Introduction to Broadcasting

Author: Li Yan
Publisher:
Publish Date: 2005-10-01
Features: The book "Introduction to Broadcasting" published in 1997 has been seven years since its first edition, with five printings. A textbook is different from a child's growth; a seven-year-old child starts first grade and, during their seven-year growth, both physical and intellectual development accumulates. The years represent stages of growth. However, a textbook is different. Seven years mean the book needs revision, as the concepts may become outdated, content needs updating, and structure needs adjustment. Moreover, in the past seven years, broadcasting has undergone significant changes, with the emergence of many specialized channels. The purpose, target audience, content, broadcasting methods, and scheduling of programs have all seen new understandings and practices. Especially noteworthy is the collaboration between the internet and radio stations in mass communication activities. Radio programs, with the help of internet technology, have transformed from fleeting broadcasts into on-demand content online, and listening methods, whether through radios or "online listening," have diversified. More importantly, the role and social function of radio programs in the information age have changed. All these reasons justify the revision of "Introduction to Broadcasting" into its second edition. Compared to the first edition, the main changes in the second edition are as follows:
1. Adjustment of Basic Structure: The first edition of "Introduction to Broadcasting" consists of five parts and twenty-nine chapters. The second edition is divided into two parts and twelve chapters, titled "Introduction to Broadcasting" and "Broadcasting Program Practice." The second edition has fewer chapters but more sub-topics under each chapter. The reason for this revision is the change in broadcasting program production processes and methods. The traditional roles of production, editing, and broadcasting are gradually replaced by integrated production, editing, and broadcasting. Some original program types have been replaced, merged, or expanded. New communication technologies and evolving audience demands keep program formats in a state of adjustment. A program delivery effect that is not bound by rigid formats replaces the old, rigid classification models. As a result, many contents can only be categorized under broader headings. At the same time, this is also to reduce the influence of rigid conventions on learners.
2. Additional Content: In the second edition, a new chapter titled "Broadcasting and Society" has been added. This chapter covers topics such as "Broadcasting and Science and Technology," "Broadcasting and Social Culture," and "The Contemporary Situation of Broadcasting." These contents provide learners with a broader cognitive framework, examining broadcasting within the context of technology and culture to better understand its social role and public value. Based on this foundation, the development of broadcasting can be observed with a solid and comprehensive perspective, free from fleeting, opportunistic, or influences. In the third section of this chapter, the issue of "podcasts" is discussed in detail. Although podcasts also rely on digital technology and internet platforms, from a social perspective, they reflect the light of the "next-generation broadcasting," different from any previous mass communication medium. It is necessary to discuss them separately. In Chapter 4, "Broadcasting Systems and Codes," the sections on "Professional Codes for Broadcasting Practitioners" and "Regulatory Bodies for Radio Stations" address how broadcasting, as a mass communication medium, can embody its public value and social function after adopting a market-oriented approach. It reiterates the purpose and rationale of broadcasting, discussing the professionalism and ethics of broadcasting practitioners. At the same time, it proposes new ideas for the regulation of broadcasting institutions, such as government oversight, internal media regulation, and the establishment of review bodies. In the "Broadcasting Audience Survey" chapter, a new section titled "Program Appreciation Index" has been added, explaining the significance of the program appreciation index survey in improving the quality of broadcasting programs and creating a better broadcasting communication environment. In the "Broadcasting Symbols" chapter, a new section on "Broadcasting Music Symbols" has been added, focusing on the role of broadcasting music symbols, the characteristics of music in broadcasting programs, the sources of music in broadcasting programs, and the key considerations in using music in broadcasting programs. This part of the content has rarely been covered in related textbooks in the past. The prominence of broadcasting music symbols in today's broadcasting programs is increasingly evident, not only with the emergence of various types of broadcasting music channels but also with music becoming an important element in broadcasting programs, such as program openings, transitions, and the content itself. The arrangement of music is a finishing touch in broadcasting programs. The dedicated introduction to "broadcasting music symbols" is based on the above considerations. In the second section of Chapter 