TV and radio journalism: educational manual 9786010443945

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AL-FARABI KAZAKH NATIONAL UNIVERSITY

S. Barlybayeva

TV AND RADIO JOURNALISM Educational manual

Almaty «Qazaq University» 2019

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UDC 654 LBC 76.032 B 24 Recommended for publication by the Educational and Methodological Association in the direction of the personnel training «Journalism and Information» of the Educational and Methodological Board of higher and post-graduate education of the MES of the RK on the basis of RSE on the REM «L.N. Gumilyov Eurasian University» (Protocol №5 dated 31.05.2019); by the Academic Council of the Faculty of Journalism and editorial-review board of Al-Farabi KazNU (Protocol №5 dated 31.05.2019)

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Barlybayeva S. TV and radio journalism: educational manual / S. Barlybayeva. − Almaty: Qazaq University, 2019. − 164 p. ISBN 978-601-04-4394-5 Television and radio are the most common means of mass communication. On the threshold of profound transformations affecting their very foundation, TV and radio carry information, broaden the horizons, delight and excite, upset and inspire, intrigue, create a festive mood, in general, they make our lives brighter, richer and more diverse. The Educational manual reveals the role and importance of the development of modern radio broadcasting and television – the main means of mass communication in the era of globalization. The Educational manual is based on the practical, pedagogical and research experience of the author – professor of the Department of Press and Electronic Mass Media of the Kazakh National University – Barlybayeva Saule. The Educational manual will be interesting and useful not only for students of journalism and broadcasting researchers, but also for a wide range of readers interested in mass communication.

UDC 654 LBC 76.032 © Barlybayeva S., 2019 © Al-Farabi KazNU, 2019

ISBN 978-601-04-4394-5

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CONTENT Preface ................................................................................................................ 4 Introduction ........................................................................................................ 6 Chapter 1. The history of Soviet television ...................................................... 8 Chapter 2. The history of Soviet broadcasting ................................................. 19 Chapter 3. History of radio and television development in Kazakhstan .......... 37 Chapter 4. Radio and Television Specifications .............................................. 54 Chapter 5. Artistic and expressive means of broadcasting ............................... 59 Chapter 6. TV and Radio Professions .............................................................. 70 Chapter 7. Modern broadcasting trends .......................................................... 77 Chapter 8. Information programs on radio and TV .......................................... 90 Chapter 9. Audio Visual Advertising ............................................................... 99 Chapter 10. Communication Television and Communication Specifications ....................................................... 114 Chapter 11. TV and Radio Broadcasting: Development Prospects................................................................... 119 Chapter 12. Modern TV and Radio Broadcasting in Kazakhstan ................................................................................. 134 Conclusion .......................................................................................................... 146 Bibliography ....................................................................................................... 148 Annex ................................................................................................................. 151

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PREFACE

Television and radio are the most common means of mass communication, on the threshold of profound transformations affecting their very foundation. TV and radio carry information, broaden their horizons, delight and excite, upset and inspire, intrigue, create a festive mood, in general, they make our lives brighter, richer and more diverse. The textbook reveals the role and importance of the development of modern radiobroadcasting and television – the main means of mass communication in the era of globalization. The main aim of the basic undergraduate discipline «Television and Radio Journalism», which is taught at the faculties of journalism of universities in Kazakhstan is to help understand the specifics and nature of television and radio, to gain the idea about the development of television and radio broadcasting in the world, in the Soviet Union, in Kazakhstan, about new types and formats of broadcasting: cable-satellite, network, digital, interactive; to learn about current trends in television and radio broadcasting, about broadcasting professions, about the technology of preparing information TV and radio programs. Television and radio are a collective matter: a television and radio journalist should work in close cooperation with the operator, director, editor, sound producer, computer designer, producer, sound engineer, and graphic designer, directing the creative process. The purpose of this textbook is to show the important place of television and radio broadcasting in the system of mass communication, their significance and transformation in the modern conditions of globalization, their nature, specificity, system of artistic and expressive means, to show the prospects for the further development of broadcasting in Kazakhstan. Tasks: – to give students the necessary knowledge about information technology, modern technology of digital broadcasting, the work of a television and radio journalist, editor, director and operator, – to acquaint them with the technology of creating radio programs and TV programs as a prerequisite for the professional training of a modern journalist, 4

– to develop the ability to listen and see an audiovisual program from a professional point of view, – to acquaint students with the specifics of broadcasting, with the technique of television and radio communication, with the method of creating TV and radio programs. The textbook is based on the practical, pedagogical and research experience of the author in the editorial offices of the Kazakh television, at the Department of Press and Electronic Mass Media, at the M.K. Barmankulov Tele-Radio Complex of the Kazakh National University. The textbook will be interesting and useful not only for students of journalism and broadcasting researchers, but also for a wide range of readers interested in mass communication.

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INTRODUCTION

The role of television and radio as a means of people's life orientation cannot be overestimated. TV and radio act as the most important means of democratization of society, expression of public opinion, formation of an active consciousness participating in the social transformations of the country. At present, the entire social potential of TV and radio broadcasting in Kazakhstan is aimed at the implementation of industrial-innovative development of Kazakhstan, economic and socio-cultural modernization, modernization of the public consciousness of Kazakhstan’s society. A new socio-political situation in the Republic forces us to take a fresh look at the growing importance of TV and radio broadcasting in the mass media system. The media is an integral social institution and they have all the qualities that are characteristic of the life of modern society. Further development and improvement of TV and RB are directly dependent on the socio-political, economic and cultural development of the country. Mass media (mass means of communications – MMC) become a means of socialization of the society and the individual. New information and communication technologies (ICT) make their own adjustments in the life of Kazakhstan society: cable-satellite, digital, Internet broadcasting is expanding, interactive TV is being introduced, increasing confidence in electronic MMC as an important source of information about the events in the country and in the world. By 2020, Kazakhstan will fully switch to digital broadcasting. Fundamental shifts in the technical support of the communication process have led to the emergence of fundamentally new means of mass communication. Each new MMC does not cancel the previous one, but differentiates their purpose, methods of information delivery and its distribution. The problems of the impact of the global information process on national MMC, including TV and radio broadcasting, are coming to the fore. Despite the undoubted economic benefits of using transnational communication resources, the cultural aspects of broadcasting policies continue to be topical. Developers of the state strategy in the field of broadcasting in a number of countries, noting the 6

unevenness of information flows, conduct their broadcasting policy. Ideologically, the broadcasting model is based on the approval of its own value orientations and the desire to pursue its own broadcast information policy. In the XX1 century, a new communication environment is being created with the help of the latest ICT. The future of the country, the further development of political, socio-economic, cultural transformations in society, MMC and, in particular, television and radio broadcasting, depend on the state using the opened opportunities of the global communication system.

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Chapter 1 HISTORY OF SOVIET TELEVISION

In the history of television (TV) there are several stages, each of which is characterized by qualitatively new content. The first stage covers the period from scientific experiments, inventions and discoveries of scientists in the field of transmission of image and sound over a distance to the appearance of regular television broadcasting, i.e. from the beginning of the twentieth century to the 1930s. The second stage is from the beginning of regular television broadcasting in the 1930s to the creation of a system of the central, Republican and local television and the emergence of mass broadcasting in the 1960s. The third stage starts from the end of the 1960s, when mass broadcasting became all-union and multi-program and lasts until the early 1990s. The fourth stage begins in the 1990s of the twentieth century, when the collapse of the USSR destroyed the system of the central government control of television [1]. Former Soviet Republics gained independence, and Kazakhstan became a sovereign state in 1991. From the beginning of the 1990s, an alternative TV appeared, a competitive struggle for the viewers arose between the state and commercial broadcasting, between various TV channels. The appearance on the air of commercial television channels, as well as of foreign television programs, is a new phenomenon in broadcasting, which determines the modern development of television. Scientific and technical progress in electronics, the development of space communications created the material basis and conditions for the development of a new media – television – in the twentieth century. In the 19th century P.I. Bakhmetyev predicted the possibility of perceiving a dynamic image based on a quick change of static frames and proposed the first draft of a television system. In 1880, P.I. Bakhmetyev proposed a scheme that later became the basis of TV: for transmitting to a distance, the image must first be decomposed into elements that are transmitted and then reassembled into a single whole. A.G. Stoletov created the doctrine of the photoelectric effect, which is the basis of TV. 8

In 1888-1889, Professor A.G. Stoletov discovered the fundamental possibility of direct conversion of light energy into electrical energy. B.L. Rosing invented the kinescope and showed the first image in 1911 using an electronic television system. At first, TV was mute, it was reduced mainly to the functions of the phototelegraph. However, it was a short period. «At that time, TV repeated the functions of broadcasting, even in the 1930s of the twentieth century, the term «broadcasting» was used. «Radio – plus a wonderful opportunity to look at the studio at the time of transmission,» – this is how the state of television at that time is defined in one of the first studies [2]. The image was «issued» to the sound as a kind of addition. In practice, for the first time, a moving image was transmitted electronically by distance on July 26, 1928 to a laboratory in Tashkent by Soviet inventors. At the same time, Russian emigres V. Zvorykin and D. Sarnov worked on the idea of electronic TV in the USA. The basis of the world's first color TV system was the development of the Russian scientist A. Poluektov, the Armenian A. Adamian, the American F. Farnsworth, the Englishmen K. Swinton and L. Byrd. The first television session in the world was carried out in 1928 in Germany, the experimental broadcasting began in 1935. From 1936 to 1939, the BBC was regularly broadcast, interrupted by the war. In the US, the history of television began in 1939 [3]. On October 1, 1931 in the Soviet Union, experimental television broadcasting began on the basis of a solid program addressed to radio viewers, as those who received television broadcasts were then called. In 1931 television has become a practical reality. The country's first set of television equipment was created by Hero of Socialist Labor, Professor P.V. Shmakov. In the same year at the All-Union Electrotechnical Institute S.I. Kataev created working samples of the transmitting television tube and kinescope. In 1934, the layout of the electronic television system was tested at the Electrophysical Institute in Leningrad (now St. Petersburg), and then in 1938 and 1939. The programs of the Moscow and Leningrad television centers appeared on the air. It was planned to expand radio plants and build new specialized workshops for the production of television equipment. The war interrupted these works. After the end of the Great Patriotic War, in March 1946, the All-Union Television Research Institute (VNIIT) was established – 9

the country's leading enterprise in television technology. Here, A.S. Popov demonstrated transmission of electrical signals without wires. Teacher of the Leningrad Technological Institute B.L. Rosing demonstrated a television image on a cathode ray tube screen. A former student of the same institute, B. Rosing's student – V.K. Zvorykin, who continued his work in the USA, received a worldwide recognition as the founder of electronic TV. Immediately after the end of the war, in June 1945, the Moscow Telecentre conducted its first broadcasts, and regular television broadcasting was resumed in December [4]. Television receivers at the time were homemade, constructed by radio amateurs. Practically, mass production of electronic TV sets began in 1950, it was a brand «KVN-49» (by the first letters of the names of the designers – Kenigson, Warsaw, Nikolaev) with a screen of 18 cm diagonally. In 1948, the Leningrad Telecentre resumed broadcasting. In 1949, the industry began mass production of KVN-49 TV sets. The Law on the Five-Year Plan for the Restoration and Development of the National Economy of the USSR for 1946-1950, adopted in March 1946 by the USSR Supreme Soviet, formed, in particular, the tasks for the further development of television. On March 22, 1951, the USSR Council of Ministers adopted a resolution on the formation of the Moscow television center on the technical basis of the Central Television Studio. The structure of the DPT included the following divisions: the editorial staff of literary and dramatic broadcasting, the editorial board of musical broadcasting, the editorial board of programs for children, and the social and political editorial board. Television – the term itself comes from the Greek word «tele» (far, distant) and means transmitting images of dynamic objects over a distance by means of electronic devices. In the USA, the first television broadcasts appeared in the 1930s, and television began to take on a mass character from the 1950s, developing on the basis of the already established powerful broadcasting corporations, NBC, CBS and ABC, with the support of various financial – industrial complexes interested in using TV channels to distribute their advertising. The process proceeded rapidly, in various directions, creating a variety of forms, means and functions of the television broadcas10

ting industry, which was reflected in a variety of terms and concepts in communicative studies of this process. An important event was the creation of mobile television stations (PTS). With their help, TV could go beyond the studio. There is a new form of transmission – outside the studio. The first transmission of that kind was held in Moscow on June 29, 1949. Through a mobile television station installed at the stadium «Dynamo», a report about a football match was broadcast. On May 1, 1956, for the first time, a report was broadcast on the Central TV about the parade and demonstration on the Red Square [5]. In the same year, the second program of the Central Television was broadcast. In the second half of the 1950s, the construction of television cable lines began in the USSR, while a dense cable network already existed in Europe in the 1950s. In the 1960s, with the improvement of technological means for terrestrial broadcasting, a network of radio relay stations began to grow, through which a television signal was transmitted at a distance over the air – from one station to another one. At about the same time, satellite broadcasting began to develop. In the 1950s, most of the countries where TV operated, concluded about the inconvenience of using TV filming. The exit was found by the American company AMPEX founded by Russian emigrant. A.M. Peksin proposed the equipment and technology for recording image and sound on a ferromagnetic film. It was a video recording – VMR. VMR enriched the language of the television screen, the artistic and expressive means of TV, changed the aesthetics of the television spectacle, opened up new possibilities for television. Its essence lies in the fact that electrical oscillations that carry the image and sound are fixed on a film coated with an emulsion layer containing metal particles exposed to a magnetic field. Under the influence of an electrical signal, certain changes occur in the magnetism of these particles, which, when a recording is playing, creates a tele-image. VMR does not require prior creation of the image on the TV screen, as is the case when shooting from a monitor. The signal can arrive on a film both by wire, and from the ether. In contrast to the cinema, at VMR there is no process of creating a photo (painting), 11

but there is a process of «magnithography», which only later causes an image on the television screen. (In principle, the VMR process is similar to the process of magnetic recording). VMR influenced TV programming. The problem of efficiency was solved: an image fixed by TV tower could be broadcast immediately after fixation. Then the video began to be used increasingly for replays of live broadcasts, as well as in preparing programs for the air. In the late 1960s – early 1970s, there were certain technical limitations in the montage of videotapes, which hampered the possibilities of creative use of VMR. The response of technology to the requests of creative workers was the appearance of special equipment for electronic video editing. In the mid-1970s, the video editing technique developed so much that it was equal in its capabilities to cinematographic technique, and in some ways surpassed it. This circumstance, as well as the emergence of mobile cameras with portable video recorders, contributed to the emergence and development of television films made with a movie camera and video recorder. This new form of television creativity received the name of the video. This process was essential for the overall improvement of broadcast quality. Since the times of VMR, television has replaced television equipment, television journalistic kits with electronic editing, and later with digital editing and digital instrumentation, which have been developed. The progress of screen art techniques – television and cinema – helps solve two tasks: improve the process of distributing television programs and films; improve the process of their creation; there is the identification of new means of expression. There is a direct relationship between the development of technology and the level of television programs. The process of video transmission at a distance physically consists of three stages: 1) image conversion into electrical signals; 2) the transmission of these signals over the air or by wire at a distance; 3) reverse of the conversion of electrical signals into image elements (image synthesis). In November 1952, the Kiev Telecentre conducted a test program. In 1952, the construction of television centers in Minsk and Sverdlovsk 12

began, in 1953 – the design and construction of television centers in Riga, Tallinn, Baku, Kharkov, Tashkent, Vilnius. During one year, 1955, the operation of new television centers was started in Riga (March 31), Kharkov (March 31), Omsk (May 4), Tomsk (June 5), Tallinn (June 29), Minsk (July 2), Sverdlovsk (26 July), Vladivostok (December 9) and Baku (December 28). The first repeater station, which received a television signal from Moscow via cable, began operating in Kalinin in 1951, and in 1952 the first radio relay television line – Moscow-Golitsino – was built. There were already 84 television stations operating in the country, in 1965 there were 121 of them, in 1970 – 129, in 1975, 131 television centers were broadcasting [6]. The Central TV Studio switched to two-program broadcasting in February 1956, in 1965 the programs started on the third (training) DH program, and in 1967 – on the fourth, in 1970 another 3 television centers (Frunze – now Bishkek, Almaty, Tashkent) were broadcasting by four programs, 6 centers – by three programs, and 63 – by two programs. In 1967, the Television Technical Center named after the 50th anniversary of the October Revolution, located in Ostankino, was put into operation. Its transmitters are placed in a reinforced concrete tower of a unique design. The tower one, which has a height of more than half a kilometer, provides reception of transmissions in the radius of 130 km. The Ostankino television center is currently the largest in Europe. The total volume of the building is over one million cubic meters, the usable area is slightly less than 200 thousand square meters (2,600 rooms). In 1967, the USSR began a regular color television broadcasting using the new system. In 1979, the first phase, and in 1980 the second phase of the Olympic Television and Radio Complex (OTRC) was put into operation. It was part of the celebration of the 50th anniversary of the October Revolution Television Technical Center. There were 22 television and 70 radio studios, large film production and other technical services in OTRC. By 1982, programs with a color image were carried out on all programs of the Central TV, as well as in all the capitals of the Republics of the Union and in other major cities; images in color were transmitted from 81 television studios and were received in more than 800 cities of the USSR. By 13

