German market. Before the ZSK was founded, each of the broadcasting sound archives had to catalogue the same records. Now the ZSK is making the formal description corresponding to the rules of the ARD/ZDF cataloguing manual as quick as possible and delivering the data to the 13 sound archives. Since 1984 these data have also been provided to the Swiss Radio Corporation, which pays an annual fee for it. So a lot of money could be saved by establishing this joint institution. ATTENTION: The Singapore Copyright Act applies to-4 the- use of this document.
Recommended publications
  • PRESS RELEASE (96)32 8 March 1996
    NATO w OTAN PRESS AND MEDIA SERVICE DE PRESSE SERVICE ET DES MEDIAS NATO/OTAN, 1110 BRUSSELS/BRUXELLES • TEL. : 70741 11 TELEFAX/TELECOPIEURS : 707 50 57 - 707 50 58 PRESS RELEASE (96)32 8 March 1996 NORTH ATLANTIC COUNCIL. BERLIN. 3 JUNE 1996 NORTH ATLANTIC CO-OPERATION COUNCIL. BERLIN. 4 JUNE 1996 DATE AND PLACE A meeting of NATO Foreign Ministers will be held in Berlin, Germany, on Monday, 3 June 1996, followed by a North Atlantic Co-operation Council meeting on Tuesday, 4 June 1996. MEDIA ADVISORY (NOT FOR PUBLICATION) 1. MEDIA FACILITIES The conference site will be the Hotel InterContinental in Berlin. The Media Centre will be located at the nearby Hotel Schweizerhof InterContinental. Some press conferences will take place at the “Haus der Kulturen der Welt”, John-Foster-Dulles Allee 10, Berlin. More information about the media facilities and a detailed programme will be given in a later Media Advisory. 2. ACCREDITATION Applications for accreditation should be made on the attached form by 1 May 1996 to one of the following addresses: a) Media representatives based in Belgium: NATO Press and Media Service B-1110 Brussels Belgium Tel: Int’l + (32-2) 707 50 38 Fax: Int’l + (32-2) 707 50 57 or 707 50 58. 1 ') b) All other media representatives: Ministry of Foreign Affairs Spokesman’s Office (Pressereferat) Attn.: Mrs. Klein/Mrs. Kuhn . P.O. Box 1148 D-53OO1 Bonn Germany Tel: Int’l + (49-228) 17 20 99 or 17 22 20 Fax: Int’l + (49-228) 17 32 45 3. PASS COLLECTION AND SECURITY CHECK Passes can be collected from 10:00 hours on Friday, 31 May 1996, at the Media Centre’s accreditation desk on presentation of a valid press card and photographic proof of identity.
    [Show full text]
  • I N H a L T S V E R Z E I C H N
    SWR BETEILIGUNGSBERICHT 2018 Beteiligungsübersicht 2018 Südwestrundfunk 100% Tochtergesellschaften Beteiligungsgesellschaften ARD/ZDF Beteiligungen SWR Stiftungen 33,33% Schwetzinger SWR Festspiele 49,00% MFG Medien- und Filmgesellschaft 25,00% Verwertungsgesellschaft der Experimentalstudio des SWR e.V. gGmbH, Schwetzingen BaWü mbH, Stuttgart Film- u. Fernsehproduzenten mbH Baden-Baden 45,00% Digital Radio Südwest GmbH 14,60% ARD/ZDF-Medienakademie Stiftung Stuttgart gGmbH, Nürnberg Deutsches Rundfunkarchiv Frankfurt 16,67% Bavaria Film GmbH 11,43% IRT Institut für Rundfunk-Technik Stiftung München GmbH, München Hans-Bausch-Media-Preis 11,11% ARD-Werbung SALES & SERV. GmbH 11,11% Degeto Film GmbH Frankfurt München 0,88% AGF Videoforschung GmbH 8,38% ARTE Deutschland TV GmbH Frankfurt Baden-Baden Mitglied Haus des Dokumentarfilms 5,56% SportA Sportrechte- u. Marketing- Europ. Medienforum Stgt. e. V. agentur GmbH, München Stammkapital der Vereinsbeiträge 0,98% AGF Videoforschung GmbH Frankfurt Finanzverwaltung, Controlling, Steuerung und weitere Dienstleistungen durch die SWR Media Services GmbH SWR Media Services GmbH Stammdaten I. Name III. Rechtsform SWR Media Services GmbH GmbH Sitz Stuttgart IV. Stammkapital in Euro 3.100.000 II. Anschrift V. Unternehmenszweck Standort Stuttgart - die Produktion und der Vertrieb von Rundfunk- Straße Neckarstraße 230 sendungen, die Entwicklung, Produktion und PLZ 70190 Vermarktung von Werbeeinschaltungen, Ort Stuttgart - Onlineverwertungen, Telefon (07 11) 9 29 - 0 - die Beschaffung, Produktion und Verwertung
