"Der Bauernkrieg bildet neben der Reformation die Schwelle zur Neuzeit. Anders als die Reformatoren aber können seine Protagonisten ihre teilweise modern klingenden Forderungen nicht durchsetzen. Die Erhebung der Bauern wird blutig niedergeschlagen. Der Bauernkrieg wurde immer auch ideologisch inte
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rpretiert - schon zeitgenössisch war er, so Thomas Kaufmann, vor allem ein Medienereignis. Durch umfassende Quellenstudien entlarvt Kaufmann ideologische Verzerrungen und präsentiert eine fesselnde Neuinterpretation dieses bedeutenden Ereignisses. Mit Leidenschaft und Expertise öffnet er den Leserinnen und Lesern einen völlig neuen Blick auf den Bauernkrieg. Eine Analyse, die nicht nur Vergangenes beleuchtet, sondern auch unsere Sichtweise auf die Gegenwart und Zukunft neu formt." (Verlagsbeschreibung)
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"Tracing the institutional history of the radio allowed scholars in the past to analyse the radio as an instrument of the colonial government in India and to show, for example, how the radio in the Indian subcontinent was deployed as part of the British Empire’s propaganda in the colony. As Gupta
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(1995), Zivin (1998), and Pinkerton (2008) argue, during the 1930s, the colonial government used the radio to address a fractured, local set of audiences so that it did not produce a national audience. Indeed, despite the British government’s efforts and Gandhi’s disagreement, and because of the efforts of Fielden, Nehru, and others, the radio was not only deployed by the Indian National Congress and later the Indian government; but by the 1950s, it became seemingly synonymous with the national project. Stepping away from this concern, we asked what did radio as a new sound technology mean in colonial India? In other words, what imaginaries and practices did it bring into effect? In answer, we have demonstrated that early radio in late colonial India transformed sonic imaginings, that is the imagination of sound itself and imaginations through sound—of spaces, territories, and figures. We further argue that radio effects the above in three ways: (i) by re-structuring the geographies of ‘home’, ‘world’, and ‘empire’; (ii) by allowing for variegated audiences that were learning to listen in different ways and lastly, (iii) by re-configuring standards, taste, and programming, variously for rural and urban audiences. Taken together this transformation has a specificity that produces an Indian sonic modernity that is born of conversations with technologies, capitalism, and colonialism." (Conclusion)
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"The history of communications in the Ottoman Empire and Turkey contradicts the widespread belief that communications is a byproduct of modern capitalism and other Western forces. Burçe Çelik uses a decolonial perspective to analyze the historical commodification and militarization of communicatio
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ns and how it affected production and practice for oppressed populations like women, the working class, and ethnic and religious minorities. Moving from the mid-nineteenth century through today, Çelik places networks within the changing geopolitical landscape and the evolution of modern capitalism in relationship to struggles involving a range of social and political actors. Throughout, she challenges Anglo- and Eurocentric assumptions that see the non-West as an ahistorical imitation of, or aberration from, the development of Western communications. Ambitious and comprehensive, Communications in Turkey and the Ottoman Empire merges political economy with social history to challenge Western-centered assumptions about the origins and development of modern communications." (Publisher description)
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"This paper has used a series of historical sources, mainly in the Persian language, to explore the one-century history of Afghanistan’s media. The country has 150 years of media history, of which a century has occurred during the monarchy's political system. This study explains the chronological
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order and structure of the media from the first newspaper, Shams-u-Nahar, which was founded in 1873 during the reign of Amir Shir Ali Khan. In addition, it explains the press's role in the war for the independence of Afghanistan. It also explores the media’s situation during King Zaher Shah’s (1933-1973) reign, when a diverse media environment emerged; simultaneously, systematic political repression was carried out and derailed the diversity. Taking the length of this centenary history into account, it seems that an article might not be enough to cover such a topic. However, so far, the researchers have not found an academic paper that has studied this era in English. Hence, this paper will be the first of its kind to cover this issue in detail to fill this gap and pave the way for researchers to know more about Afghanistan's media history." (Abstract)