1989, the length of radio-relay and cable television lines was over 90 thousand km [7]. In the second half of the 1970s, Raduga, Ekran and Horizon satellites were added to satellite Molniya, that significantly increased the capabilities of space broadcasting. The use of satellite, cable, radio-relay and telecommunication relay systems in the USSR made it possible to reach 87% of the country's population by 1982. By that time, out of every 100 families, 98 families had televisions. The buildup of technical means, the accumulated television experience of the spread of sociopolitical and natural scientific knowledge allowed forming an independent section in television broadcasting in 1965 to help middle and high schools, to create a special curriculum for the Central TV. In 1967, after the commissioning of the All-Union Television Technical Center in Ostankino, the Fourth program of the Central TV began to work. In the early years, the range of the Third and Fourth Programs was limited only to Moscow and the surrounding areas. The discovery of these programs, the commissioning of the ground and space communications of the Orbit system, has completed an important stage in the development of the Soviet television. By the decree of the Presidium of the Supreme Soviet of the USSR of July 12, 1970, the Committee on Radio Broadcasting and Television under the Council of Ministers of the USSR was reorganized into the All-Republican State Committee of the Council of Ministers of the USSR on TV and RB. The Soviet television faced new major tasks, which consisted in the following: – increasing the role of TV in ideological work, – centralization of television broadcasting throughout the country, – coordination of central and local television broadcasting, – improvement of personnel training for TV, introduction of a competitive system for certain categories of artists, – implementation of a unified technical policy in the field of TV. Until 1967, the population was provided with television programs only via ground-based means – by building powerful radio transmitting television stations, medium and low power repeaters, cable and radio relay lines. In the early stages, the construction of a ground-based transmission network was an effective means: the stations were built in 14

densely populated areas of the country, and entering each of them provided a significant increase in the number of viewers. So, by 1961, 100 powerful and about 170 low-power television transmitting stations were built in the country, that provided reception of TV programs by approximately 35% of the population [8]. The solution of the problem of reaching a larger audience of the population became possible after introduction of satellite communications. And the beginning of the development of a satellite TV system in the country was laid in 1965 by the launch of Molniya-1 artificial Earth satellite. During the decades of the Soviet period, equipping with television was carried out in the country. For the first time in the world, an apparatus for 625 lines of decomposition (State Prize 1950) was developed and the country's first mass television receiver KVN was produced. Network telecentres were built. For the development of the third generation of color TV transmitting equipment, the State Prize of 1982 was awarded. Soviet scientists were pioneers in the development of space TV, in particular, they created the on-board television equipment of the automatic interplanetary station Luna-3, which for the first time in the world transmitted the image of the far side of the moon (Lenin Prize 1960). The restructuring that began in 1985 brought about changes in the internal political broadcasting, in the very structure of broadcasting. In the late 1980s, the USSR stopped jamming of Western radio stations and recognized the right of citizens to choose sources of information. In 1990, Glavlit, the body of state censorship, was abolished. The old structure of the USSR State Radio and Television was divided among the Republics. Ostankino was Channel One, the successor of the former structure. Initially it was assumed that the company would serve the Commonwealth of Independent States (CIS) as an interstate structure, but this idea was not materialized. «Ostankino» remained the general political program of Russia adopted in the CIS, and this orientation was traced in a large number of messages from these countries in the news, in the selection of entertainment repertoire. Publicity, the law on the press, the abolition of censorship, the totality of the political changes that occurred in the former Soviet Union set free television journalists. Television brought an unprecedented amount of exposing materials covering previously forbidden topics, previously closed problems to the viewer. 15

The number of live broadcasts has increased, «open microphones» appeared, the dialogical forms of television broadcasting replaced the monological nature of the broadcast, direct telephone connections became commonplace on television. Indispensable components were cameras and microphones, installed directly on the streets and allowing any passer-by to speak on current issues. If in the 1970s, the number of city and regional studios in the USSR somewhat decreased, then after 1985 their quantitative growth began again, reflecting awareness of the importance of regional interests. In 1987, the first cable television networks appeared in the Soviet Union, in Kazakhstan. The most popular television debates contributed to the formation of public consciousness. Alternative TV began to emerge in early 1990s of the twentieth century. A completely new information situation was emerging, in which various political, financial and creative forces in competition were upholding the right to broadcast on television channels, the number of which increased sharply due to the development of technology. However, the professional skills of the creators of television shows were crucial in the struggle for the viewer's attention. Genetic links with broadcasting were fixed in the designation of mass broadcasting television. The formation of two types of TV – commercial, with revenues gained mainly from advertising, and noncommercial, operating at the expense of public and private charitable foundations interested in disseminating cultural and educational information, was fixed in terms of «commercial TV» and «public TV». Television working with the antenna for public use was named cable TV. At first, cable TV in different countries was content with a subscription fee, but then it also began to turn to advertising, and viewers who did not want to endure ad inserts had the opportunity to personalize their choice of programs for a special fee. This service is called pay cable TV. When terrestrial TV also began to introduce a subscription to paid-individual transmissions carried out using decoder devices, another term – paid-subscription TV appeared. The family of television terms increased significantly in the 1980s, when satellite communications began to develop and the CNN cable and information complex (Cable News Network – CNN), which spread the news around the clock in global coverage using satellite relay devices, took effect to 16

which individual subscribers can be connected via special antennas. Television receivers with control from anywhere in the world and portable devices for connecting various stations, from head to relay and mobile to satellite links, are expected to be distributed. Along with the expansion of the global TV information space, the further development of television broadcasting with information resources of computer systems, telegraph, telephone, cinema, photographic, sound recording and other means in the course of information dissemination (TV tapes, e-mail, video text, teletext), video centers for home and offices, scientific laboratories, medical and cultural institutions with the access to the international computer information superhighways took place. In 1950 three countries of the world had television – the USSR, the USA and England. By 1960, television was broadcast in 20 European countries. By the beginning of the 80s, according to the UNESCO, television existed in 137 countries of the world, in the late 1980s – virtually in every country. According to conservative estimates, in the world in the 90s of the twentieth century, 4-5 billion people watched television broadcasts daily. Asia accounts for over 30% of the global TV receiver pair. In Japan, over 85% of the population have video recorders, about 20% have laser discs. In Thailand, as a rule, people buy TV first, and then a refrigerator or air conditioner, and this occurs in a hot tropical climate. The number of countries in the Asian region covered by regular broadcasting is constantly increasing, moving from the category of potential consumers of the mass media market to the category of «growing» ones. For example, in the mid-1970s there were 30 such countries, by the 1990s there were 43 of them [9]. The restructuring, which began in 1985, has made its own adjustments in the internal political broadcasting, in the structure of broadcasting. The old structure of the USSR State Radio and Television was divided among the Republics. Publicity, the law on the press, the abolition of censorship, the totality of the political changes that occurred in the former Soviet Union set free television journalists. TV brought down on the viewer an unprecedented amount of exposing materials covering previously forbidden topics, previously closed problems. The number of live broadcasts has increased, «open microphones» have appeared, the dialogical forms of broadcasting 17

have replaced the monological nature of the broadcast, direct telephone connections have become commonplace on TV. In 1987, the first cable television networks appeared in the USSR, in Kazakhstan a well as the most popular TV debates, which contributed to the formation of public consciousness. Practical tasks 1. Prepare speeches, reports about the first inventors of TV. 2. Tell about the development of the Soviet TV and radio (1930-1985). 3. Prepare the round table on the topic «Features of the development of television and radio broadcasting during the restructuring period (19851991).» 4. Give examples of new rubrics, programs, characteristic of the period of adjustment. 5. Discussion on the topic «The development of modern television (from 1991 to the present)». Control questions 1. Inventors of television and radio. 2. Stages of the Soviet TV and RB development. 3. Video recording (VR), and its role in the development of the Soviet TV. 4. Television and radio broadcasting of the reconstruction period – «perestroika» (1985-1991). 5. Make an analysis of new forms and formats of television and radio broadcasting (the content of broadcasts, the work of popular leading journalists of RB and TV). 6. Analyze the television and radio development in the post-Soviet space (from 1991 to the present). References 1. Егоров В.В. Телевидение – между прошлым и будущим. – М.: Воскресенье, 1999. – С. 6. 2. Саппак К.В. Телевидение и мы. 4–е изд. – М., 2004. – С. 137. 3. Князев А. Основы тележурналистики и телерепортажа: учебное пособие. – Бишкек, 2001. – С. 16. 4. Егоров В.В. ТВ между прошлым и будущим. – М.: Воскресенье, 1999. – С. 8. 5. Там же. – С. 9. 6. Юровский А. Телевидение: поиски и решения. Очерки истории и теории советской тележурналистики. – М.: Искусство, 1983. – С. 41. 7. Там же. – С. 45. 8. Егоров В.В. Телевидение между прошлым и будущим. – М.: Воскресенье, 1999. – С. 10. 9. Дугин Е. Телерадиокоммуникации в стране и мире. – М.: ВИПК,1991. – С. 10.

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Chapter 2 THE HISTORY OF SOVIET BROADCASTING

From the first days of Soviet authorities coming to rule, the Communist Party paid great attention to broadcasting as a means of communication, information, propaganda and agitation. The first broadcasting programs originated in 1919 from the Nizhny Novgorod radio laboratory, since 1920 – from experimental radio stations in Moscow, Kazan and other cities. In 1925–1927, radio stations were commissioned in Minsk, Baku, Kharkov, Tashkent, Leningrad, Kiev, and Tbilisi. On November 23, 1924, Radio Broadcasting JSC launched the Comintern Radio Station, consisting almost entirely of radio versions of a number of newspapers. Broadcasting was carried via the transmitter on Voznesenskaya (now Street Radio) with a capacity of 22 kW. Regular broadcasting in the USSR began in 1924. His organization was entrusted to the Radio Broadcasting Company, the founders were the People's Commissariat, the All-Russian Electrotechnical Trust of Low Current Plants, GROWTH. The form of the organization was the incorporation typical of the period of the New Economic Policy. Ideological control over the material entering the air was exercised by the People's Commissariat of Education. In 1928, the Radio Broadcasting Company was liquidated, and broadcasting was transferred to the Office of the People's Commissariat of Posts and Telegraphs of the USSR. In 1929, the All-Union Central Council of Trade Unions was launched with a power of 100 kW. On November 7, 1929 international broadcasting (broadcasting to foreign countries) to France, England and the United States was launched. In 1931, the All-Union Radio Committee was formed within the framework of the People’s Commissariat of Posts and Telegraphs, but the structure of broadcasting did not change, and broadcasting consisted almost entirely of radio versions of newspapers. Of the short-wave (SW) foreign radio stations during this period, only the German-language «Weltrundfunksender» was broadcasting. The relative freedom of the first years of operation of the Soviet radio was primarily caused by the fact that the technical capabilities 19

of broadcasting were imperfect – the programs were broadcast live. Traditional «print» censorship adapted to the new format with great difficulty. The genres of the 1920s that were popular at the time and which involved many people simultaneously, were Radio Gazeta and Radiomeeting, they created some opportunity for public discussion and exchange of opinions; they were not subject to strict censorship. Already by 1925, the structure of the Radio Gazeta had been finally formed and consisted of regular headings: «What's new abroad,» «According to the Union of Soviet Republics», «What do you hear in Moscow?», «Science and Technology News», «Theater and cinema «,» Book corner «,» Sport «,» Radio responses and radio mailbox «,» Chastooshky»,» Announcements «. However, by the mid-1920s, new changes had occurred that had already affected the organization of the radio department itself: – On November 2, 1925, an order was issued by the board of the Radio Broadcasting Company about a categorical ban on entering the radio studio during broadcasts and rehearsals in order to limit and prevent any possibility of information sabotage. – On August 31, 1926, the People's Commissariat of Education of the RSFSR outlined a number of enterprises to exercise control over broadcasting: appointing persons responsible for reports, lectures, broadcasts of congresses, conferences, discussions and other programs in people's commissariats and organizations. All activities of the «Radio» were suspended in 1928, in the framework of the general concept of «Reorganization of the broadcasting system» Essential forms such as radio and radio projections were banned by the mid-1930s. because of the opinions that might have been expressed in them. The attention of regulatory authorities was directed to ensure that the air did not get «extra words» that could be misinterpreted or misunderstood. By the mid-1930s, the number of informational and documentary programs had sharply declined – pure propaganda radio programs as well as theatrical radio shows took their place. The creation of a Workers 'and Peasants' University on radio in 1928 was an example of a new use of broadcasting capabilities. A unique tool for literacy («eradicating illiteracy») among the Soviet citizens, it had three faculties: general education, anti-religious, and cooperative. A little later two more faculties appeared: pedagogical 20

and agricultural. Already in 1929, a number of other radio universities were created: for workers, peasants, communists, members of Komsomol. This initiative concentrated in itself the hopes of «enlightening» the people, through total development of radio networks – the montage of radio points on every street, in every village, and potentially in every home. The reverse side of this phenomenon was its ideological message, which in the late 1920s and later became more linear and unambiguous. In the USSR, radio universities had existed only for a few years. The completion of the centralization of the radio administration is associated with the decisions adopted on January 31, 1933 – the decision of the Council of People's Commissars of the USSR on the creation of the All-Union Committee on Radio and Radio Broadcasting under the Council of People's Commissars of the USSR. By February 1, 1937, a single ether radio network was introduced, corrected taking into account the difference in time zones. A literary expert, Yu. Murashov, calls the early Soviet radio «directly associated with the idea of Bolshevism as a medial means» [1], a historian TM. Goryaeva notes the parallelism in the development of radio as a means of communication, with the formation of the Stalinist regime of one-man rule. In 1933, the All-Union Committee on Radio and Radio Broadcasting was created, which was repeatedly renamed. Since 1957, it was the State Committee for Radio Broadcasting and Television at the Council of Ministers of the USSR, which began producing its own programs in the same year, which meant the appearance of the first radio channel in the USSR – All-Union Radio (later Radio-1). All-Union Radio started broadcasting on long (DV) and medium waves (NE), in all areas (except the Moscow one, in which the Main version of programs for Moscow and the Moscow region and the Leningrad region operated), territories and union Republics. In Leningrad (together with the Leningrad Oblast), regional committees on radio installation and broadcasting were established (since 1957, the Committees on Broadcasting and Television under the Executive Committees of the Regional Councils of working people's deputies broadcast in the «regional windows» of the All-Union Radio. Broadcasting went through fixed two or three-band radio receivers (MW and DV or MW, DV and HF) or through the loud21

speakers of the local radio broadcasting network (RTS). A 500-kW radio transmitter was launched – the most powerful in the world. In 1937, radio broadcasting was transferred to the new Moscow radio station on Malaya Nikitskaya, a shortwave radio transmitter RB-96 with a power of 120 kW was launched. Foreign radio stations on shortwave during this period were broadcasting via foreign-language radio stations Deutsche Kurzwellensender, Warsaw 3 and Radio Prague. In 1941–1942, the world's most powerful radio station was built in the Kuybyshev region. In 1945, the Radio Committee of the USSR launched a radio channel, the 2nd program of the All-Union Radio (from May 1, 1964 – «Mayak»). In the 1930s, broadcasting played a significant role in the promotion of advanced labor methods (the Stakhanov movement, etc.), in the organization of socialist competition, in the patriotic education of the population. The combat role of the agitator, propagandist, and organizer was performed by the broadcast during the years of the Great Patriotic War. A peculiar radio chronicle of the fight against the Nazi invaders was created by thousands of radio addresses of the Soviet Information Bureau, communications from the front, operational issues of the «Latest News», journalistic radio broadcasts, and sound letters. The voice of the All-Union Radio announcer Yu.B. Levitan, who read Sovinformburo reports and orders of Supreme Commander J.V. Stalin, became known to every citizen of the USSR. There were constant broadcasts for partisans and the population of temporarily occupied territories. In the years of the Great Patriotic War 1941–45 broadcasting played an active mobilizing role in the fight against fascism. More than 2 thousand reports of the Soviet Information Bureau, 2.3 thousand issues of the Last News, about 7 thousand pieces of correspondence from the active army, over 8 thousand letters from the front and letters to the front were broadcast. There were regular transfers for partisans and the population of temporarily occupied areas. The orders of the Supreme Commander, the speeches of the leaders of the Soviet government on the radio were of a great political importance, they supported the morale of the people during the difficult years of the war. In 1944, the CPC adopted a resolution on measures to strengthen the material and technical base of central broadcasting, in 1945, on the annual celebration of May the 7th as a 22

Radio Day (On May 7, 1895 A.S. Popov demonstrated in action the radio receiver he created). Huge work on the development of broadcasting and radio was carried out in the postwar decades. Broadcasting covered the entire territory of the Soviet Union, transmissions were conducted in 68 languages of the peoples of the USSR and 70 languages of the peoples of other countries. According to the total power, the broadcasting stations of the USSR occupied the 1st place in Europe. [2]. In 1946, broadcasting in the ultrashort wave (VHF) range began to be introduced in the USSR. In 1948, the All-Union Radio switched to three-program broadcasting (the total amount of broadcasts was 45 hours a day), and the collective farms began to receive radio broadcasts. Since 1957, as the construction of regional telecentres, VHF-duplicates of all three programs of the All-Union Radio have been launched. At the same time, more complex stationary radio receivers with a large number of bands, as well as the so-called radiols, enjoyed a widespread use; in addition, wire broadcasting via RTS loudspeakers continues to exist. In July 1949, the All-Union Radio-Radio Broadcasting Committee of the USSR Council of Ministers was transformed into the Radio Information Committee of the USSR Council of Ministers (intra-union broadcasting) and the Broadcasting Committee of the USSR Council of Ministers (broadcasting for foreign listeners). The reorganization of central institutions, ministries and departments in 1953 also affected the broadcasting system. Instead of the radio information and broadcasting committees, the Main Directorate on Radio Information and the Main Directorate on Broadcasting of the USSR Ministry of Culture were formed. In the early postwar years, operational information occupied the leading place in the programs. Thus, 12 issues of the «Latest News» and three reviews of central newspapers were broadcast daily on the radio. The practice of the Soviet radio journalism continued to improve, enriched by new creative experience. Radio correspondents often spoke at the microphone with «live» stories about meeting people. Often, the release of the «Latest News» entirely consisted of speeches by people of various professions. On July 26, 1954, the radio organized the first program for the employees of the research stations North Pole-3 and North Pole-4. 23