    [Show full text]
  • Facts and Figures 2020 ZDF German Television | Facts and Figures 2020
    Facts and Figures 2020 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF (Zweites Deutsches Fern­ German channels PHOENIX and sehen) is Germany’s national KiKA, and the European chan­ public television. It is run as an nels 3sat and ARTE. independent non­profit corpo­ ration under the authority of The corporation has a permanent the Länder, the sixteen states staff of 3,600 plus a similar number that constitute the Federal of freelancers. Since March 2012, Republic of Germany. ZDF has been headed by Direc­ tor­General Thomas Bellut. He The nationwide channel ZDF was elected by the 60­member has been broadcasting since governing body, the ZDF Tele­ 1st April 1963 and remains one vision Council, which represents of the country’s leading sources the interests of the general pub­ of information. Today, ZDF lic. Part of its role is to establish also operates the two thematic and monitor programme stand­ channels ZDFneo and ZDFinfo. ards. Responsibility for corporate In partnership with other pub­ guide lines and budget control lic media, ZDF jointly operates lies with the 14­member ZDF the internet­only offer funk, the Administrative Council. ZDF’s head office in Mainz near Frankfurt on the Main with its studio complex including the digital news studio and facilities for live events. Seite 2 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF is based in Mainz, but also ZDF offers full­range generalist maintains permanent bureaus in programming with a mix of the 16 Länder capitals as well information, education, arts, as special editorial and production entertainment and sports.
    [Show full text]
  • The Rai Studio Di Fonologia (1954–83)
    ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI.
    [Show full text]
  • COMMISSION CF the EUROPEAN Communitle'
    COMMISSION CF THE EUROPEAN COMMUNITlE' COM(84) 300 fihal BrusseLs, 14th June 1984 TELEVISION WITHOUT FRONTIERS GREEN PAPER ON THE ESTABLISHMENT OF THE COMMON MARKET FOR BROADCASTING, ESPECIALLY BY SATELLITE AND CABLE (Communi cation from the Commission to the Counci Part Five Pages 105-208 COM(84) 300 finaL " . " . - 105 - PART FIVE FREEDOM TO PROVIDE SERVICES Free movement in broadcasting Services " (Paragraphs 1 and 2 of ArticLe 60) The EEC Treaty does not just cover goods but aLso services. devotes a whoLe chapter , Chapter 3 , to " Services , from ArticLe 59 to 66 of Part Two of the Treaty entitled " Foundations of the Community Paragraph 1 of Arti cLe 60 of the Treaty defines the concept of services " as follows: "services shaLL be considered to be services " within the meaning of the Treaty where they are normaLLy provided for remuneration , in so far as they are not governed by the provisions reLating to freedom of movement of goods and pe rsons , capitaL Two questions have to be answered in the Light of this definition; is broadcast i ng a good or a servi ce? I f it is a servi ce a service provided for remuneration? , is it Good or servi ce? In the Sacchi case, the Latter argued 1 that a television signal was a good , both as a form of energy (simi Lar to electrical energy) and as the product of inteLLectuaL activity (intangible It had monetary vaLue and couLd be the object of trade.asset). of advertisements was an accessory to the broadcast productsTransmission and promoted their marketing.