6, "Broadcasting Language Symbols," the discussion on the broadcasting perspective of communication studies master Marshall McLuhan has been added. McLuhan is one of the few renowned scholars of communication studies who have specifically discussed the significance of broadcasting. He discusses broadcasting media based on human auditory characteristics and the relationship between hearing and the central nervous system, giving it full affirmation. In Chapter 7, "Types of Broadcasting Programs," a new section on "Special Types" has been added, covering: women's programs, children's programs, and minority group programs. Although these groups can also be considered in news programs, setting up programs specifically for these special groups reflects the inclusivity of social diversity. These groups may have special cultural needs due to differences in gender, age, or ethnicity. For example, women's programs are designed to eliminate negative portrayals of women in the media and evolve with the development of feminism and women's movements. The media can not only shape and reinforce societal attitudes toward women but also serve as an effective tool for women to improve their social status. Women's programs should pay special attention to women's social status, contributions, demands, and the same needs as men. The true significance of women's programs lies in providing a different perspective from traditional male-centric views and interpretations of issues, constructing a female culture (left-handed culture) distinct from male culture (right-handed culture). Children's programs are those specifically made for children, and both the selection of content and the broadcasting format should fully consider children's characteristics. Children's programs have always received social attention and are an important example of how the media demonstrates its public value. Children's programs always adhere to the principle of public welfare, and the content of children's programs is subject to social supervision, with no allowance for content involving sex or violence.
Chapter 8 is dedicated to "Broadcasting Program Delivery," classifying program formats into three types: recorded and live broadcasts, on-site reporting, and hosted broadcasts. Broadcasting programs rely on sound symbols for communication, and delivery brings the entire content of the program directly into contact with the audience. The quality of delivery determines the level of the program. This is because the charm of sound allows symbols to move listeners beyond their literal meaning. Emphasizing program delivery reflects the uniqueness of broadcasting as a mass communication tool that uses sound as its medium.
In Chapter 10, content related to "broadcasting program planning" has been added. This is in consideration of the formation of the program market in the development of broadcasting. Currently, independent program production institutions have been established, taking on more and more program production tasks and directly releasing them into the market. These institutions require a large number of professional personnel. This chapter mainly includes the following content: audiences as an important basis for broadcasting program planning, program proposals, and the planning of news reporting methods.
This book discusses broadcasting editors and program compilers separately to emphasize the differences between rewriting broadcast scripts and overall program compilation, especially the latter, which reflects the style of modern broadcasting. Since program compilation involves program schedules, program openings and headlines, program transitions, and finding the best feel for the program, this approach and the content provided are innovative compared to published works of a similar nature.
In other aspects, the content of the second edition retains the essence of the first edition but with significant structural and specific content adjustments. For example, in broadcasting writing, the characteristics of broadcasting language are retained as requirements for broadcasting script writing, placing greater emphasis on how the transitions in the script better meet auditory needs.
Finally, on the occasion of this revised edition, I would like to express my gratitude to the General Editor's Office of Zhejiang Radio and Television Group, the Zhejiang Radio and Television Society, and my colleagues who have long been engaged in broadcasting work and research, such as Wu Jinlong, Huang Tongchun, and Chen Qiushi. They have provided me with many conveniences in my writing: exchanging opinions, sharing program research results, and providing research materials. I would also like to thank Chen Jiujiu of Zhejiang Radio and Television Group, who, despite his busy schedule, happily accepted my invitation to write the section on "Broadcasting Music Symbols" in Chapter 6 of this book. Chen Jiujiu has many years of experience in broadcasting and has accumulated rich skills in using music in broadcasting programs. He has generously shared his expertise in this book, adding a bright spot to it. I would also like to thank Zhu Hongmei, a graduate student at the Communication Research Institute of Zhejiang University, who completed her research paper on "podcasts" during her recovery and provided the content for this book.