Radio regularly broadcast lectures, talks about the works of K. Marx, F. Engels, V.I. Lenin, on dialectical and historical materialism, the cycles on the history of the party, popular conversations «To help students of political schools» The daily radio station Radio Calendar briefly covered significant dates. Radio paid a lot of attention to the issues of industrial production, coverage and promotion of the experience of foremost workers and innovators, popularization of the success of socialist competition. In 1951, the editors of industrial programs organized several new periodic programs, including the «Diary of Socialist Competition». Radio actively helped to raise the level of economic and technical knowledge of workers in the national economy. In March 1947, the call signals of a new radio magazine for rural youth «For High Harvest» were heard from Moscow, and then the daily time programs for collective farmers were organized under the I program of the All-Union Radio, which were repeated in the evening according to the II program. In the following years, comments by scientists and specialists on the course of seasonal work, radio news items under the heading «Advanced Collective Farms of Our Country», and transmission cycles for field farmers, livestock breeders and machine operators were introduced, as well as 30 minutes daily broadcast on science and technology. The editors of international life paid much attention to promoting the foreign policy of the Soviet state; 15–20-minute reviews of the events abroad, «At the World Map» conversations, speeches by international commentators, responses to the letters from listeners, reviews of such newspapers as For Lasting Peace, for People’s Democracy and Novoye Vremya, as well as the foreign press were regularly broadcast in radio programs. Radio carried out an enormous propaganda and organizational work during the preparation and work of the 20th CPSU Congress. The radio programs explained the significance of the upcoming congress, the tasks set by the Communist Party to the Soviet people, and how the working people are fighting to translate the plans of the party into reality. On February 13, 1956, on the eve of the opening of the congress, the radio broadcast was unusual in form and content of the issue of the latest news. It compared the events of this day with the events that took place 27 years ago – in April of 1929, when the 24

XVI Conference of the CPSU (b) discussed the first five-year plan for the development of the national economy of the USSR. And this interchange of times made for millions of listeners a particularly visible and tangible victorious tread of our Motherland. The programs of broadcasting quickly increased the proportion of literary and musical radio programs. Wide propaganda of the best works of classical and Soviet References and music, familiarizing listeners with the References and art of the socialist countries, with the works of progressive artists, fighters for peace and democracy were characteristic of this period. In the postwar period, broadcasting to foreign countries continued to develop and improve. The radio explained the crucial role of the Soviet Army in the defeat of Nazi Germany. On May 9, 1945, a report on the Victory Parade was broadcast from the Red Square in English, German, French and Italian, and the documentary recording of the parade was broadcast in many other languages of the peoples of the world. The event widely acquainted the public with the living conditions of Soviet workers, peasants, intellectuals, youth, and women. Radio broadcast to foreign countries of the materials about the Soviet five-year plans, about the principles of planning in the USSR, about the Soviet Constitution, about Lenin's national policy also took place. New important reform was carried out in the Soviet broadcasting and television in 1960. In accordance with the decision of the Central Committee of the CPSU of January 29, 1960, a new structure of the State Committee on Radio and Television was developed. The main directorates that previously existed in the Committee were transformed into the main editions consisting of broadcasting departments. The Committee acquired the form of a creative organization that most fully corresponded to the nature of radio and television activities. The new structure has created the conditions for the improvement of broadcast programs. Since October 1, 1960, Central Broadcasting has become round-the-clock. Its volume increased to 77 hours and 15 minutes per day [3]. In June 1962, the Central Committee of the CPSU adopted a resolution «On measures to further improve the work of broadcasting and television.» The resolution stressed the need to improve the reception of programs everywhere, and measures were envisaged to 25

improve artistic broadcasting and to train specialists for radio and television in the higher educational institutions of the country. In 1962, a new Regulation was introduced on broadcasts of the All-Union Radio, which provided for a specific and precise definition of the content and genre of the planned broadcasts, the organization of seasonal (autumn-winter and spring-summer) broadcasting grids, and in March 1964 a resolution of the Council of Ministers of the RSFSR was adopted (there were also similar decrees in other union Republics) on the mandatory availability of a radio broadcasting network in all residential buildings under construction. Over the next 30 years, 3 radio channels on ultrashort waves were available in all regions of the USSR – 1 program of the AllUnion Radio (together with the «regional windows» within which regional television and radio committees broadcast, Mayak and 3 programs of the All-Union radio, each of which had one duplicate on the medium waves, 1 program also had one long wavelength (broadcasting was carried out via radio lines and portable all-wave radio receivers that appeared during this period), one on wire broadcasting (through the three programs that appeared during this period using many wired radio broadcasting receivers: the 1st program of AllUnion radio (together with «regional windows» and «regional windows» within which regional radio centers broadcast), the 2nd program – «Mayak», the 3rd program of the All-Union Radio; only the 1st program of the All-Union Radio) was broadcast through the loudspeakers of the broadcasting networks [3]. On April 15, 1963, the 5th (round-the-clock) Central Broadcasting Program was launched, intended for Soviet people abroad and for foreign listeners who spoke or learned Russian. Other programs had undergone fundamental changes. From August 1, 1964, instead of the II program, a new 24-hour information and music program «Mayak» was introduced. The volume of the III program was increased by up to 12 hours per day. The 4th program was renovated: it was transmitted to the population of the Far East and Eastern Siberia for 20 hours per day (the 4th program «A») and separately in the same volume for the population of Western Siberia and Central Asia (the 4th program «B»). Remarkable pages in the history of Soviet broadcasting were the programs devoted to the conquest of space. The most extensive 26

and operational coverage in the «Latest News» was devoted to the launches of artificial earth satellites and spacecraft. A few minutes after the official announcement of the next launch, the satellite signals recorded on the tape sounded on the radio; trainees received information about the movement of satellites over various parts of the country; scientists spoke at the «Latest News» microphone. The radio also transmitted numerous responses of Soviet scientists, workers, collective farmers, cultural figures, and the public in foreign countries. On April 12, 1961, at 10 o’clock 02 minutes, all radio stations of the Soviet Union transmitted the TASS message, which will forever remain in the memory of mankind. It read: «On April 12, 1961, in the Soviet Union, the world's first spacecraft-satellite Vostok with a man on board was put into orbit around the earth. The pilot-cosmonaut of the Vostok satellite spacecraft is a citizen of the Union of Soviet Socialist Republics, a pilot, Major Gagarin Yuri Alekseyevich ...» Radio not only sought to cover major events in a timely manner, but also searched for new forms and methods of presenting information material. Along with conversations, lectures and consultations, radio started using increasingly in its programs radio news, radio stories, compositions, reports, dialogues. A prominent phenomenon in the programs of the All-Union Radio were programs devoted to the 20th anniversary of the Victory of the Soviet people over Nazi Germany, especially the great documentary and artistic cycle «The People's Feat». Radio journalists did a great job searching for unique recordings made during the war and after it in Moscow, in the liberated territories of our country and abroad. These programs consisted of artistic and documentary sound recordings – stories at the microphone of famous military leaders of the Great Patriotic War, Heroes of the Soviet Union, former partisans and underground fighters. In 1956, from the main editorial staff of radio broadcasting for children and youth, the editorial staff of broadcasting for young people emerged as an independent editorial board. This made it possible to more clearly determine the age structure of students and to distinguish between the subjects of programs designed for different age groups. In 1962, the first program of the radio station «Youth» was performed. 27

Differentiation appeared within the programs for the young: special headings were addressed to working and rural youth, students, and soldiers of the Soviet Army. The evening program «Youth» was devoted to References, music and other forms of art. Literary and drama broadcasting promoted the most significant works of modern Soviet and foreign References, drama, Russian classics. On the air appeared programs «Masters of Soviet Poetry». In the program «Literary Evenings» a new section «Sound Publications» was created, in which the recordings of the voices of V. Mayakovsky, S. Yesenin, E. Bagritsky were heard. The writer I. Andronikov led this section. The Library of New Soviet References informed the audience about new books. The Radio University of Culture, established in September 1959, received wide recognition from the audience. The University Radio programs gave listeners the opportunity to systematically and consistently accumulate the knowledge necessary for modern man. Radio drama – one of the most popular types of art programs. Famous writers and playwrights performed as authors of original radio plays. Among all types of broadcasting in programs of the AllUnion Radio, music programs ranked the first in terms of volume. In creating a huge number of musical programs of various forms and genres, the decisive role was played by the own musical groups of the All-Union Radio. By the beginning of 1966, the population of the USSR had about 80 million radio receivers and broadcasting points. The total volume of Central Broadcasting for the population of the Soviet Union at this time was 138 hours per day. Of these, 69.2 percent were socio-political programs and 29.8 percent – art programs. Soviet radio carried out a large propaganda and organizing work during the nationwide celebration of the 50th anniversary of the Great October Revolution and the 100th anniversary of the birth of V.I. Lenin. The leading place was taken by programs showing the leading role of the CPSU in the political, economic and cultural life of the country, the beneficial influence of the economic policy of the party and the government on the solution of the main task – the creation of the material and technical basis of communism, the satisfaction of the material and spiritual needs of the working people. Soviet radio explained the essence and significance of the alliance of 28

the working class and peasantry at the new stage of development of our country. The cycle of radio shows, radio compositions and other programs was devoted to V.I. Lenin, his activities during the preparation and accomplishment of the October Revolution, socialist construction, the triumph of Leninist ideas. The «Party of Revolution» and «Country of the Soviets for 50 Years» program cycles revealed the role of the party in the revolution, building a new society, resurrecting the pages of the heroic past. The programs «In a single order to a single goal» showed the triumph of Lenin's national policy, the rubric «Great October and the Fates of Nations» – the influence of the October Revolution on the world historical process. At that time, one of the main tasks of the Soviet radio was wide propaganda of the ideological heritage of V.I. Lenin. The monthly Lenin Almanac, a periodical radio publication of a documentary character, described the life and work of V.I. Lenin, the documents, first published in the Complete Works of the leader of the revolution, the stories about the history of the creation of his works, the memoirs of V.I. Lenin. The program «The Dawns of the Revolution» was devoted to the program about the history of the revolutionary movement in our country, about the revolutionary traditions, about loyalty to these traditions of the Soviet youth. Documentary speeches of the participants of the October Revolution, the heroes of the civil war and the first five-year plans were constantly heard on the air. The direct continuation of this cycle was the «Great Image» program, which told about the life and work of V.I. Lenin. An important place in the socio-political broadcasting, as in previous years, was occupied by the Lenin University of Millions. The broadcasting and television committees of the Union and autonomous Republics, territories and regions actively helped the Central Broadcasting to more broadly show the geography of the revolutionary events of 1917. Programs in which the theme of the preparation of the Soviet people for the 50th anniversary of October sounded were included in radio programs from the middle of 1966. The audience was greatly interested in the cycle of programs «In the places of revolutionary battles». There were broadcasts about the revolutionary events of 29

different years in Nizhny Novgorod, Ivanovo, Yaroslavl, Krasnoyarsk, in Donbas, on Krasnaya Presnya. Throughout almost the whole year of 1967, the «Chronicle of the Great October Revolution, Year 1917, prepared jointly by the All-Union and Leningrad Radio was broadcasted. The authors of the Chronicle set themselves the task of recreating the content of each day, each hour of the revolutionary history of Russia in 1917. The journalists managed to create a vivid sound chronicle of the revolution, organically combined the material of written documents with the recordings of voices of the participants of historical events, reports from the places of revolutionary battles with historians' comments. The Radio Festival of the Soviet Republics was dedicated to the 50th anniversary of the Great October Socialist Revolution. More than 700 programs of national and local committees went on the air in a total volume of 350 hours. A remarkable feature in the work of radio was strengthening of its organizational role. The main editorial board of propaganda took the construction of enterprises of the construction industry, light industry and agriculture under special control. At each start-up construction, control posts were created by the commanders of the All-Union Radio together with the local radio committees, whose posts were regularly published under the heading «On the Start-up Constructions of the Five-Year Plan.» The main editorial office of broadcasting for children and youth and the radio station Yunost paid much attention to cultivation of Soviet patriotism. A series of programs went on the air, telling young people about the heroic feats of the older generation in the Civil War and World War II, about those who defended the Soviet power [4]. Broadcasts of the All-Union Radio were prepared by the main editorial boards (propaganda, information) of broadcasting for children, young people, editorial boards responsible for literary drama, music broadcasts for Moscow and the Moscow Region and the committees in the union and autonomous Republics, territories, national districts, and regions. At the beginning of 1977, the All-Union Radio had 8 broadcasting programs (average daily volume was 158.3 hours), the 1st program (main) – the all-Union, informational, sociopolitical, educational and artistic (average daily broadcasting volume 30

making 20 hours) had 3 doubles, considering the time zones of Western Siberia, the Republics of the Central Asia (except the Turkmen SSR) and Kazakhstan, Eastern Siberia, and the Far East. The 2nd program («Mayak») – a round-the-clock, information and music program transmitted simultaneously to all regions of the country, the 3rd program – general education, literary and musical programs had the average daily volume of 16 hours. The 4th program was a musical one, it sounded on medium and ultra-short waves (the volume of broadcasting was on average 9 hours), the 5th program was round-the-clock, informational, socio-political and artistic, addressed to Soviet people outside the country. (sailors, fishermen, polar explorers, etc.). Local radio broadcasting in the USSR was carried out by the Republican, territorial, regional, city radio committees and radio editors. Transmissions were conducted by 300 2-program transmitting radio stations. Moscow, the capital of the Union of the Soviet Republics, as well as more than 10 cities had stereo equipment for broadcasts. In the USSR, the largest wire broadcasting in the world had the total length of lines of about 2 million km, over 200 cities had multiprogram wire broadcasting, 14 committees of the Union Republics broadcast in 3-4 programs. Of the 162 regional, territorial and district committees, 113 ones broadcast in 2 or more languages (for example, those in the Dagestan ASSR, broadcast in 9 languages). Own broadcasting was also carried out in major cities of the Soviet Union (196 city editorial offices). There was a network of factory broadcasting, broadcasting at the universities, research institutes, collective farms and construction sites. In the country, there were (1975) 79 radio receivers and a radio sets per 100 families; virtually every family in the city could receive All-Union and local radio programs by wire. In 1977, the total average daily volume of broadcasting in the Soviet Union was 1307 hours. Radio programs devoted to the 50th anniversary of the Great October Socialist Revolution, the 100th anniversary of the birth of V.I. Lenin, and the 30th anniversary of the Victory of the Soviet people in the Great Fatherland enjoyed a special attention: The War of 1941–45, «The Chronicle of the Great October Revolu31

tion. Year 1917», «Fifty heroic years», «Literary Leniniana», radio chronicles «Biography of V.I. Lenin», «Feat of the People», «Documents of the Great Patriotic War». The main socio-political programs of the All-Union Radio were the news bulletins of the latest news on the 1st program, as well as the news releases on the Mayak program. Issues related to socialist construction were covered in the «Lenin University of Millions» radio cycle. Broadcast of the All-Union Radio «Time, events, people» told a multi-faceted story about the everyday work of the Soviet people. International problems were heard in such programs as «International Diary», «In the countries of socialism», «International observers at the round table», «On the countries and continents». From the first days of broadcasting, by the recommendation of N.K. Krupskaya, the programs designed for specific social and age groups of the population were created. There were broadcasts for workers («At Working Afternoon», etc.), villagers («Land and People», «Village Meetings»), children («Peers», «Pioneer Dawn»), youth («Youth» radio station with various blocks of programs for the youth of the village, students of vocational schools, students, soldiers, a special program for the BAM builders, etc.). Literary and dramatic broadcasting promoted the best works of Russian, Soviet and foreign References and drama. Famous writers and poets, leading critics («Writers at the Microphone», «Poetic Notebook», «References and Art Abroad», «Theater and Life») participated in the programs. The All-Union Radio regularly participated in the international festival of radio shows for children and youth. Radio played an important role in promoting the works of composers of the Soviet Republics, the world classical heritage, and the novelties of the musical life of foreign countries. Only under the 1st program of the All-Union Radio, 15-17 concerts and musical reviews were heard daily. «Mayak» conducted music programs around the clock. These programs were the main ones on the 3rd program and made up the 4th one. Programmes were conducted according to the letters of the listeners «Radio Mail», «Field Mail «Youth» «At Your Requests», «Poetic Notebook», «In the World of Words», consultations were given, as well as comments on various issues. Much attention was 32

paid to educational and enlightening programs. Programs were differentiated by the level of education of the audience, by sections of science. The program «Radio University of Musical Culture» was popular. A significant place was occupied by educational programs broadcast by local committees. Sports programs were regularly broadcast: news broadcasts, broadcasts of competitions within the country and of major international competitions. An important role in the work of the All-Union Radio, local broadcasting committees was played by public editorial boards, which included representatives of workers, scientists, and specialists in various public, scientific, and cultural problems. Many programs were compiled and maintained with the help of working correspondents and freelance presenters, in preparing programs the requests and suggestions from listeners were taken into account. Regular broadcasting to foreign countries was started in 1929 (first in German, then in English, French and other languages). In 1975, 10 editions were broadcast by groups of countries and regions in 70 languages. The station «Peace and Progress» (founded in 1964), an organ of Soviet public organizations, also broadcast to foreign listeners. Soviet radio brought to the listeners of the whole world the truth about the first country of socialism, the Soviet way of life, about the success of the working people of the Soviet Union in building communism, and explained the foreign and domestic policies of the CPSU and the Soviet state. Music and art programs were transmitted. Transmissions to foreign countries were also conducted by 9 Republican committees (Azerbaijani, Belarusian, Armenian, Latvian, Lithuanian, Tajik, Uzbek, Ukrainian, Estonian) [4]. In peaceful conditions, radio workers face new responsible tasks. The basic law of our further economic, technical and cultural growth in the coming years was the five-year plan for the restoration and development of the national economy of the USSR. There was no need to prove that the radio, no matter what area of application was taken, played a very serious role. The most important task of radio broadcasting was to explain to the working people the tasks of the five-year plan, to mobilize the Soviet people to fight for the fulfillment and over-fulfillment of the new five-year plan. Soviet broadcasting was one of the most important means of political edu33

