Introduction to Broadcasting (Second Edition)

Author: Li Yan
Publisher:
Publish Date: 2005-10-01
Features: From the publication of Introduction to Broadcasting in 1997 to the present, seven years have passed, with five printings during this period. A textbook differs from a child's growth; a seven-year-old starting first grade accumulates physical and intellectual growth over seven years of life, with each year marking a stage of development. However, a textbook evolves differently. Seven years necessitate revisions, as concepts may become outdated, content needs updating, and structure requires adjustment. Moreover, over the past seven years, broadcasting has undergone significant changes, with the emergence of numerous specialized channels, new understandings and practices in program objectives, target audiences, content, broadcasting methods, and scheduling. Especially noteworthy is the collaboration between radio stations and the internet, transforming fleeting programs into on-demand content available online. Listening methods have also diversified, with audiences accessing broadcasts via radios or "online listening." More importantly, the role and social function of radio programs in the information age have changed. All these factors provide ample justification for the revision of Introduction to Broadcasting into its second edition.
Compared to the first edition, the second edition of Introduction to Broadcasting features the following major changes:
1. Adjustment of Basic Structure: The first edition consisted of five parts and twenty-nine chapters. The second edition is divided into two parts and twelve chapters, titled Broadcast Overview and Broadcast Program Practice. The second edition has fewer chapters but more sub-topics under each chapter. This revision was primarily driven by changes in broadcasting program production processes and methods. The traditional separation of production, editing, and broadcasting has been replaced by integration, with some original program types replaced, merged, or expanded. New communication technologies and evolving audience demands have kept program formats in a state of constant adjustment. Programs are now less constrained by rigid categorization, allowing many topics to be grouped under broader headings while also reducing the influence of outdated conventions on learners.
2. Content Expansion: In the second edition, a new chapter titled Radio and Society has been added, covering topics such as Radio and Science and Technology, Radio and Social Culture, and Contemporary Radio Situation. These additions provide learners with a broader cognitive framework, examining radio within the context of technology and culture to better understand its social role and public value. This approach fosters a deeper understanding of radio's development, free from superficial, opportunistic, or influences. The discussion on podcasting in Section 3 of this chapter is particularly noteworthy. Although podcasts also rely on digital technology and the internet, their social significance reflects a "next-generation broadcasting" distinct from previous mass media, warranting separate discussion.
In Chapter 4, Radio Systems and Codes, sections on Professional Ethics for Radio Practitioners and Regulatory Agencies for Radio Stations address how radio, as a mass media, can uphold its public value and social function after adopting market-oriented operations. These sections reiterate radio's purpose and existence, emphasizing the professionalism and ethics of radio practitioners. Additionally, new ideas for regulating radio institutions are proposed, including government oversight, internal media regulation, and the establishment of advisory bodies.
The section on Radio Audience Surveys now includes Program Appreciation Index, explaining how research on this index can improve program quality and create a better broadcasting environment. In the chapter on Radio Symbols, a new section on Radio Music Symbols has been added, focusing on the role of radio music symbols, the characteristics of program music, sources of music, and key considerations in using music. This topic has rarely been covered in previous textbooks. With the increasing prominence of radio music symbols in today's programs—such as the rise of various music channels and music's role as a key element in broadcasts (e.g., opening segments, transitions, and content itself)—the inclusion of this section is justified.
In Section 2 of Chapter 6, Radio Language Symbols, the discussion now includes the broadcasting perspective of communication studies master Marshall McLuhan, who is one of the few renowned scholars in communication studies to focus specifically on radio. McLuhan discusses radio as a medium based on human auditory characteristics and their relationship with the central nervous system, offering strong affirmation.
Chapter 7, Types of Radio Programs, now includes a section on Special Types, covering Women's Programs, Children's Programs, and Minority Group Programs. While these groups can be addressed in news programs, dedicated programs for them reflect social inclusivity, as these audiences may have unique cultural needs due to gender, age, or ethnic differences. For example, women's programs aim to counter negative stereotypes of women in media and evolve alongside feminist movements. Media not only shapes societal attitudes toward women but also serves as an effective tool for women to improve their social status. Women's programs should focus on women's social status, contributions, demands, and needs, just as men do. The true significance of women's programs lies in offering a distinct perspective—different from male-dominated (right-handed) culture—and in reinterpreting and prioritizing issues from a female (left-handed) cultural viewpoint.
Children's programs are those specifically created for children, requiring content selection and broadcasting formats to fully consider children's characteristics. Children's programs have long been a focus of societal attention and exemplify media's public value. They adhere strictly to principles, with content subject to social supervision, prohibiting topics involving sex or violence.
Chapter 8 is dedicated to Radio Program Broadcasting, categorizing program formats into three types: recorded and live broadcasts, on-site reporting, and hosted programs. Radio programs rely on auditory symbols for communication, and broadcasting brings the entire program content directly to the audience. The quality of broadcasting determines the program's level, as the power of sound can move listeners beyond mere denotation to emotional connection. Emphasizing broadcasting reflects the unique nature of radio as a mass communication tool centered on sound.
Chapter 10 now includes content on Radio Program Planning, addressing the formation of program markets in the development of broadcasting. Independent program production agencies have emerged, taking on increasing production tasks and distributing programs directly to the market. These agencies require a large number of professional personnel. This chapter covers topics such as Audience as the Basis for Program Planning, Program Schemes, and News Reporting Strategies.
This book separates Radio Editing from Program Arrangement to highlight the differences between rewriting scripts and overall program arrangement, especially the latter, which reflects modern broadcasting styles. Program arrangement involves aspects such as schedules, opening segments, headlines, transitions, and finding the best flow. This approach and content offer innovation compared to existing works in the field.
Other aspects retain the content of the first edition but feature significant structural and specific adjustments. For example, in Radio Writing, the characteristics of radio language are retained as requirements for scriptwriting, with greater emphasis on how transitions in scripts align with auditory needs.
Finally, on the occasion of this revised edition, I extend my gratitude to the General Editorial Office of Zhejiang Radio and Television Group, the Zhejiang Radio and Television Society, and my colleagues who have long been engaged in radio work and research, such as Wu Jinlong, Huang Tongchun, and Chen Qiushi, for their support in providing feedback, sharing program research results, and offering research materials. I also thank Chen Jiujiu of Zhejiang Radio and Television Group, who, despite his busy schedule, generously contributed to writing Section 3 of Chapter 6, "Radio Music Symbols." With years of experience in radio work and expertise in program music composition, Chen Jiujiu has shared his insights without reservation, adding a bright spot to this book. Additionally, I thank Zhu Hongmei, a graduate student at the Communication Research Institute of Zhejiang University, who completed her research paper on "podcasting" during recovery and provided the content for this book.