    [Show full text]
  • Und Audiovisuellen Archive As
    International Association of Sound and Audiovisual Archives Internationale Vereinigung der Schall- und audiovisuellen Archive Association Internationale d'Archives Sonores et Audiovisuelles (I,_ '._ • e e_ • D iasa journal • Journal of the International Association of Sound and Audiovisual Archives IASA • Organie de I' Association Internationale d'Archives Sonores et Audiovisuelle IASA • Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark,The British Library National Sound Archive, 96 Euston Road, London NW I 2DB, UK. Fax 44 (0)20 7412 7413, e-mail [email protected] The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and IOOGBP for institutional members. Back copies of the IASA Journal from 1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP I 57Euros. Le IASA Journal est publie deux fois I'an etdistribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations annuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionels. Les numeros precedentes (a partir de 1971) du IASA Journal sont disponibles sur demande. Ceux qui ne sont pas membres de I'Association peuvent obtenir un abonnement du IASA Journal pour I'annee courante au coOt de 35GBP I 57 Euro.
    [Show full text]
  • Susanne Brahms
    Susanne Brahms Dokumentarische Fernseharbeiten 2017 Geschichte im Ersten: Unsere Städte nach ´45: Bomben und Bausünden ARD 45 Min. Unsere Städte nach ´45: Abriss und Protest ARD 45 Min. 2016 Unsere Geschichte: Als Hollywood in der Heide lag. NDR 45 Min. 2015 Geschichte im Ersten: Namibia. Eine Heimat, zwei Welten ARD 45 Min. 2015 Geschichte im Ersten: Bremerhavens Auswandererkai. Die Columbuskaje (mit Michaela Herold) ARD 45 Min. 2015 Unter Deutschen Dächern: Handicap NDR/RB 30 Min. 2014 Anschlag auf dem Bremer Hauptbahnhof 1974 RB 29 Min. 2014 Geschichte im Ersten: Hitlers U-Boot Bunker ARD 45 Min. 2014 Unsere Geschichte: Als die Amerikaner in den Norden kamen (mit Michaela Herold) NDR/RB 45 Min. 2013 Bremen 1939 in Farbe Radio Bremen 30 Min. 2013 Unsere Geschichte: Als Tante Emma Konkurrenz bekam (mit Michaela Herold) NDR/RB 45 Min. 2012 Unsere Geschichte: Als die A1 in den Norden kam (mit Michaela Herold) NDR/RB 45 Min. 2007 150 Jahre Norddeutscher Lloyd (mit Michaela Herold) NDR/RB 45 Min. 2005 Bremer Freiheit. Geschichte Bremens im 19. und 20. Jahrhundert (mit Michaela Herold) NDR/RB 90 Min. 2003 Begegnungen in Kabul (mit Rene Schulthoff) RB 20 Min. 2003 Tote auf Reisen. Bestattungskultur in Deutschland (mit Michaela Herold) NDR/RB 45 Min. und 30 Min. 2003 Die lustigen Weiber von Ulan Bator. Eine deutsche Oper in der Mongolei (mit Michaela Herold) NDR/RB 45 Min. 2002 Das Bremer Rathaus: So wohnt die Macht (mit Michaela Herold) NDR/RB 45 Min. 2002 Moderne Hanseaten. Die Erben der Hanse (mit Michaela Herold) ARTE 60 Min. 2000 Das Bambüddel.