cation and organization of the masses, raising the culture of our people. Here are given a few figures describing the volume of broadcasting in the USSR. The Central intra-broadcasting was conducted for 22 hours a day. In the evening, the broadcast was carried out simultaneously on two programs. There were also special programs for the Far East, Central Asia and Siberia. The total volume of the central intra-broadcasting was more than 31 hours a day. Every day, 17 releases of the Last News and reviews of central newspapers were broadcast on the radio, that was the volume of a four-page largeformat newspaper. A large place in the programs of broadcasting was occupied by popular science, literary and other radio programs. The total amount of materials transmitted by radio during the month, excluding broadcasting for abroad, was more than two hundred printed pages. In addition, over 20 concerts were broadcast daily on the radio. Radio broadcasts abroad were conducted daily in 30 foreign languages. Local broadcasting was also widely developed in the country. Radio broadcasting was conducted in 170 Republics, territories and regions and in 3,000 cities and districts of our country. At that period, more than 17,000 editorial and engineering-technical workers, artists, conductors, broadcasters, sound engineers, ton-masters and other workers were employed in radio broadcasting, not counting the attendants of radio stations and radio broadcasting hubs. The task of broadcasting workers was to successfully use radio to propagate party ideas among the broadest segments of the country's population, to raise the culture of the people and rally the workers around the party and the Soviet government. The development of communications and in particular radio communications acquired an exceptional national economic importance. As in the prewar period, and especially in the war years, Soviet radio operators did a great job. During the years of the Stalin five-year plans, a significant network of radio stations was established, providing reliable communication with all regions of the USSR. However, as our economic construction expanded», as industrialization embraced ever new, often remote areas of our country, the demand for radio communications steadily increased and the 34

tasks of radio communications became more and more diverse. The five-year plan provided for the construction of a large number of new radio stations, including 55 powerful transmitters. The implementation of this program significantly improved communication in the country and in particular, communication with the Far East, Kazakhstan, the Republics of Central Asia and the Caucasus. Big tasks were set by the five-year plan for the radioification of the country. The Five-Year Plan Act provided for a significant increase in the capacity of existing ones, as well as the construction of new broadcasting stations. This significantly expanded the coverage area of the broadcasts. In addition to Moscow, the construction of new radio stations was planned in Leningrad, Kiev, Minsk, Riga, Lviv and in a number of other cities. Radio broadcasts from Leningrad were well heard on the territory of the European part of the USSR. Radio programs in Kiev and Riga were available in Moscow and in other parts of the country. Thus, the construction of new radio stations significantly improved the service of Soviet radio listeners, provided a greater choice of broadcast programs. The construction of new radio stations was successfully solving the introduction of multiprogram broadcasting in the country. The five-year plan envisaged linear cable construction connecting major Republican centers with Moscow. This significantly improved the quality of broadcasts of Moscow programs by local radio stations, as well as provided an opportunity to broadcast local programs by radio stations in Moscow. The restoration and further development of radio communications and telecommunications was ensured in all areas subjected to German occupation. The five-year plan also provided for a significant expansion of the radio receiving network. It was planned that the industry would release at least 3 million radio receivers over the next five years. By the end of the five-year plan, the production of radio receivers was supposed to reach one million per year. Particular attention was paid to the village radio. Huge prospects were opening up to broadcasting in connection with the development of television. The level of radio engineering of that period allowed the transmission of moving images by radio. The spectator, who had a television receiver, could not only hear at home, but also see drama, bal35

let and other productions transmitted by radio, as well as films, concerts, sporting events and other programs. Both centers conducted regular television broadcasting. The fulfillment of the five-year assignments in the field of television posed great and complex tasks for the workers of industry and scientific research institutions [5]. Practical tasks 1. Prepare reports on the topic «History of the development of Soviet broadcasting in 1920-1970. 2. Prepare presentations on the topic «Development of broadcasting in the years 1980-1990». 3. Formation of radio journalism of the Soviet period Control questions 1. The first creators of radio broadcasting in the world and in the country. 2. Give the analysis of RB programs of 1930-1940. 3. A characteristic feature of radio development during the Second World War. 4. The specifics of the development of broadcasting 1960-1980. References 1. Мурашов Ю. Электрифицированное слово. Радио в советской литературе и культуре 1920-30-х годов // Советская власть и медиа: сб. статей. – СПб., 2006. – С. 17. 2. История радиовещания: – https://ru.wikipedia.org/wiki 3. Очерк по истории советского радиовещания и телевидения: – http://www.tvmuseum.ru/catalog.asp?ob_no=4726 4. Радиовещание и телевидение: https://www.booksite.ru/fulltext/1/001/008/107/009.htm 5. Попов А. и советская радиотехника: – http://radio-cccp.narod.ru/

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Chapter 3 THE HISTORY OF RADIO AND TELEVISION DEVELOPMENT IN KAZAKHSTAN

The history of the radio and television broadcasting industry development of the Republic dates back to the distant past: the first radio station in Kazakhstan appeared in 1912, when the radio line began to operate, connecting Fort Alexandrovsk (now Aktau) with Fort Petrovsky (now Makhachkala). A major role in the history of radio broadcasting of the Republic was played by the Tashkent radio station, which broadcast to the whole of Turkestan region, where 1/3 of the population inhabiting the present territory of Kazakhstan lived. The radio station in addition to Russian also broadcast in the Kazakh language. By 1920, radio stations operated in Kazakhstan in Urda, Kustanai, Orenburg, Pavlodar, Almaty, Guryev, Uila, Aktobe. And since 1921, according to the decision of the Council of People's Commissars of the Kazakh ASSR the right to distribute a radio bulletin consisting of 1600 words daily in the Republic was granted to the Orenburg radio station – this is how the Kazakh radio appeared, and in March 1927 for the first time, Kazakh was spoken on the radio. In 1931, the broadcasting radio station with a power of 10 kW was built in Alma-Ata, and on May 4, the Republican broadcasting began in Kazakhstan. In 1932, the Regional Committee for Radiofication and Broadcasting was established, and the Kazakh Radio began to broadcast the All-Union Radio program for Siberia, Central Asia and Kazakhstan. Until 1958, the organization of broadcasting in the Republic was coordinated by the Broadcasting Directorate of the Ministry of Communications of the Kazakh SSR. In Kazakhstan, television began on March 8, 1958, when the first test program of the Alma-Ata TV studio, now the Kazakhstan TV and Radio Company, was broadcast. Following the example of the capital, its own TV appeared in Ust-Kamenogorsk, Karaganda, in 1959 – in Dzhezkazgan, – 1960 in Petropavlovsk, Tselinograd (now Astana), Uralsk, in – 1964 in Balkhash, Semipalatinsk, in 1965 – in Pavlodar [1]. 37

With the commissioning in 1958 of the first telecentres in AlmaAta, Ust-Kamenogorsk and Karaganda and the beginning of television broadcasting, the Republican Directorate of the receiving television network of the Kazakh SSR was formed. This was the first step towards the establishment of television and radio broadcasting of one of the strategically important sectors of the economy of the Republic. In January 1964, the Directorate of Radio Communication, Broadcasting and Television of the Ministry of Communications of the Kazakh SSR was organized to coordinate and guide the rapidly developing industry – television and radio broadcasting. By 1966, the television network of Kazakhstan expanded to 29 single-program radio and television stations (RTS), of which 15 powerful RTS were built in the regional centers of the Republic, 8 of which were also broadcasting VHF-FM. At the same time, the development of the television and radio broadcasting network of the Republic became possible thanks to the construction of radio-relay and cable highways, which bring TV and radio programs to the RTS. The need to provide broadcasting to remote rural areas has pushed for the creation of new satellite technologies for the distribution of television and radio programs. The first system of satellite television broadcasting in the USSR was the Orbita system created in the mid-60s, this system was based on the Molniya-series satellites. The 40 W transmitter broadcast the first program of Central Television to the territory of the USSR and the socialist countries of Eastern Europe. By the end of 1967, the receiving network of Orbita stations provided TV broadcasting in the regions of the Far North, the Far East, Kazakhstan and Central Asia. In 1971, there were already 3 Orbita stations in Kazakhstan, 59 RTS, of which 6 were two-program ones, including 27 powerful RTS, 21 of which carried out VHF-FM broadcasting. In 1974, the Directorate of Radio Communications, Broadcasting and Television of the Ministry of Communications of the Kazakh SSR was transformed into the Republican Broadcasting and Television Center (RURT) of the Ministry of Communications of the Kazakh SSR, which was entrusted with the construction and operation of all Republican backbone, zonal radio relay lines, powerful radio television centers and other numerous objects of RS, RB, TV. 38

By 1976, 7 Orbita stations operated in Kazakhstan and 125 RTS, at 33 of which VHF-FM broadcasting was organized, and by 1981 – 241 RTS, at 52 of which VHF-FM broadcasting was organized. In the second half of the 70s, in parallel with the Orbit system, a new satellite system, Moskva, began to develop, the orbital part of which was composed of the Horizon geostationary satellites. In addition to television programs, broadcasting programs were also transmitted via the Moscow system. In Kazakhstan, the first stations of the «Moscow» system appeared in the early 1980s, and by 1986 their number reached 170 units. At the beginning of its development, the TV of Kazakhstan was bilingual, and broadcasting was in Kazakh (40%) and Russian (60%) languages. Since January 1981, the Republican TV program has been translated into a color image. In 1984 a new hardware-studio complex of color TV (ASK-2) was commissioned. This construction, which is original in its architecture, not only decorated the southern capital of the Republic, but also expanded the creative and technical capabilities of TV workers. On May 1, 1984, the second program of Kazakh TV, «Alatau», in Kazakh and Uygur was broadcast from ASK-2. This program was based on information and journalistic releases, documentaries and feature films, concerts, television performances, the programs were broadcast in a more national style. In the late 90s, the second program «Alatau» ceased its activities. Since 1989, broadcasts in German have been broadcast on the first state channel. Since 1992, the Korean edition has been regularly broadcast. In the early 90s, Kazakh TV broadcast through two national channels and 19 local channels. Channel One of the TV and Radio Company «Kazakhstan» regularly broadcast in the Kazakh language – 564 hours, in Russian – 60 hours, in German – 9 hours and Korean – 1.10 hours per quarter. The second channel of the «Alatau» program broadcast for 264 hours in Kazakh and 22 hours in Uygur language per quarter. The 370 – meter TV tower, constructed in the early 80s on the mountain «Kok-Tyube» («Green Mountain») expanded the reception area of television programs, as well as increased their quality. At the same time, television journalistic sets (TLC) – mobile video cameras appeared on TV. At the time, the average daily volume of national and local TV studios’ own broadcasting reached 30 hours. 39

In the early 1990s of the twentieth century, Kazakhstan did not undergo broadcasting changes. The collapse of the Soviet Union, the attainment of independence by Kazakhstan (1991), the entry of the Republic into the United Nations actualized the issue of creating international media channels, entering into a single global information space. New trends in broadcasting, associated with the restructuring of socio-economic and cultural life in the country put forward the problems of internationalization of programs on Kazakhstani air, the need for legislation in the field of broadcasting, training of journalistic personnel in accordance with new communication conditions. The process of Kazakhstan’s entry into market relations revealed the problem of competitiveness in the conditions of growing number of publications, there were 750 of them in the Republic (according to 1993 data) and 107 television companies appeared in the country at that time. The growth of quantitative indicators was associated with the emergence of independent, commercial cable television channels. The 1990s were marked by the process of the formation of alternative structures in the field of electronic media, the trend of decentralization of broadcasting in the country intensified. A network of commercial TV and local cable networks began to appear in the regional and district centers of Kazakhstan, and video salons were widely developed. Over 80% of the population watched TV shows in the cities and villages of the Republic. In 1990, the Republican Association of Commercial TV was created in Almaty, its first members were: KTK – Commercial TV channel and TAN television company («Morning»). «KTK» TV channel was created on November 2, 1990, TAN – on April 1, 1991. From the middle of 1993, the «31 channel» appeared on the air in Almaty, followed by the independent company «Totem», which ceased to exist in 1997. Almaty TV was transformed into a state jointstock company ATD (Almaty didyary) – ATV (Almaty TV) – now Rakhat TV company, which broadcasts in Kazakh and Russian. In the early 1990s, there were independent television companies – Asia TV, Otrar, Dala, Gulzhan TV, and Krams Tween, which ceased broadcasting by the middle and the end of the twentieth century. 40

By 1991, the number of RTS in Kazakhstan reached 1096 units, for 76 of which VHF-FM broadcasting was organized. However, only the programs of the central (all-union) television and radio broadcasting were transmitted through the Orbit and Moscow systems. In order to solve the problem of coverage of the population of the Republic by the programs of the Kazakh radio and television in the late 1990s, the network of television satellite broadcasting «Zharyk» was commissioned in Kazakhstan, by means of which the program of national television was distributed through the satellite «Horizon». The Zharyk system became the first Republican satellite television network in the USSR and the country's first satellite television network in the Ku-band. As a result, the opportunity to broadcast the Kazakhstan TV channels appeared almost throughout the country. In 1993, the Republican center of radio communications, broadcasting and television of the Ministry of Communications of the Kazakh SSR was renamed to the Republican Production Association Radio and Television (RPO RT) of the Ministry of Communications of the Republic of Kazakhstan. In 1996, the United Company of Radio Communications, Radio Broadcasting and Television (UC RCRGT) was established within the structure of NAC Kazakhtelecom. It consisted of structural units of broadcasting Oblast Telecommunication Directories (OTD), in particular: OTD of Karagandy, Jezkazgan, Atyrau, West Kazakhstan, Aktyubinsk, North Kazakhstan, Eastern Kazakhstan, Kzylorda, Akmolinsk, Kostanay, Torgay, Kokshetau and Pavlodar. RSE ARTS (Kok-Tobe) remained directly in the structure of Kazakhtelecom. In 1997, by the Decree of the Government of the Republic of Kazakhstan of 07.10.1997 No. 1419 Kazteleradio State Enterprise was established as a special subject of television, radio broadcasting and radio communications, the main task of which was defined as «distribution of television and radio broadcasts and other television and radio broadcasts». As the authorized agency of the state management of the enterprise the National Agency for Press and Mass Information of the Republic of Kazakhstan was appointed. The process of Kazakhstan’s entry into market relations has revealed the problem of competitiveness in the face of the growing number of TV channels. The transition to a democratic, civil society 41

led to significant changes in information processes, including television broadcasting. Topical broadcasting was introduced. Transformations of electronic media influenced on the specific activities of journalists, on its creative and technical side. From the producer of informational texts, the journalist is increasingly becoming an organizer, an intermediary in communicating with the audience. This can be seen in live programs with telephone feedback, tele-bridges, and televised debates with an «open microphone». A huge array of new information, a range of different opinions and views, fell upon the audience. Dialogue, controversy, discussion – illogical forms of broadcasting have become commonplace in audiovisual journalism. Gradually, there was a transition from propaganda to a liberal type of communication. Television was creating its broadcasting policy of a sovereign state. New trends in broadcasting appeared, characteristic of the 1990s of the 20th century: decentralization, specialization of programs and stations, personalization of information, commercialization, localization of broadcasting. All of them were connected with the restructuring of the socio-economic and cultural life of the country. The southern capital, Almaty, from October 5 to 9, 1992, became the center of the UNESCO International Workshop on the Promotion and Development of Independent and Pluralistic Media in Asia. For the first time such a conference was held in Kazakhstan, in the Central Asia. This was the first important event in response to the Resolution «To promote the development of press freedom in the world», adopted at the 26th session of the UNESCO Conference. Fifty-one representatives from 25 countries took part in the AlmaAta seminar. Asian media were represented by 24 observers, and there were more than 100 observers from the CIS countries. No wonder that Kazakhstan was chosen as a meeting place for Asian journalists, since The Republic plays an important role in consolidating relations between Asia and Europe, and is gradually entering the information channel of international communication. In Kazakhstan at that period new media organizations, specialized journalistic centers and studios were being created providing free access to various information. Information processes are global in nature, but they have the nationnal specifics of the state in which they occur. In Kazakhstan, with 42

the attainment of independence, sovereignty, a new MMC system was formed. The beginning of the 1990s of the twentieth century was marked by the emergence of alternative media (private, commercial) against the background of changes in the domestic and foreign policy of the country, which was developing in a market economy. Demonopolization of the broadcasting sector was carried out. The denationalization of TV, the emergence of private, joint-stock television companies made it possible to enter faster and easier the audiovisual market, which constantly feels the need for information resources, for broadcast exchange. If in 1990 there were only two channels of the Republican TV in the country, four radio programs, about 400 magazines and newspapers were published, by the end of the XX – beginning of the XXI centuries there were already 1586 media in the Republic, including 1047 newspapers, 400 magazines, 125 TV and radio companies, 14 news agencies. Kazakhstan is actively introducing new information technologies in the media. The vast territory of the country also contributes to the development of satellite TV – television without borders. A great help in this direction is the Kazakhstan cosmodrome «Baikonur» – the center for launching space rockets. Thanks to the satellite TV system «Zharyk» («Light»), it became possible to transmit television programs from the northern and southern capital to all regions of Kazakhstan, as well as to cover with peripheral broadcasting a part of Russia, Uzbekistan, China, Mongolia. In addition, a new ground broadcasting station, which increases the potential of commercial television and radio companies in covering the entire territory of the country, was installed in the Republic together with an Australian company. The information technology revolution has stepped up the introduction and development of global MMC, satellite, cable TV; mobile telephony is rapidly spreading in the Republic, the number of Web publications, information multimedia resources is growing, fiberoptic communications and paid video are being developed. Socioeconomic changes in Kazakhstan society have determined the direction of development of new information technology, the country's mass media. In 1995, in accordance with the Decree of the Cabinet of Ministers of the Republic of Kazakhstan «On the National Satellite 43

