125 research outputs found
The Century speaks - BBC Radio Sheffield
No full textSixteen half-hour interview-based programmes reflecting changing lives and times across South Yorkshire, for BBC Radio's ground-breaking nationwide Millennium oral history project. Interviews conducted in collaboration with researcher Margaret Burgin. The complete archive is now stored at the British Library's National Sound Archive in London
COVID and BME communities
No full textHigher incidence and mortality in BAME population compared to white community due to COVID-19 in the U
BR/2/102-113
No full textBBC broadcast, transcribed from a telediphone recording. Recorded in Sheffield
BBC Radio 5 Live Breakfast Interview on Prime Energy Drink and its Impact on Young People [Radio Interview]
No full textI was interviewed by BBC Radio 5 Live Breakfast show to talk about Prime Energy Drink and its impac
‘Opting out’? nation, region and locality
No full textThis thesis considers the extent to which the BBC, arguably the nation’s most important cultural institution, attempted to meet its commitment to regional and local broadcasting in one English region, Yorkshire, between 1945 and 1990. The study focuses specifically on the extent to which a distinctive regional culture can be identified within the BBC in Yorkshire and how this changed over time while also considering how BBC programme makers both engaged with and represented the audience and the extent to which they attempted to foster place-related identity.
The years 1945 to 1990 included the relaunching of English regional broadcasting at the end of World War Two, the arrival of television in the North and a redefinition of the BBC’s non-metropolitan broadcasting at the end of the 1960s with the creation of a new BBC television region based at Leeds and the launch of BBC local radio. Prior to, and then alongside, the establishment of these new services, Leeds-based producers working for the BBC North Region were bringing new voices in drama and entertainment to the attention of the nation. But by 1990 this period of relative regional autonomy and expansion had come to an end and producers of regional programmes had been told they were to focus on news and current affairs. An oral history approach has been employed alongside an analysis of programme material that concentrates on day-to-day local and regional broadcasting - programmes made in the region for the regional audience - going beyond the ‘texts’ to ask why these programmes were made and how they were made. Different aspects of programming are considered (regional television news and features, the early years of local radio) together with BBC cultures and practices
BBC Radio 1922-2022: Navigating the Waves of Change
No full textGuest Editor’s Introduction.This symposium edition of the Journal of Radio and Audio Media seeks to celebrate BBC Radio’s centenary. We use the title “BBC Radio 1922–2022: Navigating the waves of change” taken from the name of the conference to which the following papers were originally submitted for presentation. The event, organized by MeCCSA Radio Studies Network, took place on November 26, 2022, hosted by the University of Bedfordshire’s Research Institute for Media, Art and Performance at their Luton Campus in the United Kingdom. Conference partners were The University of Sheffield and Nottingham Trent University and the organizing committee comprised members of the MeCCSA RSN Advisory and Action Panel, chaired by Emma Heywood. Thanks to Emma, Richard Berry, Josephine Coleman, Janey Gordon, Lawrie Hallett, Aleksander Kocic, Janieann McCracken, Jude McInerney, Caroline Mitchell, and Deborah Wilson David for all their hard work in bringing this symposium edition of the journal together
Radio After Radio: Redefining radio art in the light of new media technology through expanded practice
No full textI have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice-based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms. Exploring the implications of this transition through my radio practice focuses upon the productive tensions which characterise the artist‟s engagement with radio technology, specifically between the autonomous potentialities offered by the reappropriation of obsolete technology and the proliferation of new infrastructures and networks promised by the exponential development of new media. Switch Off takes as its overarching theme the possible futures for FM radio, incorporating elements from eight „trace‟ stations, produced as a series of radio actions investigating these tensions. Interviews have been conducted with case study subjects Vicki Bennett, Anna Friz, LIGNA, Hildegard Westerkamp and Gregory Whitehead, whose work was chosen as being exemplary of the five recurrent facets of radio arts practice I have identified: Appropriation, Transmission, Activism, Soundscape and Performance. These categories are derived from the genealogy of experimental radiophonic practice set out in Chapter One
From inkling to first draft
No full textTalk recorded at the University of Adelaide, Ira Raymond Exhibition Room, Barr Smith Library, 16 Aug. 2007, at a free public talk hosted by the Friends.Jane Rogers is the author of several novels including Mr Wroe’s virgins which was dramatised as an award-winning BBC drama, Promised lands, winner of the 1996 Writers’ Guild Award (Best Fiction), a story set in New South Wales in 1788, and Island. Jane also writes for radio, and is Professor of Writing at Sheffield Hallam University. She has been a Visiting Research Fellow in the University of Adelaide School of Humanities and Social Sciences
Commercial radio in Britain before the 1990's: an investigation of the relationship between programming and regulation.
No full textToday's British commercial radio environment consists of over three hundred local, regional and national radio stations. Many operate a concentrated music format,
designed to meet the demands of a defined target audience. This is in contrast to the commercial radio model in existence between 1973 and 1990, where local stations were
required, as part oftheir contract, to broadcast speech-based programming, in addition to music, to a wider audience profile. One reason for speech programming on commercial stations was the strict regulation laid down by the Independent Broadcasting Authority (IBA). Regulatory policy coupled with societal and political changes had a major influence on the creation of programme output from 1973, when commercial radio was established, until new broadcast legislation was passed which transformed the business model under the Broadcasting Act 1990. Programme content was constrained by the regulator's demands for what they referred to as 'meaningful speech' and the stations' desire to be more commercial in line with the demands of the audience. The intention ofthis research project is to explore the impact of regulation upon the commercial radio programming model between 1983-85, and to uncover why this
period was pivotal in bringing about change within the regulatory framework. This examination will be carried out by drawing on IBA policy papers, media reports and personal accounts from interviews with key radio station personnel, such as broadcasters, station producers, managers and regulation staff The project draws on original sources of both primary and secondary data, including information held in the archives of the current radio regulator, the Office of Communications (Ofcom), who has granted unlimited access to previously unseen confidential archives. This provides an exclusive data source allowing the research to
make an original contribution to broadcasting history, which is pertinent given the current debate on deregulation within UK commercial radio
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