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"Am 29. Oktober 1923 nahm der erste deutsche Radio sender einen regelmäßigen Programmbetrieb auf. Dies gilt vielen als Geburtsstunde des öffentlichen Rundfunks in Deutschland. Das 100-jährige Jubiläum im Jahr 2023 bietet dem Technoseum den Anlass, der Geschichte von Radio und Fernsehen eine eig
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ene Ausstellung zu widmen, die in fünf chronologisch aufeinander folgen den Themenbereichen die Geschichte von Radio und Fernsehen von den Funkanfängen um 1900 bis zu den digitalen Medien der Gegenwart erzählt. Vorangestellt ist ein Prolog zum Jubiläum. Drei „Perspektiven“ ziehen sich durch die gesamte Schau: Die Perspektive der Pro grammproduktion zeichnet Entwicklungslinien der Pro grammgeschichte nach und gibt Einblicke in Methoden und Berufsbilder der Radio- und Fernsehprogramm produktion. Bei der Perspektive der Geräteproduktion stehen die Herstellung von und der Handel mit Radio und Fernsehgeräten im Mittelpunkt. Schließlich fragt die Perspektive der Nutzerinnen und Nutzer danach, wie die Technik das Leben der Menschen prägt und wie sich Nutzungsgewohnheiten verändert haben. Erst mals können in diesem Rahmen zwei Objektbestände in größerem Umfang gezeigt werden, die das Museum im Jahr 2014 übernommen hat: Die Sammlung des ehemaligen Deutschen Rundfunk-Museums in Berlin sowie die historisch-technische Sammlung des Südwestrundfunks (SWR). Die eigenen Objekte werden durch zahlreiche Leihgaben von Museen, Radio- und Fernsehsendern sowie Produktionsfirmen und Privatpersonen ergänzt. Zusammen zeichnen sie ein buntes Bild der Radio- und Fernsehgeschichte von den Anfängen bis heute." (Vorwort)
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"Im Oktober 1923 ging das erste offizielle deutsche Rundfunkprogramm auf Sendung. Auch 100 Jahre später ist das Radio nicht aus der Medienwelt wegzudenken, ob als Informationsquelle, Kulturproduzent oder musikalischer Tagesbegleiter. Stets im Zeichen politischer, gesellschaftlicher und technischer
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Entwicklungen stehend, hat es immer wieder seine Wandlungsfähigkeit und Relevanz unter Beweis stellen können. Dieses Buch wirft Schlaglichter auf die verschiedenen Facetten der deutschen Radiogeschichte und wagt zugleich einen Ausblick in die Zukunft des ebenso langlebigen wie vielseitigen Mediums." (Buchrückseite)
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"Este libro se lee con mucha facilidad y nos describe con gran amplitud y rigurosidad investigativa ese paisaje mediático de la ciudad, donde conviven la expresión pública, la comercial y la comunitaria. Es un texto que nos cuenta que la radio sigue vigente y muy presente en la vida de la gente,
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pero igualmente advierte que ella existirá y será más fuerte mientras hable menos y escuche más a su audiencia." (Óscar Pérez, Página 6)
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"The article demonstrates how Portugal lacked a true policy of imperial broadcasting which led it to become dependent on colonial stations for the dissemination of colonialism. The broadcasters established in the Portuguese Empire dedicated significant airtime to the dissemination of Portugal’s co
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lonial mission but also promoted local identities with programming echoing the lifestyle of the colonial elites. Thus, the article argues that while the Portuguese authorities considered the cultural expressions and identities of the white residents in Africa as peripheral, these perceived themselves as part of a new devolved center. This ‘peripheral centre’ gained particular ‘visibility’ on the airwaves." (Abstract)
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"Dutch international radio broadcaster Radio Nederland Wereldomroep (RNW) was founded in 1947, during the decolonization war in Indonesia. This paper explores the nature of the broadcasts to Indonesia in the early years of RNW. It is argued that these broadcasts must be seen in the context of the Du
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tch violent military effort to reestablish colonial rule in Southeast Asia. Moreover, this broadcasting strategy, which was mainly aimed at reaching out to white agents of empire in the Indonesian archipelago, can be seen as a continuation of broadcasting practices during the late colonial period in the 1930s, when Dutch were speaking to Dutch." (Abstract)