Broadcasting and Data Transmission System», Katelco Joint-Stock Company was established, which provided for the development of the national network and transfer of state broadcasting programs to a satellite regime. In 1997, the first national television and radio broadcasting network was launched with the provision of signal transmission services from a television company to television transmitters in populated areas. The formation of the information policy of Kazakhstan requires the priority of national interests, and the developing information and cultural space requires active integration into the countries of near and far abroad. The solution of this task will determine the success of the process of Kazakhstan’s entry into the world information and broadcasting system. Electronic media do not have any geographical or political boundaries; therefore, it is impossible to preserve intact the national culture, the peculiarities of life, which are exposed to powerful external influence. This process is global. The state can regulate this process: control the exchange of cultural information, determine the ratio, the interaction of flows of national and international information. Thus, in Kazakhstan, considering the amendments to the «Law on Mass Media», the transmission of foreign media on Kazakhstani television channels has decreased to 50% of the total broadcasting volume since 2002, and since 2003 – to 20%. The openness of Kazakhstani society in relation to the outside world is not only enrichment with spiritual values, but also the flood of the country with poor-quality or even negative television production. The principles and values of a pluralistic society should be realized through the media – as the basis of spiritual identity, the foundation of a national information policy. These trends are also developing in Kazakhstan against the backdrop of global processes. In a market society, all media activities are subject to the same economic laws as other sectors of the economy. The information audiovisual market has formed in Kazakhstan: new editions, agencies, media centers, new TV programs, genres having new directions, trends defining the information and broadcasting policy of the beginning of the XX1 century have appeared. The majority of the population of the Republic selected television as the main source of information – 80%, print – 48%, radio – 44

40%. In the future, the real audience of viewers will be formed depending on the effective demand of the population. Television as a source of social and political information is more attractive for Kazakhstani audiences. The privatization of the media and communications sphere has a strong impact on the process of democratization of society, on its openness, on the accessibility for the citizens of the Republic of various sources of information. Deregulation, followed by decentralization of broadcasting, is a general global trend. The globalization of information is a powerful factor in cultural, social and political change in the country. Geographic boundaries are erased under the influence of the globalization of network information technologies. However, there is a domestic network infrastructure, which sometimes creates some technical difficulties that arise when interacting with the communication system of other countries. And the solution of this issue is not only technical, but also socio-political and economic. In this direction, certain steps have been taken towards the formation of a system of legal regulation of information relations. In 1999, a government document was adopted «On the National Satellite Broadcasting System», as well as the laws: «On Copyright and Related Rights» (1996), «On Communications» (1999), «On Mass Media» (1999). Currently, a new law «On Mass Media» is being developed. The implementation of social modernization in Kazakhstan under the influence of information technology is an urgent task, allowing the country to reach a higher level of development. The Zharyk satellite system makes it possible to cover more than 90% of the Republic’s population with national broadcasting. Kazakhstan joined the Intelsat International Satellite Organization in 1994. Satellite, cable TV provides Kazakhstani viewers with a diverse picture of the coverage of international events through 50 channels: Asian, European, American. The globalization of the information process activetes the development of the economy, science, culture, education, increases the interest in the local media. The country is searching for methods to regulate emerging new commercial media with the advent of the Internet, cable, satellite TV, and digital technology. Satellite technology and video products made it possible for Kazakhstani audiences to watch any programs and programs. Local, regional TV stations are an integral part of the ge45

neral broadcasting system serving the public interest. The compe-tition of broadcast channels contributes to the diversity of programs, raising the general broadcasting culture in the country. Kazakhstan, keeping up with the times, aims to follow the path of globalization of the world economy through the diversification of economic sectors. The first step in this direction was the adoption of the Strategy for Industrial-Innovative Development of the Republic for 2003-20015. Its main provisions were developed on the basis of the Kazakhstan-2030 Strategy and other program documents. Information processes are global in nature, but they have the national specifics of the state in which they occur. In Kazakhstan, with the acquisition of sovereignty (1991), a new media communication system was formed. The government approved the Program for the formation and development of the national innovation system for 2005-2015. In 2006, the first phase of the information technology park in the Alatau settlement was commissioned. The key direction of the upcoming development stage of the Republic will be the creation of a number of high-tech industries in the priority sectors of the country. Recently, the telecommunications market in Kazakhstan has changed dramatically. The growth rate of new media shows how great the demand is for information services. The cellular communications market is actively developing in the country. The state policy of informatization of education has been introduced in the Republic, and the Interdepartmental program «Internet Schools» has been approved. The government took the course to 100 percent equipping schools with computers. Open Joint Stock Company (OJSC) Kazakhtelecom has launched the Kazakhstan Internet network, in which pupils and students have the opportunity to get access to Kazakhstan's web-resources in a mode with reduced tariffs [2]. Kazakhtelecom continues to create in the major cities of the country a transport telecommunication network based on fiber-optic communication lines and the latest technology of SDH transmission systems. Already in 11 regional centers of the Republic digital transport networks allow organizing the transfer of all types of information (data transfer, video information and other multimedia services). The volume of investments in the telecommunications infrastructure of Kazakhstan in 2002-2005, according to the Committee on 46

Communications and Informatization of the Ministry of Transport and Communications, exceeded $ 600 million [3]. By 2005, the Ministry of Transport and Communications signifycantly expanded Kazakhstan’s access to information exchange and resources. By this time, there are 15 telephone lines per 100 residents of the Republic, the density of subscribers of all telephone networks for the same number of population was 30 persons, and the density of Internet users was 30 per 1000 inhabitants. The Ministry of Transport and Communications presented a new concept for the development of the telecommunications industry for the period up to 2005, which provides for the modernization of communication systems, the construction of a fiber-optic highway through all major cities of the country, transferring 50% of existing telephone exchanges to a digital standard [4]. On October 28, 2005, the regular meeting of the Council of the Regional Commonwealth Communication Operators (RCCO) was held in Astana (the capital of Kazakhstan), where Kazakhtelecom presented the Telecommunication Networks Management Center (TNMC), which became a vivid embodiment of world experience and advanced information and technological solutions. Its implementtation is the result of the full digitalization of the Kazakhtelecom trunk network, which completed the construction of the main ring of the National Information Super Highway in 2005. Among the priorities of Kazakhtelecom is further deepening of integration with international telecommunication companies. And in this important process, the role of the Regional Commonwealth in the field of communications, one of the first sectoral interstate associations formed in the post-Soviet space, becomes even more significant. Kazakhtelecom OJSC is the national operator of the telecommunication network of the Republic. The company has a license No. 1 of the Ministry of Transport and Communications of the Republic of Kazakhstan to provide services for all types of communications. Kazakhtelecom was the first in the CIS to offer open access to the Internet using automatic identification, which allowed any user who has a computer and a modem to get quick access to global network resources. In pursuance of the Decree of the President of the Republic of Kazakhstan «On the State Program for the Formation and Deve47

lopment of the National Information Infrastructure of the Republic of Kazakhstan» dated March 16, 2001, the Government of the Republic of Kazakhstan approved an Action Plan for the implementation of the State Program for the Formation and Development of the National Information Infrastructure of the Republic of Kazakhstan for 2001-2003. In many countries, the strategic importance of information and communication technologies, telecommunications and the aerospace industry has been recognized. The socio-economic conditions in Kazakhstan until the 1990s did not contribute to the realization of this task. Thanks to a focused public policy, this goal has become real now. In 2005, the volume of the telecommunications services market in the Republic is estimated at $ 1.5 billion. Our country ranks third after Russia and the United States in terms of the total number of hours spent in space. Kazakhstani scientists and specialists prepared and successfully implemented 4 comprehensive programs of research and experiments aboard the Mir orbital complex and the International Space Station with the participation of Kazakh cosmonauts T. Aubakirov (1991) and T. Musabaev (1991, 1998, 2001). Scientific, technological and organizational prerequisites for the development of space activities have been created in the country, and a certain scientific and technical potential has been accumulated. In Kazakhstan, the State program «Development of space activities in the Republic of Kazakhstan for 2005-2007» was adopted. New prospects of space activities and cooperation in this area are opening up. Kazakhstan from the lessor becomes an equal partner of the space powers. In the near future, space vehicles based on the Baiterek rocket and space complex (RSC) will be created in the Republic. Experts believe that with RSC Baiterek the country will be able to enter the international market for space commercial services. And the first step in the implementation of this Program was the creation and launch into a geostationary orbit in the summer of 2006 of the Kazakhstan communications and broadcasting satellite Kazsat1. In 2011, Kazsat-2 was launched, and it provides the entire country with digital television and radio broadcasting. With the launch of Kazsat-3, the country will not be dependent on foreign satellite operators. According to experts, Kazakhstan in 5-7 years, provided 48

sufficient funding for all projects and cooperation with leading foreign partners, can enter the top ten space powers of the world. The globalization of the information process activates the development of the economy, science, culture, education, increases interest in the local media. The beginning of the development of satellite television in sovereign Kazakhstan was laid in the early 1990s, after the state project of national satellite TV broadcasting «Zharyk» was implemented in the Republic. In 1991, through the Russian satellite transponder «Horizon -80E», and later in 1994 from the satellite «Intelsat -57E» the program of the Republican television was received. Simultaneously with the Zharyk project, another commercial project was developed to receive and retransmit foreign satellite television programs. The first cable television networks in the country began to be created in the late 1980s. According to experts, the Kazakhstani cable network is developing actively. Currently, more than 50 cable television network operators in the Republic offer cable TV services, mainly in regional centers and major cities of the country. According to the study conducted by Gallup Media Asia in February-March 2000, 76.1% of the population of Almaty had color TV sets with remote control, 23.3% color TV sets without remote control, and no more than 10% of the population had black and white TV sets. More than half of the respondents – about 56.5%, used an individual antenna for watching on-air television, a third of the respondents used a collective antenna, and 17.6% were users of terrestrial and cable television. At present, according to the Ministry of Information, Culture and Sports, there is one joint Kazakh-Russian program – ORTKazakhstan, and three Republican state television programs (Kazakhstan-TV, Khabar, El-Arna), one state Republican broadcasting program – «Kazakhstan-RB». Kazakhstan was the first among the Central Asian states in the CIS to begin broadcasting on progressive technology using digital television, a multimedia satellite television signal transmission system, and start the creation of direct television broadcasting. In May 2000, by Decree of the Government of the Republic of Kazakhstan dated February 24, 2000, under No. 298, the State 49

Enterprise «Kazteleradio» and the State Enterprise «ARTPS» merged to form JSC Kazteleradio. In 2001, Kazteleradio OJSC was reregistered as Kazteleradio CJSC, and in 2004 – as Kazteleradio JSC in accordance with the Law of the Republic of Kazakhstan «On Joint-Stock Companies» No. 415-II dated May 13, 2003. In 2007 by the Decree of the Government of the Republic of Kazakhstan dated May 10, 2007 No. 375, the state shareholding of Kazteleradio JSC was transferred to Samgau National Scientific and Technical Holding JSC. In 2008 by the Decree of the Government of the Republic of Kazakhstan dated July 3, 2008 No. 668, the stateowned stake of Kazteleradio JSC was transferred to National Information Holding Arna Media JSC. In 2010 by the Decree of the Government of the Republic of Kazakhstan dated May 5, 2010. No. 378, the state stake in Kazteleradio JSC was transferred to the Ministry of Communications and Information of the Republic of Kazakhstan. In 2011, the Decree of the Government of the Republic of Kazakhstan No. 48 dated January 31, 2011 on the reorganization of Kazteleradio JSC and Kazakhstan Telecommunications JSC Kazteleradio JSC were reorganized by merging into Kazakhstan Telecommunications JSC. In 2012, by the Decree of the Government of the Republic of Kazakhstan dated 11.03.2012 Number 314 the rights of ownership and use of the state-owned stake of Kazteleradio JSC were transferred to the Ministry of Transport and Communications of the Republic of Kazakhstan. On June 11, 2012 No. 777 the Decree of the Government of the Republic of Kazakhstan «On the national television and radio broadcasting operator» was approved, according to which Kazteleradio JSC was determined as the National TV and Radio Broadcasting Operator of the Republic of Kazakhstan. On September 2, 2015, Kazteleradio JSC became part of the subsidiaries of NIH Zerde JSC. Currently, the global community has developed a common understanding of the term «single information space» as a set of databases and data banks, technologies for their introduction and use, information and communication systems and networks that operate on the basis of common principles and general rules that ensure information interaction between organizations and citizens as well as meeting their information needs. 50

A single information space, as noted by researchers Sh.Zh. Seilov, and A.S. Sarsenbayev in the book «The Broadcasting Complex of the Republic of Kazakhstan: Problems and Prospects» (2000), consists of the following main components: 1. Information resources containing data, information and knowledge recorded on the relevant information carriers. 2. Organizational structures ensuring the functioning and development of a single information space, in particular, the collection, processing, storage, distribution, search and transmission of information. 3. Means of information interaction between citizens and organizations, including software and hardware and organizational and regulatory documents that provide access to information resources based on appropriate technologies. Kazakhstan is actively working with 13 international organizations coordinating the activities of transport and communication complexes in the world. The Ministry of Transport and Communications of the Republic has developed the main directions for the development of the communication complex. The focus is on the following issues: – completion of the formation of national communication networks, – modernization of telecommunications, – The organization of the release of advanced communication systems based on the conversion and reprofiling of existing industries [5]. By the end of the twentieth century, the Ministry of Transport and Communications had issued 124 licenses for the provision of various communication services in the field of telecommunications and postal communication, as well as data transmission, Internet access, mobile radio communications, personal radio call, and on-air broadcast of television and radio programs. Large-scale reforms in the telecommunications and broadcasting sectors of the Republic have been going on for several years, starting in 1992. These sectors were reformed in several areas: the creation of a legislative and regulatory framework, restructuring, incorporation and privatization of enterprises. In no country in the world did the transformation of the broadcasting and telecommunications complexes take place as quickly as in Kazakhstan. For 51

example, in the United States, Great Britain, the process of market liberalization was carried out gradually, under the control of the state and took from 7 to 15 years. Kazakhstan, keeping up with the times, aims to follow the path of globalization of the world economy through diversification of economic sectors and a gradual departure from the raw materials orientation. The first step in this direction was the adoption of the «Strategy for the Industrial-Innovative Development of the Republic for 2003-20015». Its main provisions were developed on the basis of the Kazakhstan-2030 Strategy and other program documents. The formation of nuclear technology parks, biotechnologies and three regional technology parks has begun. Eight venture funds have been created, including three international ones, which have already begun to consider innovative projects. The key direction of the upcoming development stage of the Republic will be the creation of a number of high-tech industries in the priority sectors of the country. Recently, it is possible to note the growing interest of states and public organizations in telecommunications and broadcasting technologies as the basis for creating a single information space of states. The growth rate of new media shows how great the demand is for information services. Kazakhstan is actively introducing new information technologies in the MMC. Reflecting on the future of the country, President N.A. Nazarbayev noted that «by 2030, Kazakhstan will have become the Central Asian snow leopard and will serve as an example for other developing countries. This will be the Kazakhstan leopard with its inherent elitism, independence, intelligence, courage and nobility, courage. The Kazakhstan leopard will have both western elegance and oriental wisdom and endurance» [6]. Head of the State – N.A. Nazarbayev gave a number of specific instructions to develop a state program for the formation and development of a national information infrastructure, as well as to improve the legislative regulatory framework, strengthen the domestic information market, and develop domestic technologies and industries. 52

Practical tasks 1 Prepare a report on the topic «Development of TV in Kazakhstan: Past and Present». 2. Prepare a report on the topic «The history of the development of radio in Kazakhstan 3. First broadcast, showmen, journalists of Kazakh TV. Examples, program analysis, broadcasting policy. 4. Make an analysis of television programs of modern Kazakhstan. 5. Regional television, TV regions of the Republic. 6. Analyze the information releases of modern Kazakhstan TV channels. Give examples. Control questions 1. Development of Kazakhstani TV in the 1950-1980s. 2. Development of Kazakh Radiobroadcasting: 1920-1980. 3. Activity of state TV channels: TRС «Kazakhstan», «Khabar». Analyze the broadcasting policy. 4. The formation of independent radio and television channels in the Republic in the 1990s. Broadcasting policy. 5. Kazakhstan television channels: KTK, Rakhat-STV, 31-channel and other ones (analysis of programs, broadcasting policy, rating of TV channels, popular TV hosts). 6. Modern trends of Kazakhstani air. 7. Information programs of Kazakh radio and television channels. The specifics of the preparation of news blocks. References 1. Козыбаев С.К. Аудитория – весь Казахстан. – Алма-Ата, 1981. – С. 155. 2. Нургалиева Г.К. Информатизация образования Республики Казахстан // Аян. – 2001. – № 1. – С. 7. 3. Caspian. – Kazakhstan, 2002. – P. 146. 4. Калиев Е. Транспортно-коммуникационный комплекс Казахстана на мировом рынке // Стратегия развития Казахстана до 2030 года: проблемы и пути их реализации. – Алматы, 1998. – С. 118. 5. Морозов А. Свобода слова в Казахстане: позитивные тенденции // Казахстанская правда. – 2005. – 29 ноября. – С. 3. 6. Назарбаев Н.А. О будущем Казахстана и внешней политике // Казахстан – государственная книга. – Астана, 1998. – С. 5.