    [Show full text]
  • Bericht Des Intendanten Juni Bis September 2017 PROGRAMM Dlf
    Bericht des Intendanten Juni bis September 2017 PROGRAMM Dlf Audiothek Einen großen Schritt vorwärts haben die Bereiche IT und Online in den vergangenen Monaten gemacht. Mit großem Erfolg und bester Resonanz haben sie am 15. August die neue Dlf Audiothek in die App-„Stores“ gebracht. Die App bietet nicht nur einen Livestream von Deutschlandfunk, Deutschlandfunk Kultur und Deutschlandfunk Nova, sondern Zugriff auf nahezu alle Audioinhalte der letzten sechs Monate. Die App kann sich jede und jeder individuell passend einstellen: Mit der Funktion „Mein Radio“ können sich die User App ihr eigenes Radioprogramm zusammenstellen. Die Dlf Audiothek ergänzt die Nachrichten-App Dlf24, die aktuelle Informationen bündelt und dafür auch einen Push-Mitteilungsdienst bietet. Der Menüpunkt „Entdecken“ eröffnet fünf zentrale Themenbereiche mit empfohlenen Beiträgen der Redaktion. Unter „Mein Radio“ können User nach Themen oder Sendungen auswählen, Beiträge mit Freunden teilen oder zu ihrer persönlichen Sammlung hinzufügen und anschließend die erstellte Playlist abspielen. Darüber hinaus steht die von den Deutschlandradio-Webseiten bekannte Suchfunktion zur Verfügung. „eins:30“ - neues Trailer-Format im Deutschlandfunk Eine sehr innovative Idee steuert in diesen Tagen auch die Trailer-Redaktion des Deutschlandfunks zum Programm bei. Sie hat mit „eins:30“ ein neues Trailer-Format entwickelt. In 90 Sekunden erlauben die Trailer Einblicke in die Hintergründe von Radioproduktionen. Sie geben Antworten auf Fragen wie diese: Wie recherchiert man in einem Krisengebiet wie der Ukraine? Welche Idee steckt hinter der Reihe „Hörerwelten“? Wie entsteht eine Konzertreihe wie „Grundton D“? Hinter vielen Sendungen des Deutschlandfunks steckt eine eigene Geschichte. In „eins:30“ erzählen Radiomenschen von einer ausgewählten Sendung – warum sie gerade dieses Thema wichtig finden, wie sie recherchiert, Gesprächspartner gefunden und Stimmungen aufgespürt haben.
    [Show full text]
  • European Public Service Broadcasting Online
    UNIVERSITY OF HELSINKI, COMMUNICATIONS RESEARCH CENTRE (CRC) European Public Service Broadcasting Online Services and Regulation JockumHildén,M.Soc.Sci. 30November2013 ThisstudyiscommissionedbytheFinnishBroadcastingCompanyǡYle.Theresearch wascarriedoutfromAugusttoNovember2013. Table of Contents PublicServiceBroadcasters.......................................................................................1 ListofAbbreviations.....................................................................................................3 Foreword..........................................................................................................................4 Executivesummary.......................................................................................................5 ͳIntroduction...............................................................................................................11 ʹPre-evaluationofnewservices.............................................................................15 2.1TheCommission’sexantetest...................................................................................16 2.2Legalbasisofthepublicvaluetest...........................................................................18 2.3Institutionalresponsibility.........................................................................................24 2.4Themarketimpactassessment.................................................................................31 2.5Thequestionofnewservices.....................................................................................36
    [Show full text]
  • The Public Service Broadcasting Culture
    The Series Published by the European Audiovisual Observatory What can you IRIS Special is a series of publications from the European Audiovisual Observatory that provides you comprehensive factual information coupled with in-depth analysis. The expect from themes chosen for IRIS Special are all topical issues in media law, which we explore for IRIS Special in you from a legal perspective. IRIS Special’s approach to its content is tri-dimensional, with overlap in some cases, depending on the theme. terms of content? It offers: 1. a detailed survey of relevant national legislation to facilitate comparison of the legal position in different countries, for example IRIS Special: Broadcasters’ Obligations to Invest in Cinematographic Production describes the rules applied by 34 European states; 2. identifi cation and analysis of highly relevant issues, covering legal developments and trends as well as suggested solutions: for example IRIS Special, Audiovisual Media Services without Frontiers – Implementing the Rules offers a forward-looking analysis that will continue to be relevant long after the adoption of the EC Directive; 3. an outline of the European or international legal context infl uencing the national legislation, for example IRIS Special: To Have or Not to Have – Must-carry Rules explains the European model and compares it with the American approach. What is the source Every edition of IRIS Special is produced by the European Audiovisual Observatory’s legal information department in cooperation with its partner organisations and an extensive The Public of the IRIS Special network of experts in media law. The themes are either discussed at invitation-only expertise? workshops or tackled by selected guest authors.