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‘Feminine Frequencies’: Gender, Radio, and the Auditory Culture of Revolution in 1940s China / 4
Frocks And Powder Puffs / 13
María Luisa Ross: Mexican Educator, Writer and Radio Station Manager / 23
Cathleen Nesbitt: Britain’s First Radio Drama Producer / 32
‘Women on the Air’: A Contrib
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ution to the History of Women in Community Radio in Europe / Birigtte Jallov, 36
Broadcasting History but also Working Lives: Women’s History in the BBC’s Written Archives, 42
The Women Diarists of Early Radio / Emilie Morin, 45
In Profile: Kate Terkanian, 47
[Four Book Reviews: Women in British and US Media]
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"[...] partimos da hipótese de que as produções sonoras contemporâneas (dramas e podcasts de storytelling), que se configuram como produções de aprofundamento e que têm deadlines mais amplos, realizam uma reapropriação estética das estratégias e ferramentas expressivas das radionovelas da
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era de ouro do rádio do país [= Brasil] . Com esta reapropriação, aliada ao que as caracteriza como jornalismo, podem complexificar a narrativa e modificar o perfil do conteúdo apresentado à audiência, além de propiciarem um ambiente de consumo imersivo, mais humanizado e mais envolvente para o público. Expandimos essa hipótese também para as séries de reportagens divulgadas em emissoras hertzianas, principalmente considerando as demandas por rejuvenescimento da audiência e ampliação do público do rádio e o perfil de crescimento do consumo de áudio nos últimos anos." (Introdução, página 12)
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"The colonial essence of the Portuguese nation was one of the pillars of Estado Novo (1933–1974). During this period, the media were largely used as a tool for promoting the cohesion of the territories, firstly embodying an Imperial mystique, and after the second World War, arguing for the excepti
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onalism of Portuguese colonialization and fighting enemy propaganda. However, contrary to other European empires, Portugal never had a consistent and articulated policy for using radio for these purposes. This article analyses the case of São Tomé and Príncipe, the smallest Portuguese colony in Africa and argues that the new strategy that was experimented in the archipelago in the late 60’s was characterized by a lack of organization and investment that curtailed any chances of success against competitor broadcasts. Based on archival research and interviews with former radio professionals, the case of São Tomé is presented as an example of a frail global articulation that characterized the Imperial Portuguese broadcasting strategy during this period, while it deepens the knowledge on the development of radio in the former Portuguese colonies." (Abstract)
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"Cold War media cultures are typically remembered in terms of an East-West binary, emphasizing conflict and propaganda. Remapping Cold War Media, however, offers a different perspective on the period, illuminating the extensive connections between media industries and cultures in Europe's Cold War E
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ast and their counterparts in the West and Global South. These connections were forged by pragmatic, technological, economic, political, and aesthetic forces; they had multiple, at times conflicting, functions and meanings. And they helped shape the ways in which media circulates today—from film festivals, to satellite networks, to coproductions. Considering film, literature, radio, photography, computer games, and television, Remapping Cold War Media offers a transnational history of postwar media that spans Eastern and Western Europe, the Nordic countries, Cuba, the United States, and beyond. Contributors draw on extensive archival research to reveal how media traveled across geopolitical boundaries; the processes of translation, interpretation, and reception on which these travels depended; and the significance of media form, content, industries, and infrastructures then and now." (Publisher description)
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"This paper discusses how radio during the last decade of Dutch colonial era had served as an agent of nationalism in Indonesia. This paper applies a literature study using a historical approach that focused on Soloche Radio Vereeniging (SRV) and the Eastern Radio network, which were operational fro