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Chapter 4 SPECIFICITY OF RADIO AND TELEVISION

Radio and television have their own specifics. The specifics of television are as follows: 1. Screen (for TV) – information comes in two planes: verbal (verbal) and non-verbal (visual). 2. Personalization of information 3. Relevance, social significance. The event must meet the expectations of society, be consonant with the interests and problems of citizens. 4. Simulation (simultaneity) – presence effect, documentary form, realism. 5. The proximity: temporary and spatial (at the scene) 6. Fame – any celebrity action attracts the attention of listeners and viewers. 7 Negativity. The pursuit of a sensation: «good news is not news,» «the dog bit the person – not news, but the person bit the dog – this is news.» 8. Scale. The event should affect the interests of a large number of people. 9. Conflict. In each event, the journalist must identify the conflict, i.e. find warring parties. The news takes on drama and is of interest. 10. Human interest. Any information must be «humanized», i.e. tell about some fact of reality through the story of a particular person. The main properties of radio as a type of mass media are: 1. Acoustics – use as the main means of expression of sound (speech, music, noise) and as the main means of influence sounding words. 2. The uniformity of verbal communication is a direct, albeit incompatible appeal to the listener. 3. Distantness of speech action – a considerable distance of the speaker from the listener in the absence of visibility. 4. Synchronicity – the perception of speech at the time of its pronouncement or reproduction in the recording. 54

5. The omnipresence and, as a result, the mass character of the audience diverse in social composition, age, sex, education, culture. 6. The chamber situation (focusing not on a mass audience, but on a separate listener) in which the program is perceived. All these properties also bring to life the general laws in the selection of language means and create a stylistic-language system, called «the language of radio». The functional, structural, expressive, aesthetic possibilities of radio and television depend on these features and characteristics. The language of the radio is an oral language. Not seeing the difference between oral and colloquial terms, many believe that spoken language should become dominant on radio, but this is a fallacy. The speech that is on the air is, of course, oral speech, but is it spoken? Conversation arises from personal, direct communication. In colloquial speech, there are active processes of using the elements of professional and jargon-slanderous origin. Specifically-colloquial vocabulary, for example, the reading room, soda, poorly, cool, liar, etc. Specific phraseology, for example, «sit on beans», «freeze the worm», etc. For example, words and form-building models: letter, doctor, reporter and etc. Conversational speech in its «pure» form is applicable to a limited extent: in artistic, literary and dramatic broadcasting, reproducing lively everyday speech, as well as in documentary recordings of genuine conversational speech. Speech communication in the field of broadcasting is a «public dialogue» – the interaction of the speaker with radio listeners. He maintains a conversation with everyone individually and with millions at once. Even a monologue, as it is in most radio genres, is full of elements of dialogue. Radio speech is by nature dialogical, it is unique, original, always supposes the interlocutor – the radio listener. This is its strength, its enormous possibilities for influencing the audience. Intonation in the radio talk is rich and diverse, it depends on the genre of transmission, its content (where the combination of elements of book and colloquial speech is observed). The sounding human word is colored by emotions, possesses greater energy, activity than the word written, it possesses a rhythmic-melodic pattern of speech that does not allow monotony. 55

Newspaper speech uses both artistic and business, publicistic, oral and spoken, oratorical-pathetic styles. It shows the difference in the means of expression, in the speech situations, in terms of perception. Information must be visible. The terms «visibility», «imagery» for broadcasting are the essence of all radio, in the sense: contemplation, observation, accessibility, persuasiveness. Speech on the radio « lights up « the attitude of the speaker, the author's «I». Here the degree of individual, emotional, private attitude is manifested. In addition to vocabulary, syntax and other features, radiospeech has also «non-verbal» speech means that carry a so-called «meaningless information»: speech tempo – power of sound – pitch, – rhythm, – pauses – stress, – voice. The quality of radio speech – the sound of speech is associated with the psyche of the speaker. Radio gives you the opportunity for emotional communication. Radio is carried out in sound and only in sound: voice, music, noise. Radio – acoustic means are designed for listening, i.e. at the same time listening and understanding the information. Sound is the most important artistic means of broadcasting. All radio journalism is a real life, passed through the «living soul» of the speaker and often confirmed by documentary sound pictures. In the radio language, the «principle of popularity» operates, it is as follows: – elements of book and colloquial speech, – logical and emotional elements, – terminated and commonly used ones, – literary-processed and unprepared (i.e. improvised), – individual and customary-traditional, common language, – nominative and figurative elements, – shocking and unstressed elements of the statement. It is necessary to know the laws of perception of the radio text, video text, this shows the proximity of radio and television. 56

The specifics of broadcasting manifests itself in four positions: 1. According to the method of implementation 2. By expressive means 3. Channel quality 4. By the nature of information consumption: audience characteristics. Audio message absorbs: – music, – sound pictures, – verbal component, – emotional content, – expressive means: intonation, timbre, tempo-rhythm, – technical means: the method of blending, mixing, amplifying, deleting, etc., – television editing possibilities. Radio is the cheapest information medium, a personal communication medium. The types of funding for broadcasting depend on the form of ownership: state, public, commercial. Until the beginning of the 21st century, 82% of all homes and 60% of cars had radio sets. Radio quickly transmits messages over long distances, and in developing countries it spreads information to illiterate and uneducated people. Each of the traditional types of media has its own priorities: Radio – informs Television – demonstrates Newspaper – analyzes and explains. The advantages of radio: 1. Operativity 2. Comprehensiveness. 3. Ubiquity 4. Availability 5. Adaptability to the rhythm of the day, the rhythm of the week. Broadcasting requires knowledge of attention characteristics, which are as follows: – activity – focus, – latitude 57

– switching, – intensity, – sustainability. Radio appeals to imagination, forms images in consciousness, which requires activity, because there is an emotional, verbal-logical memory (there are certain points of memory in a person, nerves of perception). However, there are certain limitations of the radio: 1. Low mobility, irreversibility in time. 2. Genres, forms, formats, methods vary depending on historical development. 3. Technical capabilities undergo changes (first – the appearance of transistors, then stereo systems, then digitalization – the transition of the media to digital format). 4. The audience is changing: from the mass to individual. Personification of broadcasting is characteristic at the present time, «personal beginning». Currently, there is a differentiation of television and radio programs: by social basis, age and professional interests. There are new models of television and radio broadcasting: network, Internet broadcasting, mobile broadcasting. Practical tasks 1. Prepare presentations on the topics: «Specificity of broadcasting», «Specificity of television». 2. Analyze the language and nature of television and radio. 3. Reveal the influence of new digital technologies on the specifics of TV and RV. Control questions 1. Characteristic features and nature of television 2. Characteristics and features of broadcasting 3. Give a comparative analysis of the television and radio development. 4. What non-verbal properties of radio talk convey information.

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Chapter 5 ARTISTIC AND EXPRESSIVE MEANS OF BROADCASTING

In search of figurative and expressive sounds, television actively used the achievements of broadcasting in creating acoustic images that themselves were capable of evoking visual-plastic associations in the audience. From radio television borrowed non-voice audio components that, in addition to the image, carry a certain meaning. However, the psychology of sound perception on TV and RB is completely different things, for «our ear perceives only this or that, as the eye tells it.» TV has absorbed from radio also the form of its activities. Both of these means have many similar qualities. Efficiency is inherent in both of them, they have a special documentality, reliability of information, they are able to convey it to millions of audiences. The effect of presence gives them maximum credibility. With all historically common roots, radio and television, as they develop, reveal qualities that determine the particular nature of each of these media. Over the years of its development, TV and radio have become not only a medium of information and communication, but also a form of art. Television and radio performing productive and reproductive functions, were able to create works of art built according to the laws of beauty, aesthetics, according to the laws of perception of their viewers and radio listeners. TV and RB come to every home, to every family with a lively human voice, it allows you to save information on a CD – disk, video tape, magnetic tape or film so that you can return to your favorite programs as needed. Television and radio are not only the means of mass communication, but also types of creativity. Each type of creativity has its own specific artistic language – a set of technical methods and figurative and expressive means with which the creator implements his plan. The degree of mastery of the means of expression largely determines the expressiveness, accuracy and depth of the transfer of the author's thoughts. During the preparation of TV and radio programs, 59

a journalist should think not only about what he will say to viewers, radio listeners, but also how he will utter these words. A well-known actor, People’s Artist of the USSR, Irakli Andronikov noted: «In speaking, as a person, he said the words very often turn into what he said. The range of intonations that broaden the semantic meaning of speech can be considered infinite». Bernand Shaw wrote that there is only one way to write the word «yes» and the word «no», but there are 50 variants of their pronunciation, often with the opposite meaning. Neurolinguistic programming specialists (NLP) provide the following data on the effectiveness of public speaking: – 7% of the information we get from the spoken text, – 39% of the information is in the intonation and voice of the speaker, – 54% of information is carried by such things: facial expressions, gestures, posture, movement. There is no visual component for the radio, but the intonation effect is 5 times more effective than the content effect. The radio is important – as you say. Developing individual intonation while working at the microphone is developing an individual style of a radio journalist. Intonation consists of the following components: – rate of speech: the degree of speed of pronunciation of speech elements, – rhythm of speech: alternation of stressed and unstressed syllables, intonational completeness – phrases or parts of phrases, – pauses: breaks in the pronunciation of speech elements – timbre: coloring of a human voice, – tone of speech: the degree of pitch, – melody: alternation of raising and lowering the voice, the sequence of tones, – logical stress and impulse. The intonation is perceived by the listener as an expression of the inner state (festive mood, sorrowful intonation), mood, sincerity of the speaker. The word is unthinkable without intonation and expression. The main thing is not the power of voice, but the ability to use the entire set of intonation capabilities. It is necessary to speak 60

not with an abstract audience, but with a specific person; there must be a natural form of communication, conversation – dialogue. Voice makeup is borrowed more from the radio. Its essence lies in the fact that the speech of a journalist is colored by emotions that convey the atmosphere of an event, a phenomenon, a fact, for example, a sports report is rich in emotions and natural noises. The image of a part of space enclosed in a frame of the screen that is visible at any given moment is called a frame. Screen means of expression – film and television – possess not only spatial, but also temporal qualities. Therefore, the concept of «frame» covers another feature – the length in time, i.e., the duration of the image on the screen. The term frame is also used to denote a part of a film or TV program, filmed «at a glance» of the camera, i.e. during the continuous operation of the camera, in other words, in the time interval from the beginning to the end of the film movement in the movie camera (and/ or until it is disconnected from the air). Plan is the scale of the image contained in the frame. The concept of «plan» expresses the degree of size of the depicted figure or object, depends on the distance between the camera and the figure being shot and on the focal length of the lens. The most common division of plans is the division into three types: general, medium and large. The most accurate – into six types: 1) a distant plan (man and his surroundings), 2) a general plan (a man in full growth), 3) an average plan (person up to the knees), 4) a waist plan (man up to the waist), 5) a close-up plan (human head), 6) a macro-plan (detail, for example, an eye). It should be noted here that in some television studios the word «plan» is used as a concept expressing the length of time that should be expressed by the word «frame» in its second meaning (i.e. the part of the film or program shot by «one glance» of the camera). So, they say about the «long (or short) plan», then how to talk about the long (or short) frame. The plan may be more or less large, but it cannot be more or less long. Another important element of the screen language is perspective. This term is borrowed from the visual arts: originally it meant any contraction, shortening of the figures depicted in perspective. 61

Over time, the viewpoint began to denote only particularly strong contractions that appear when depicting figures and objects from unusual points of view (top, bottom, etc.). In the first years of cinema, only the position of the optical axis of the lens was called the angle when the angle between it and the plane of the object was more or less than the right angle. At the same time, part of the subject is shortened, contracted, as seen in perspective. It is obvious that the angle is directly dependent on the point of shooting, on the position of the camera relative to the subject. Today, the term «angle» means any angle formed by the optical axis of the lens and the plane of the object, including the right angle. Now they are talking about the usual and unusual perspective, whereas at the dawn of film and television, the perspective suggested only an unusual point of view, at which a perspective distortion of a figure or object was revealed. Rethinking the concept of the «angle» was caused by the fact that modern optics conveys the volume of a figure or object, perspectively distorting the lines, even in frontal shooting. Apart of these concepts – frame, plan and view – the screen image does not exist. Indeed, any image on the screen can only occupy the screen area, i.e. it is limited to the screen frame or, as they say, cropped; it has one or another size, and, finally, it can be seen in one or another perspective. A film or television program affects the viewer with the entire set of successive images – frames, their stream. Continuous stream of frames – the most important feature of the screen. This means that the alternation of frames, their location in time, i.e. the sequence of their appearance on the screen, is of extreme importance. The placement of frames in a specific order is called editing. The basics of editing were laid in the works of the first cinematographers at the very beginning of the 20th century. Montage is a key concept for screen arts. Montage (from the French word – «montage» – gluing, assembling) – connection in a certain sequence and according to a certain system of parts into a single whole. This term is used in several meanings: 1. The simplest one is a plain processing of a radio tape (magnetic, digital) to eliminate unnecessary places and connect individual parts into a single whole. 62

2. Complicated, wider montage – connection in a certain sequence of parts of a program or transmission. 3. Connection of various expressive means: music, words, noise, etc. The montage is mechanical (linear), where the film is cut and glued, non-linear montage is processing of a digital soundtrack. Editing is a tool for the director’s thoughts expression. The term came to cinema from construction, where it designated «building assembly» – from blocks, bricks, etc. Montage in the cinema art is originally «film assembly» from pieces of footage – frames. When sound appeared in the cinema, a sound editing appeared, which S.M. Eisenstein called «vertical» editing. When the movies became color a montage of color pieces of the film with black and white was needed. In addition, the montage can be interframe (the connection of frames into a mounting phrase with the help of «gluing together» on the editing table, and now also with the help of video editing) and intraframe (changing image plans in one frame, which is achieved by the camera operation). These are the easiest types of montage. When drafting a screenplay in a References class, they are sufficient. View is the angle of vertical inclination of the optical axis of the camera. Perspective view can be taken from above, below or at an angle. The perspective can be neutral, that is, to convey the perception of the world that is customary for humans. The most expressive are the upper angle (when the camera is above the object to be photographed) and the lower angle (the camera, respectively, under the object). Changing the angle of shooting, the operator changes the point of view on the object to be removed. The upper angle is required when it is necessary to show the hero and the space around him: for example, the hero's abandonment in the natural landscape or in the city, hostility of the world around him or participation in his fate. So, you can represent a group of people, correlated with the space. Sometimes in television reports, in order to emphasize a small number or insignificance of any event, they resort to a high angle (filming, for example, from the helicopter over the Palace Square and a «handful» of rally people around the Alexander Column). If the hero is in a confined space (for example, indoors), then the upper angle 63

can transmit insignificance, smallness of a person, for example, from the point of view of another hero. Here another method can be used – a subjective camera. If an objective camera treats events from a neutral point of view, then the use of a subjective camera helps to see the world around us through the eyes of some hero (and not necessarily a person!). Everyone who saw the short films of the Lumière brothers «Exit of workers from the factory», «Arrival of the train», «The watered irrigator» and other ones remembers that they consist of one frame, i.e. are shot with a fixed camera, from one point, one plan, in one perspective. In the first 10–15 years, the vast majority of films were shot in this way – with a fixed camera, in one shot and in one size. But it was soon discovered that the film – celluloid tape – can be cut and glued. And soon there appeared films glued together from several frames. Already in 1902, one could see, for example, the film «A Day in the Life of a Firefighter», in which frames alternated in this order: 1. The hand presses the fire alarm button. 2. The fire truck leaves the depot. 3. Burning house. 4. Fire truck racing down the street. 5. Burning house. 6. Fire truck racing down the street. 7. A woman in the window of a house on fire, etc. In many films shot before 1914, you can find plans of various sizes, and shooting with the movement, and parallel editing (similar to that contained in the above example). However, these films are devoid of artistic value, they represent only a mechanical fixation of reality. The foundations of cinema imagery were laid by American director and screenwriter David Griffith. In such films as The Birth of a Nation (1915), Intolerance (1916), Broken Shoots (1919) and other films, Griffith, relying on the technical discoveries of the predecessors, brilliantly demonstrated the possibilities of editing. The final comprehension of editing, its transformation into a creative process is the merit of Russian cinematographers, and first of all, the great artist and thinker Sergey Eisenstein. 64

A significant contribution to the development of the theory and practice of editing was made by L. Kuleshov, Vs. Pudovkin, D. Vertov, A. Dovzhenko, S. Yutkevich, M. Romm – outstanding masters of cinema. Although the viewer sees on the screen a continuous stream of frames, in reality, when producing a film, these frames are taken separately. The frames received as a result of filming – pieces of a film – need to be connected with each other, glued together. This process, purely mechanical, is called technical montage, and the junction of two frames is called gluing. (The concept of «frame» – in the sense of the temporal extent of the image – is defined in everyday life as part of the film – from one gluing to another.) Frames are connected, glued together in a continuous tape. This, as mentioned above, is a technical montage, a purely mechanical process. But the frames must be connected, mounted meaningfully – so that between them there is a definite and clear connection. The process of connecting such frames is called constructive montage. It is clear that constructive montage includes technical. The goal of constructive editing is to faithfully reproduce movement on the screen. It meets only two requirements: first, the frames must alternate in a logical and comprehensible order, and, second, each frame must be of such a length that the viewer could understand its content. Here is a simple example of constructive montage: 1. Man rides in the car. 2. Exits the stopped car. 3. Enters the house. 4. Climbs the stairs. 5. Unlocks the door of the apartment. 6. Enters the apartment. 7. Closes the door of the apartment. 8. Takes off his coat and hat. 9. Hangs a coat and a hat on a hook. 10. Enters the room and sits down at the table. However, frames also can be interconnected in such a way that the connection between them will be shaped. It is expressed in the art montage. To understand the meaning of this term, we turn to examples. Here are two consecutive shots from the film «The Feast of St. Jörgen» by J. Protazanov: 65

1. A shepherd drives a flock of sheep along the road. 2. On the same road there is a crowd of pilgrims-worshipers. Each of these frames, considered separately, contains some information, but does not express any thought. The combination of these frames has a definite meaning: their collision, as S. Eisenstein said, «cuts off the thought». The communication logic of two frames, consistently seen, is purely cinematic. From the combination of frame 1 and frame 2, a thought arises that is not contained in each of the frames taken separately. This simple example helps to understand the artwork formula proposed by S. Eisenstein: one frame plus one frame is not two, but ... something more. In reality, countless actions occur simultaneously. Blooming gardens. Children sit at their desks. Tractors plow the land. Someone is shooting. Someone kisses. Someone is dying. The artist, explainning, interpreting reality, must select the frames that captured these actions in order to reveal their connection. If he assembles frames depicting simultaneous actions in such a way that their meaning and sense are clearly revealed, this will not be a simple transfer of reality, but its author's interpretation. In journalistic and feature films, using the above practice, one can express on the screen complex, abstract concepts and ideas, deepen and intensify emotions, give dynamism and tension to the development of the plot. Examples of using parallel editing can be found in almost every movie, although, of course, the strength of the impact is not the same, it depends on the talent of the writer and director. Parallel montage used to identify internal subjective connections is called associative montage. Such a montage in the hands of Soviet directors became a means of revealing the ideological concept. Here is how S. Eisenstein himself writes about this: «In our film «October,» we bumped into the scene of the speeches of the Mensheviks and the harps and balalaika. And these harps were not harps, but the figurative designation of honeyed speeches. The balalaika was not a balalaika, but an image of the annoying strumming of these empty speeches ... And by placing the Menshevik and harp alongside, the Menshevik and the balalaika, we pushed the framework of parallel assembly into a new quality, into a new area: from the sphere of action to the sphere of meaning». 66