    [Show full text]
  • Hot 100 SWL List Shortwave Frequencies Listed in the Table Below Have Already Programmed in to the IC-R5 USA Version
    I Hot 100 SWL List Shortwave frequencies listed in the table below have already programmed in to the IC-R5 USA version. To reprogram your favorite station into the memory channel, see page 16 for the instruction. Memory Frequency Memory Station Name Memory Frequency Memory Station Name Channel No. (MHz) name Channel No. (MHz) name 000 5.005 Nepal Radio Nepal 056 11.750 Russ-2 Voice of Russia 001 5.060 Uzbeki Radio Tashkent 057 11.765 BBC-1 BBC 002 5.915 Slovak Radio Slovakia Int’l 058 11.800 Italy RAI Int’l 003 5.950 Taiw-1 Radio Taipei Int’l 059 11.825 VOA-3 Voice of America 004 5.965 Neth-3 Radio Netherlands 060 11.910 Fran-1 France Radio Int’l 005 5.975 Columb Radio Autentica 061 11.940 Cam/Ro National Radio of Cambodia 006 6.000 Cuba-1 Radio Havana /Radio Romania Int’l 007 6.020 Turkey Voice of Turkey 062 11.985 B/F/G Radio Vlaanderen Int’l 008 6.035 VOA-1 Voice of America /YLE Radio Finland FF 009 6.040 Can/Ge Radio Canada Int’l /Deutsche Welle /Deutsche Welle 063 11.990 Kuwait Radio Kuwait 010 6.055 Spai-1 Radio Exterior de Espana 064 12.015 Mongol Voice of Mongolia 011 6.080 Georgi Georgian Radio 065 12.040 Ukra-2 Radio Ukraine Int’l 012 6.090 Anguil Radio Anguilla 066 12.095 BBC-2 BBC 013 6.110 Japa-1 Radio Japan 067 13.625 Swed-1 Radio Sweden 014 6.115 Ti/RTE Radio Tirana/RTE 068 13.640 Irelan RTE 015 6.145 Japa-2 Radio Japan 069 13.660 Switze Swiss Radio Int’l 016 6.150 Singap Radio Singapore Int’l 070 13.675 UAE-1 UAE Radio 017 6.165 Neth-1 Radio Netherlands 071 13.680 Chin-1 China Radio Int’l 018 6.175 Ma/Vie Radio Vilnius/Voice
    [Show full text]
  • Gewinnspiele Im Radio Ruben Rosa
    BACHELORARBEIT Herr Ruben Jörg Christoph Rosa Gewinnspiele im Radio Eine vergleichende Analyse des öffentlich-rechtlichen und privatwirtschaftlichen Rundfunks 2017 Fakultät: Medien BACHELORARBEIT Gewinnspiele im Radio Eine vergleichende Analyse des öffentlich-rechtlichen und privatwirtschaftlichen Rundfunks Autor: Herr Ruben Jörg Christoph Rosa Studiengang: Angewandte Medien Seminargruppe: AM14wK5-B Erstprüfer: Prof. Hermann Mayer Zweitprüfer: Vanessa Neumann Einreichung: Frankfurt am Main, 24. Juni 2017 Faculty of Media BACHELOR THESIS Prize competition in radio A comparative analysis between public service and private radio broadcasting author: Mr. Ruben Jörg Christoph Rosa course of studies: Applied Media seminar group: AM14wK5-B first examiner: Prof. Hermann Mayer second examiner: Vanessa Neumann submission: Frankfurt am Main, the 24th of June 2017 Bibliografische Angaben Rosa, Ruben Jörg Christoph Gewinnspiele im Radio Eine vergleichende Analyse des öffentlich-rechtlichen und privatwirtschaftlichen Rundfunks Prize competition in radio A comparative analysis between public service and private radio broadcasting 50 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2017 Abstract Ziel dieser Arbeit ist es, das Themenfeld Gewinnspiele im Radio aus ausgewählten Perspektiven näher zu betrachten. Dazu wird zunächst aufgezeigt, welche Besonderheiten privatwirtschaftlichem und öffentlich- rechtlichem Rundfunk zu Grunde liegen und worin dabei markante Unterschiede bezüglich der Gestaltung und Umsetzung
    [Show full text]