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m the 1930s to the 1940s. The results suggest that SRV and Eastern Radio network during the Dutch colonial period served as tools of cultural resistance against the domination of European culture. Radio broadcasting was an alternative form of cultural diplomacy that promoted the birth of Indonesia, which had become free from colonialism." (Abstract)
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"Whereas France owned the second most important empire in the world in 1945, the colonial domination paradoxically leaned very little on radio broadcasting. It was not until 1954 that the French governement, under the impulsion of Pierre Schaeffer, inventor of the “musique concrète,” launched a
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strong effort to build an overseas broadcasting network. However, that lasting endeavor took place while the French African colonies went into a phase of quick evolution toward independence. It immediately challenged the radiophonic project that colonial authorities had designed and forced French and Africans stakeholders to adapt their strategy according to the new context." (Abstract)
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"This article traces how the Afghan cultural, media, and arts sectors have gone through cycles of boom and bust in tandem with the country’s tumultuous history in recent decades, starting with the prewar golden era in the 1960s and 1970s, then focusing on the post-9/11 internationally funded media
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expansion, and finally on the Taliban’s return to power. The current exodus of human talent, due to forced migration, dispossession, and displacement, amounts to a profound cultural loss. But the country has already been transformed by the influence of a period of media freedoms and an emergent public sphere that created space for democratic debate and cosmopolitan cultural expression." (Abstract)
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"In 'Free Speech', Jacob Mchangama traces the long, contested history of a powerful idea, beginning with its origins in the intellectual ferment of classical Athens, where it enabled the development of the world's first democracy. Through captivating stories of defenders of free speech throughout hi
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story, from the eighth century 'Abbasid caliph Abu Ja'far al-Mansur to the anti-lynching crusader Ida B. Wells, Mchangama reveals how the free exchange of knowledge and ideas underlies all scientific and literary achievement, and how it has enabled the advancement of civil rights across the globe. Indeed, he argues, freedom of speech has far more often served the cause of the oppressed than the cause of the oppressors. Yet the temptation to restrict speech, too, is a historical constant, and Mchangama explores how elite entrenchment and anxiety about new technologies can lead even the most dedicated defenders of liberty down this dangerous path. Meticulously researched and deeply humane, Free Speech demonstrates just how much humanity has gained from this essential principle - and just how much we stand to lose if we allow it to erode." (Publisher description)
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"La elección de la temática de esta convocatoria fue incitada por la conmemoración de los 70 años de la primera transmisión televisiva en el país realizada el 17 de octubre de 1951 por Canal 7 de Buenos Aires que era dependiente de LR3 Radio Belgrano, de propiedad del Estado nacional y que est
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aba a cargo del presidente Juan Domingo Perón. Pero el acontecimiento resulta una excusa para recoger las reflexiones que se están dando en el campo académico en torno a un objeto de estudio que había hegemonizado la producción intelectual durante las últimas décadas del siglo XX en las que la televisión asumía un papel relevante como articulador de la vida social, cultural y política de nuestro país. Partíamos de la presunción que en el presente ese rol hegemónico se diluía en un ecosistema medial más diverso y que los estudios de los medios de comunicación habían reconducido gran parte de su atención para comprender las dinámicas, afectaciones y apropiaciones de los medios digitales, y la televisión (como forma tecnológica y cultural) parecería transitar un proceso de envejecimiento y disolución que no la hacía merecedora de los esfuerzos intelectuales. Sin embargo lo que se advierte es que el abordaje del medio televisivo se ha reinventado ampliando sus límites, instalando la problematización en la diversidad de dispositivos y formas narrativas que configuran lo audiovisual transmedia." (Página 7)
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