By mounting frames, the director can create a certain, more or less distinct rhythm of their alternation on the screen, can create a more or less fast or slow tempo of their display. It is clear that one or another pace and rhythm of editing depend on the comparative length of each frame being mounted, in other words, on the number of frames. Pace and rhythm are the means directed not so much to the rational sphere of the viewer's consciousness as to the emotional sphere. Montage is an important artistic and expressive means of television. With the help of editing journalists and television journalists strive for the most real, true, and then the figurative reflection of reality. The process of cognition of the surrounding world by man is of an «assembly» character. Motion shooting is a means of on-screen expressiveness that is of particular importance for television journalism. It is necessary to distinguish the types of shooting by a moving camera. The first one is panning. This term denotes shooting by a camera that rotates around its vertical or horizontal axis. The camera remains in place, it only turns: up or down, right or left. Panning is nothing more than reproducing the movement of an eye or head of a person standing still. We often see a panoramic shot, for example, during TV shows from stadiums, when the camera, while remaining at one point, panes in a horizontal plane, watching the soccer ball. The second type of shooting in movement is a passage, or «travel», from English «traveling» i.e. «moving». «Traveling» refers to such a movement of a camera that captures a figure or object when the angle between the optical axis of the lens and the plane of the object remains unchanged during the shooting. These include, for example, shooting such as traveling a camera along a street (horizontal traveling) or from the ground to the roof of a house (vertical travelling), camera movement following a moving car. A special type of travel is departure and arrival (otherwise, travel back and travel forward). When traveling and leaving, the angle of view of the lens and the image size depending on it continuously (sometimes very quickly) change. In recent decades, instead of real zooming, cameras used an optical one – changing the angle of the image with a special lens. 67

The third type of motion shooting is trajectory shooting. This is how various combinations of panning with plans are called. This is a very complex type of camera movement, for the implementation of which camera cranes are used with outrigger arrows capable of simultaneously raising, turning and moving in any direction, and other mechanisms and devices. As a sample of the trajectory of shooting, you can recall the first episode of the film «I am Cuba» (directed by M. Kalatozov, cameraman S. Urusevsky), when the camera takes one frame for a good five minutes, moving first to the roof of a skyscraper, then going down, people walking near the swimming pool, then following the swimmer, go under the water, etc. Shooting with a moving camera creates the effect of intraframe editing, which is especially important for television. By changing the content of the frame smoothly, intraframe editing makes it possible to maintain spatio-temporal continuity within one (long) frame, which is typical of a «direct» television program, unlike interframe editing, which changes the content of a frame depending on the shooting point. Light and color affect the emotional state of a person; they are important artistic and expressive means of TV, add more elements of the language of the television screen, such as the influx, blackout, extrusion (or «curtain»), double exposure, sliding, defocusing. These tools may seem purely technical. However, an accurate choice of these means, thoughtful use of them by the operator and director, can give an artistic, semantic effect. In recent years, a set of such techniques has expanded through the use of computer graphics, electronic «special effects», familiar to every viewer. Noise design complements the picture painted by the word, creates a certain mood. There are three main sources of sound effects: – recorded natural sounds (dog barking, thunder, car racing, etc.), – manual effects that are created directly at the studio (the sound of footsteps, opening doors, etc.), – electronic effects that are created using special devices (reverberators, oscillators, synthesizers, etc.). Music creates a certain atmosphere, a different mood. It is used to attract the attention of the listener, as the background of the 68

advertising text, it helps to remember the main idea of the plot, to highlight the product, the company, sets a certain style, binds videos into a single composition. Music carries a meaning, and serves as a technical interrupting, it is an artistic component and a composition component. By music, we can determine the television and radio channel, by jingle, screensavers we can determine the beginning or end of the program, a certain program. Music and noise perform the following functions: – designation of the place and time of action, for example, the noise of the tractor in the field, the howling of wolves in the forest; – designation of movement of the action in time and space, for example, the movement of a train, music of the 1980s; – an expression of the emotional nature of the event being described, for example, vigorous holiday music or a funeral processsion; – The expression of the psychological state of the participants in the event or the journalist himself. There are also technical means of expressiveness of radio and TV: synthesizers, reverbs, mixing, special sound processing methods, voice makeup, different types of editing: mechanical, electronic, digital, associative, interframe, parallel, artistic, compositional means. Practical tasks 1. Write a television story using all the artistic and expressive means of TV. 2. Prepare a television sketch using music and sound. 3. Prepare a radio program using all kinds of artistic and expressive means of radio. Control questions 1. The value of artistic expression means in the preparation of TV programs. 2. The role of words, music and sound in TV programs. 3. The role of light and color on TV. 4. Montage on TV, its varieties. 5. Types of TV plans: general, medium, large ones. 6. The role of words, of the human voice on the radio. 7. Value of intonation, timbre, voice rhythm on radio.

69

Chapter 6 TELEVISION AND RADIO PROFESSIONS

The desire for something new, progressive is typical for a professional, and a fairly high educational and general cultural level helps the TV journalist to see and understand the new in order to fight for its spread, for the confident progress of society forward. TV and radio professions – TV journalist – editor – producer – operator – sound engineer, sound engineer – showman, moderator, interviewer. Work on TV and radio broadcasting is a collective activity where the producer, director, editor, presenter, artist, illuminator, operators, sound engineers and many other experts in their field are involved. The success of the program, the program itself and the plot depend on the professionalism of each member of the creative team. If you ask the directors what they consider to be the most important thing for a conversation or a speech on the air, many of them will answer: «The most important thing is the bright personality of the speaker. The personality of the communicator is of great importance on TV and RB. But it is very important what you say and how you say it on the air. The journalist is eager to tell, share ideas about something important with the viewers, radio listeners. This impulse is true and often gives an excellent result. This happens when a journalist is passionate about his work, is a connoisseur in a certain area, sphere, or something interesting, unusual has happened to him and he wants to share it with the audience. The editor of television and radio is the employee responsible for organizing work on the creation of programs. The editor is one of the most sought-after television and radio professions. On television, and on radio too, the editor is the same multi-level specialty as in publishing houses. The chief editor submits to the supervisor, organizes the selection of program participants, coordinates the necessary changes with 70

the authors, controls the authenticity of the actual material that is used in the programs. He also controls the deadlines for submission of materials, etc. However, it makes no sense to describe in detail the duties of each editor. Moreover, each channel may have its own system of work. The secret is in the people creating the program, but always remaining behind the scenes. And one of the main roles in the team of creators is played by the editor, a creative person with remarkable organizational skills. For example, according to standard job descriptions, the chief editor on TV and radio is the manager who organizes the work on creating programs, develops the concept of the channel as a whole and participates in the development of specific programs, accepts ready-made programs, controls their quality. In some cases, he participates in the creation of programs. The chief editor interacts with the authorities, the media, etc. He also directs the development of long-term plans and broadcasting networks, monitors the implementtation of contracts with authors and partner organizations. For example, on one channel, the editor-in-chief of the channel reports to the supervisors (news editorial, entertainment programs, etc.), to which the editor-in-chief of each individual program obey. And on the other channel the hierarchy is not so complicated. Even the positions on different channels may be called differently. However, the position of the program editor can be considered unchanged. Without an ordinary editor, the program cannot be prepared for broadcast. In this position, responsibilities depend on the specifics of the program. For example, an editor may be engaged in searching, developing and preparing new topics, writing scripts, etc. In other words, to do everything, up to writing titles. Some issues include other editors. For example, if a talk show or some other program is being prepared with the participation of guests, the guest editor also works on it. He searches for heroes, negotiates with them. The main thing in the news programs that is important is up-todate information. Therefore, the news program requires a staff of ordinary editors. They monitor events in the world on the Internet, select the most interesting ones, call up with channel correspondents in other cities and countries, and entrust them with the filming of the plot. Then, ready-made videos received via satellite communication are being edited and prepared for broadcast. 71

The editor should strive to limit inevitable substitutions, abbreviations, inserts, adhering to the rule, preserve the individuality and originality of the author's TV work. The meaning of editing is not to impose on the author one’s own style and manner of writing, but to comprehend the general position of the author, having formed his own opinion about the work, to achieve the maximum effect in improving it. For people who are far from television, it may seem that the main person in the program is its presenter. Sometimes it happens. But very often you can see that the leading program change, and it lives and even increases its popularity. The director can operate with video of any nature, giving it the necessary interpretation by editing comparisons, compositional organization, titles, voice-over and music. But, naturally, his possibilities will be immeasurably wider if the material is withdrawn based on a preconceived interpretation. Then the range of expressive means of the screen will expand due to the exact choice of the plan size, angle, selection of parts, etc. This is precisely the goal pursued by Dziga Vertov, when creating his own group of so-called «movies,» journalists capable of independently producing material, giving it the necessary interpretation, focused on the overall intent of the created screen work. In addition to the purely technical task of obtaining a highquality image, the operator also faces the journalistic task of selection: selection of events and facts, documentary characters, characteristic types, the most important moments of the current event – a fragment of reality included in the frame. In all of this there were already elements of journalism, and no matter how stereotypical were the view films or the «chronicles» that were shot in the prerevolutionary years, however, these were already reports, and people who captured them were reporters. The increasing complexity of the social functions of the «most popular of the arts» could not fail to entail a qualitatively different approach to reflecting the phenomena of reality – not simply fixing them on film and not even selecting certain facts, but interpreting them. Over time, technology acquired for operators a particular importance: the measure of interpretation of the material, its understanding depends on its capabilities. The development of documentary 72

cinema is accompanied by a process of steady growth of the author's principle in it – this applies both to the director and to the operator of the documentary cinema. The experience gained by documentary filmmakers, the new technical tools they acquired, and the artistic potentialities made possible to move to the next qualitative stage – the stage of screen prose, the one where the documentary message becomes a work of art while retaining all the necessary features of the documentary narration. In television journalism, a new type of documentarist was gradually formed, inheriting all the main qualities of the masters of screen journalism, but at the same time even more subordinating his work to the tasks of journalism: the speed of response to an event, the ability to capture it, no matter what conditions it took, the ability to convey his natural course, without «make-up», without prelimnary organization, willingness to subordinate the whole palette of means used to embody the truth of life itself. The operator's profession connects both screen forms of journalism – cinema and television. In this profession, the features of both journalism and the art are particularly pronounced; the material of the documentary operator is a real life, seen and transmitted by him according to his worldview, ability to understand its patterns. Possession of the language of the screen is as essential for the operator as the knowledge of life. Life itself dictates its course of events here. The operator must instantly navigate the flow of events, and therefore the success of the future work depends not only on his ability to shoot, but also on understanding what, why, for what purpose he is shooting. The embodiment of any idea can be carried out only with the help of technology. Camera, optics, light, film – tools of the operator. The journalistic beginning of the screenwriter, director and operator is present in every TV piece, but it manifests itself in different ways. Sound producer is a creative profession associated with the development of sound artistic images, the formation of dramatic sound, the concept of sound, the creation of sounds, their fixation and processing. The sound director is the expert responsible for sound design of a film, television, radio programs or a show. Sound producer is one of the key professions in film, television, show business. In this profession, the creative side is combined with 73

the technical one. Sound engineers are sometimes confused with sound producers. However, the main task of the sound engineer is sound quality and its balance. And the sound producer task is much broader. He is not only responsible for the quality of the sound range, but also works on his drama, on the creation of sound images. The scale (phonogram) should correspond to the scenario and the director's plan. Working on TV, in a cinema, the sound producer participates in the development of a director's script, develops the concept of sound, controls the process of voice dubbing (actors at the microphone voice their characters, say off-screen text, etc.), selects and records noises corresponding to the fact that happens on the screen, processes them. In the arsenal of an experienced sound engineer there are a lot of noises already recorded – from the murmur of a stream to the impact of scrap on an icy road. But usually directly during the voice acting, he records the so-called synchronous noises, imitates the sound of what is happening on the screen. For example, on the screen the hero runs away from the chase on a pile of gravel. How to portray the sound of footsteps on gravel right in the studio? The sound engineer has his tricks on this. For example, you can bring some gravel into the studio and walk along it synchronously with the person on the screen. To imitate sounds, studios specifically store materials of differrent textures: parquet, asphalt, stones, reeds, etc. There are also objects that emit different sounds. For example, the doors of all kinds of materials – each of them creaks in its own way. And of course, in a good studio there are always devices for creating sound effects: the effect of an empty room, echo, etc. The sound engineer submits to the sound workshop, in which, in particular, the sound engineer works, as well as the microphone operator (controls the microphones in the process of shooting) and the sound editor. Sound engineers themselves admit that by choosing this profession, you inevitably get used to listening to the sounds of the surrounding world, to memorize them. This develops a special sense of authenticity of sound, without which it is difficult to achieve high-quality sound. The profession of sound engineer presupposes musicality, artistic perception and imagination, good hearing, a good memory for 74

sounds, the ability to master technical devices for recording and processing sound. It is also necessary to have musical and professional erudition and the desire to constantly replenish knowledge in technology and monitor the creative findings of the colleagues. The sound engineer must be familiar with the technology of recording and processing sound, and be able to use technical means (digital and analog devices). In particular, you need to know the technology of filming and subsequent dubbing, the rules for placement of microphones. Sound engineer must understand the physics of sound, as well as the acoustic characteristics of various rooms, objects, instruments, depending on the place of work. For example, to work with a music orchestra, you need to know well the features of the sound of different instruments (pitch, direction, sound strength) in order to properly place the microphones on the stage. The sound engineer does not develop concepts for sound design, he records or processes sound, controlling the technical quality of the phonogram. His task is to achieve high-quality sound, convenient for perception. In film and television, the sound engineer obeys the sound producer. Usually the phonogram consists of sounds from different sources. And while recording, the sound engineer ensures that the sounds are balanced and not interfere with each other. For example, musical accompaniment in a film should not drown out the speaker’s speech, etc. In film and television, the sound engineer obeys the sound producer. He controls (mixes) the sound level in accordance with the explication, which is pre-made by the sound producer. Although sometimes the explication itself is found in the process of recording. In the cinema, the sound engineer is engaged in recording. On television and on radio, the sound engineer can also work live. This is a particularly demanding job, because it does not give a chance to repeat the unsuccessful episode and correct the error. The sound engineer can work with live sound, providing good acoustics at concerts. The profession of a sound engineer implies musicality, good hearing, a good memory for sounds, the ability to master technical devices for recording and processing sound. The sound engineer should be familiar with the technology of recording and processing sound, and be able to use technical means (digital and analog). In particular, you need to know the technology 75

of filming and subsequent dubbing, the rules for placement of microphones. The sound engineer must understand the properties of sound, the acoustic characteristics of various rooms, objects, instruments, depending on the place of work. Often the sound engineers are engaged in music themselves or have at least a basic education in this area (music school, college or independent study). In addition to musical literacy and trained hearing, possession of professional equipment and software is required. Practical tasks 1. Analysis of the work of the director and cameraman of television documentary programs of the Kazakh TV, 1 channel, NTV (optional examples). 2. Analysis of the work of television journalists of the Kazakhstani news programmes: «Zheti kun», «Portrait of the week», «Panorama of the day», etc. 3. Prepare a presentation and the analysis of the work of the leading Kazakhstan and Russian television journalists (optional). 4. Prepare an informational issue of TV news consisting of five messages (politics, economics, international news, culture, sports), in 3-5 sentences each. 5. Prepare an information release of Radio news, consisting of five messages (politics, economics, international news, culture, sports), in 3-5 sentences each. Control questions 1. TV and radio editor, their functions, purposes. 2. Main editor, editor of the information program, editor of the direction, program: specificity and differences of activity. 3. Director of television, the specifics of the work. 4. Director of the broadcasting, the specifics of the work. 5. The specifics of the television operator work on TV. 6. Sound broadcasting operator: specifics of work. 7. Producer of television and radio: the specifics of the work. 8. Television professions (creative and technical): sound engineer, illuminator, assistant director, graphic designer, etc.

76

Chapter 7 MODERN BROADCASTING TRENDS

The beginning of the XXI century was marked by communication changes that were caused by the technological process. Cable networks, satellite television (TV), computerization, digital, interactive broadcasting, the Internet, networks – these are new phenomena of the information environment, which became the new media of communication, demanding a «new order», the development of new information policy. In many countries, the state of affairs in the information sphere is considered crucial for economic development. The rapid development of ICT over the past decade has been reflected in the reassessment of the role and place of information in the value system of human scale. New information and communication technologies (ICT), erasing the boundaries of time and space, are becoming the main «helpers» of the globalization process. And it, in turn, changes the tradetional economy, and the forms of social activity, and the mentality, lifestyle, habits of people. The process of convergence in various areas of communications and information reinforces the state of transition to a new level of development, even in those countries that are considered traditionally stable. Information has become a global inexhaustible resource of humanity, which has entered a new era of the development of civilization – the information age. Information and knowledge are becoming one of the strategic resources of the state. The increasing role of this factor as a means of accelerating the pace of global integration in the economy and an instrument of influence on mass consciousness, culture and international relations suggests the growing role of the information industry and the state information policy in the development of society. Information is viewed by professor, philosopher G.A. Yugay, as the most universal attribute of matter. Hence the possibility and necessity of an informational approach not only to natural phenomena, but also to the historical process in general and, in particular, to 77

civilizational phenomena follow. G.A. Yugay notes that there are various civilization regions, the aggregate and convergent unity of which constitutes a global civilization, which emerges through dialogue and interaction between regional civilizations that historically appeared locally and had been developing independently until a certain period. But at the origins of all locally emerging civilizations, there was one fundamental and, in this sense, global pattern – information [1]. Modern society is a society of unlimited possibilities. It develops on the basis of modern communication systems and communication means, it is able to accumulate and distribute important scientific, technical, artistic and other information. These achievements create opportunities for the development of information networks and integration into the global information space. The current level of the state development is largely shaped by the use of new MMC, ICT, based on active production and use of information. Not only natural resources and material values, but also telecommunications infrastructure and information resources constitute national wealth. «The scope of information is assessed by a set of parameters that include public access to the» old «media and communications – newspapers, televisions, telephones, and new media – telecommunication infrastructure, cable systems, computers, mobile phones» [2]. Currently, the media affect our lives much more than anything else, hence we observe rapidly changing value orientations, consumer demands. Many countries note the importance of ICT development, the need to invest in the information industry, and the involvement of the private business sector in it. The active introduction of new ICTs expands the field of MMC activities. Today, the level of information technology development of the state determines its position in the international arena, the nature of the socio-economic and cultural processes occurring in it. The global information process greatly influenced the development of national MMC. All over the world, liberalization and globalization of information markets is taking place. Simultaneously with these processes, computer, telecommunication and broadcasting technologies are merging, i.e. converge. Such integration leads to the fact that the information industry is expanding, erasing the rigid 78

boundaries between the sectors of traditional mass communication systems and creating new media systems. Historically, these sectors developed separately, but now, thanks to technological innovations, the boundaries between these sectors have become blurred, and an active process of their integration is underway. The integration process covers much more technology and information transfer systems. The broadcasting sector depends on the sociopolitical position of different countries, it is developing unevenly, although the global telecommunication system increasingly levels the programmatic content of national channels. At present, there are major changes in the MMC, changes in the communication sphere: in the forms of media ownership, in the forms of manifestation, in new functions, in new trends, in new media professions, in new media disciplines. The modern world has highlighted the field of electronic communications. In the near future, approximately three quarters of the population will be employed in the field of information and in the areas related to communication. Increasingly, various information is being sent to the multimedia message: audiovisual, acoustic, computing, optical, pictorial, artistic, stage and other types of information. In the effort to create a new global information infrastructure, many countries are developing a strategy for standardizing technologies that will create a worldwide widespread compatibility between national communication systems. The requirements for information technology in the 1960s – 1970s were technical; in the 1980s and 1990s, the requirements became social and political. At present, the media influence on our life much more than anything else, hence the value orientations and consumer needs are rapidly changing. Many countries note the importance of developing information and communication technologies, the need to invest in the information industry, and attract the private business sector to it. As noted by Professor Ya.N. Zasursky, «mobile communication is becoming an important factor in innovative development: it is not just a telephone, but also a means of receiving, transmitting multimedia texts, photo-TV-movie cameras, digital, music players, mini-Internet, alarm clocks, plastic payment cards, remote control, mini- TV sets» [3]. 79

There is a fusion of computer, broadcast and telecommunication technologies. This convergence and interaction will change the communication system and media landscape. This use of cable by telephone companies already has the effect of creating information super highways. So far there is no uniform, universally accepted definition of new media, but many researchers come to the general characteristics of these media. First, they are «tied» to the screen. Secondly, they offer simultaneously a text, sound, video, as a static image, and moving images. New media to one extent or another is interactive. In the expanding media space, print, analogue radio and television are perceived as «old», traditional media, new information delivery channels and information based on digitalization, are defined as «new media». Another definition on the Internet describes new media as channels of digital communication in which the text, graphic and moving images, sounds are presented in a single «package» and which have various forms of production, distribution, reception and storage of the final product. A feature of the new media is the changing nature of communication. It is difficult to distinguish between mass and personal form of communication, mass and non-mass media. Consumption of new media is and will be more individual. In the XX1 century, a new scientific direction – communicology – emerged, and it has its own subject of research, scientific categories, concepts, units, means and methods. It is a systemic education that unites various scientific areas: sociology and psychology of communication, sociolinguistic communication, which is based primarily on the theory and practice of communication. «Communicative journalism» is a science that studies the systems of means and humanitarian functions of mass information connections, which are carried out at different stages of civilization using various languages and discourses (verbal and non-verbal). As an independent academic discipline, this branch of scientific knowledge was formed in the mid-twentieth century in the United States and several other countries and is developing at the same pace as the electronic-communication revolution that brought it to life. Nowadays, there is a tendency to divide scientific spheres: communicology – as a fundamental theoretical discipline about mass 80

communication and within its framework communicationism as a practical discipline exploring the functions and means of mass information processes in society. The substantiation of a new scientific branch provides a deep theoretical base to many modern types of communicative practical activities, such as public relations (PR), advertising communication, media planning, interpersonal, broadcasting, audiovisual, social, intercultural communication, etc. Currently, new communicative professions have emerged, such as newsmakers, spin doctors, stringers, copywriters, moderators, speech writers, PR specialists, image makers and many others. The global media market is rapidly developing, that has been stipulated by new market conditions for the development of MMC in the media space of Kazakhstan. The global dissemination of information and communication means creates opportunities for free communication at different levels: vertical, horizontal, network, mass and individual level. Models of changing media systems in Kazakhstan and abroad are becoming similar, and the trend of globalization plays an important role in this process. Creation of a variety of media information contexts requires special skills and professional skills. Three main factors affect the development of the MMC: – information and communication technologies (digital, interactive, cellular, fiber-optic, cable-satellite, Internet, etc.), – the state. Its role will increase in the development of the media and the MMC, the state pursues a policy of deregulation, where the emphasis from traditional regulation (technical: frequency, license) is translated into the area of ethical, socio-cultural relations, – users, the population itself. New structures of interpersonal and individual communication appear (cellular, mobile telephony, video on demand, etc.). According to researchers, communicologists, the new communication environment will look like television, but will function like the Internet. Mobile telephony, satellite, cable TV lead to a greater convenience, television diversity, personal communication. Cheaper computer technology, the introduction of digital communications, the construction of fiber-optic highways – all this opens up new opportunities for TV. Internet, mobile telephony, satellite 81

(space) TV are one of the main components of the globalization process. They are global in nature. The information, broadcasting industry is expanding, erasing the boundaries between the sectors of tradetional media systems and creating new MMC. Electronic media offer a variety of interactive communications between the user and the manufacturer, as well as the content distributor. All over the world, liberalization and globalization of information markets is taking place. Simultaneously with these processes, computer, telecommunication and broadcasting technologies are merging, i.e. their convergence occurs. Such integration leads to the fact that the information industry is expanding, erasing the rigid boundaries between trade-tional media sectors and creating new media systems. The trend of «convergence» – the union, merging into a whole of communication technologies and the media themselves, the consumer and professional equipment. There are several types of convergence: – economic convergence, – political convergence, – ethical convergence, – legal convergence, – technical convergence. According to E.L. Vartanova, the professor, the dean of the faculty of journalism of the M. Lomonosov Moscow State University, – «increasingly, the concept of «convergence» is becoming synonymous to the main transformations in the media sphere ... Convergence is a process that in the coming decades can completely change not only the media and communication systems, but also various related industries». The use of new ICTs enhances the convergence process and leads to the construction of a global information society. The free market of ideas in the era of global information infrastructure is increasingly determined by commercial goals, which dictate the desire for liberalization. Over the past decade, new concepts have entered the scientific revolution that characterizes modern trends of the MMC, a new information-digital era. So, for example, the trend of «digitalization» (from the English word «digital» – «numeric»), the increased 82

interactivity of communication processes, which gave way to a dialogue form of communication, opens the way to a personal, individual choice of the audience, so that an information consumer becomes a producer of new content. The process of «de-massification», i.e. expansion of the information menu, mass channels that deliver information and various communication services are personalized individually on demand. New MMCs increase communication opportunities, offer a variety of interactive coordinated actions between the user and the manufacturer, as well as the content distributor. In the course of such a process, the evolution of personal modernization takes place. In the media, there are trends that are expressed in a sharp increase in information flows, in the emergence of new independent media, media organizations, new participants in the information process, in the emergence of electronic newspapers, Web publications, in the formation of new information markets and services. There are software and broadcasting organizations on radio and television, they are also called producer companies that create separate programs, cycles, categories, series, and offer finished products to TV and radio channels. Typology of electronic media: 1. By the area of distribution: national and regional (local) TV and radio. 2. By the content and genre-thematic features of the programs. 3. By the form of ownership. Forms of ownership in the field of radio and television: 1. State 2. State-cooperative 3. Shareholders’ 4.Public 5. Private (individual owners or groups of individuals) 6. Mixed (with the participation of foreign capital) 7. Owned by foreign corporations and companies, foreign capital (20% to 49%). TV and Radio Channel Profiles: 1. By the thematic basis (news, movies, music, sports, etc.) 2. By the audience (targeted) basis (programs for children, youth, retirees, etc.) 83

3. By the founder (presidential channel, parliamentary channel, channel of creative unions). 4. On a national basis (Republican program, a program for national groups of the population). 5. On a territorial basis (national, foreign, local). 6. On a temporary basis (round-the-clock, broadcast for a specific time, with a «floating» broadcast schedule). 7. According to the source of financing (state paid, public, commercial, rental). TV itself includes the following varieties: – Antenna (traditional classic) television broadcasting, – satellite TV (global, worldwide, non-direct), – cable (subscriber) television, – cassette (video) TV, video disks, laser vision, video magazines, – title TV (video text, teletext). The symbiosis of a television screen with a computer is a new feature of television – infographics, the synthesis of a three-dimensional image, the possibilities for «business graphics», machine design used in industrial design and other areas. Stereo TV – computer graphics on TV. Duplex TV – interactive multimedia, two-way TV communication, interactive, direct participation in what is happening on the screen. Broadcasting is classified: By the way of broadcast: – essential, – satellite, – cable. By the type of activity: – broadcast, – program-producing (production companies, for example, «Gala-TV»), – distributors (a kind of broadcast infrastructure). By coverage: – nationwide, – interstate, – regional, – local. 84

According to the method of distribution of television and radio: – national, – network. By financing – budget (state), – self-financing (commercial). By ownership 1. State. 2. Non-state: private, joint stock companies. 3. Mixed companies with the participation of foreign investors. 4. Public. Trends in television and radio broadcasting: – globalization of broadcasting – specialization of programs and broadcasting companies, – digitalization of broadcasting, – demassification, – personalization of information on TV and radio: by genre, subject and personality of the presenter in the frame, on the air, – commercialization of broadcasting, – broadcasting convergence, – diffusion of TV and radio genres, – evolution of formats – documentary with staged, actable moments in the programs. Sociologists note several trends in the development of modern TV and radio: 1. The share of serials, entertainment, educational and informational programs will grow. 2. The number of movies broadcast by TV falls annually. 3.Rise in the number of specialized channels (on non-terrestrial TV). 4. Reduction in the number of talk show programs. 5. Reduction in the interest of the audience to the daily news and analytical programs. 6. Growth of interest in the criminal chronicle [4]. It can also be noted that many genres of broadcasting and television, which were in great demand during the Soviet era, are 85

disappearing. These are such genres as: radio performances, television radio shows, radio features. As the researchers of television say, «TV industry is migrating from journalism to entertainment»: the head of the department of TV and RB of M. Lomonosov Moscow State University. – A.G. Kachkayev: «The ideas about television content changed – industrial, conveyer by production, entertaining – within the meaning and emotional content, conceptually the consumer changes, not only the diffusion of genres has occurred, but also the diffusion of values, according to forecasts, by 2015, the attention of viewers will be evenly divided between traditional and non-traditional media», L.Yu. Malkova: «Compared to Soviet times, the television screen was poorer in human faces,» A. Kostiuk: «Today there are 200 channels in America, a new quality of viewing arises, with such choices the viewer is in the process of switching -» drifting «is today an independent form of leisure, due to the growing interest in new technologies, the total amount of television viewers in the age category from 25 to 35 years old drops, the biggest drop concerns the news», S.A. Muratov: «Television broadcasting is nothing more than screen periodicals» [5]. Large-scale reforms in the telecommunications and broadcasting sectors of the Republic have been going on for several years, starting in 1992. These sectors were reformed in several areas: creation of a legislative and regulatory framework, restructuring, incorporation and privatization of enterprises. In no country in the world did the transformation of the broadcasting and telecommunications complexes took place as quickly as in Kazakhstan. For example, in the United States, Great Britain, the process of market liberalization was carried out gradually, under the control of the state and took from 7 to 15 years. Information processes are global in nature, but they have the national specifics of the state in which they occur. In Kazakhstan, with the acquisition of sovereignty, a new media communication system was formed. Demonopolization of the telecommunications and broadcasting sector was carried out. The denationalization of television, the emergence of private, joint-stock television and radio companies makes it possible to enter the audiovisual market more quickly and easier, bearing in mind that this market constantly feels the need for information resources, for broadcasting. 86

Kazakhstan, keeping up with the times, aims to follow the path of globalization of the world economy through diversification of economic sectors and a gradual departure from the raw materials orientation. The first step in this direction was the adoption of the «Strategy for the Industrial-Innovative Development of the Republic for 2003-20015». Its main provisions were developed on the basis of the Kazakhstan-2030 Strategy and other program documents. The Government approved the Program for the formation and development of the national innovation system for 2005-2015. As part of the formation of the domestic innovation system, national technoparks and a number of regional ones have been created. The largest project is the Information Technology Park SEZ, where 27 domestic and foreign companies are already located. By the end of 2007, the number of the Internet users amounted to 1 million 800 thousand people. By 2010, the number of the Internet users had increased to 3.5 million. By 2018, the number of Internet users had reached 13 million. The national innovation system has begun its development since the creation of an innovation infrastructure in Kazakhstan. In 2005, the National Innovation Fund (NIF) created five Kazakhstani venture funds with a total capitalization of $ 85 million: – High Technology Fund; – «Areket»; – «Advant»; – «Centra Venture Fund»; – «Halyk Private Equity»; – «Glotur Technology Fund». In accordance with the strategy of achieving by Kazakhstan the level of 50 the most competitive countries in the world, indicated in the Message of the President of the Republic of Kazakhstan to the people of Kazakhstan dated March 1, 2006, a Concept for the development of the competitiveness of the information space of the Republic of Kazakhstan for 2006-2009 was worked out. The Concept reflected the main trends in the development of the global information space and the information market of the country, identified the basic principles, strategic goals and objectives of state policy in the information sphere. The telecommunications market of Kazakhstan is experiencing a rapid development of information technology. The growth rate of 87

new media shows how great the demand for information services is. The country is actively developing the mobile communications market, now there are over 32 million mobile telephony users in the Republic (the population of Kazakhstan is more than 18 million). Kazakhtelecom continues to create in the major cities of the country a transport telecommunication network based on fiber-optic communication lines and apply the latest technology of SDH transmission systems. In Kazakhstan, e-government is gaining momentum. The e-government web portal has been launched, which will bring together all the Internet resources of the state bodies. Currently, over 900 information services are being implemented through the web portal. Currently, the web portal of «electronic government» is integrated with the electronic document management system of the state bodies, databases. Almost all akimats and ministries have virtual receiving offices for citizens. Visitors will be able to download the necessary documentation, familiarize themselves with the legislative base, and find out the addresses of various institutions. If in 1990 there were only two channels of the Republican TV in the country, 4 radio programs, about 400 magazines and newspapers were published, now there are 1,586 media outlets in the Republic, including 1047 newspapers, 400 magazines, 125 television and radio companies, 14 news agencies. The state innovation programs of Kazakhstan, such as e-government, the space program, the program for the development of national information infrastructure, technology parks and other programs contribute to the development of Kazakhstan’s new communication policy, taking into account the development of new ICT, MMC and data programs in the country. Priorities in the development of the information society in Kazakhstan have changed against the backdrop of the rapid introduction of new information technologies. And it is important here to take into account the national specifics, cultural identity of the society, the specifics of telecommunication development in the Republic in the era of globalization. Revolutions in the field of human culture were largely the result of changes in the way information was transmitted and disseminated. They radically changed social organization, production and distribution of material benefits in societies, became harbingers of social and economic transformations. 88

Practical tasks 1. Prepare the broadcasting schedule of one day of a specialized TV channel or radio channel. Create the title of this TV channel. 2. Prepare a discussion on the topic: «Globalization of Broadcasting: Pros and Cons.» 3. Prepare a report on the topic «Current trends in broadcasting in the world». 4. Prepare a presentation on the topic «Current trends in television broadcasting in Kazakhstan.» Control questions 1. Classification of television broadcasting: by way of transmission, by audience, by ownership. 1. How do you understand the trend – «decentralization of broadcasting.» 2. Specificity of specialization of programs, specialization of television and radio companies. 3. Explain the meaning of the concept of «television format.» 4. Explain the trends of «convergence», «de-massification», «digitalization» of broadcasting. 5. What does the trend «personalization of information.» mean? 6. Analyze the classification of the electronic press. 7. Tell about the profiles of TV and radio channels, what is their specificity. References 1. Югай Г.А. Голография Вселенной и новая универсальная философия. Учебное пособие с хрестоматиейю – М.: Крафт+, 2007. – С. 176. 2. Вартанова Е.Л. Новые проблемы и новые приоритеты цифровой эпохи // Информационное общество. – 2002. – 21 мая. 3. Засурский Я.Н. Информационное общество прирастает развивающимися странами // Вестник МГУ. Серия 10. Журналистика. – 2009 – №3. – С. 5. 4. Качкаева А.Г. Телерадиоиндустрия: диффузия жанров и эволюция форматов // Вестник МГУ. Серия 10. Журналистика. – 2009. – С. 11. 5. Качкаева А.Г. Телерадиоиндустрия: диффузия жанров и эволюция форматов // Вестник МГУ. Серия 10. Журналистика. – 2009. – С. 9, 11, 13, 15, 26.

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Chapter 8 INFORMATION PROGRAMS ON RADIO AND TELEVISION

Information broadcasting Forms of information transmissions of RB and TV: morning, daytime, evening informational blocks of programs. Often there are also special issues with a certain thematic attribute, for example, «Exchange News», «Sports Diary» etc., for 10–15 minutes. They are determined by the following characteristics: 1. By the degree of importance, relevance. 2. By observance of thematic unity, for example, a major political event, other information material that relates to this event. 3. By the geography of information it is divided into domestic (central and local) and foreign news from different countries of Asia, Europe, and America. One of the moments attracting the attention of the audience is the announcement. It is important to create a vivid picture of the broadcasting day in dynamic development. Here the breadth of outlook, intuition, professionalism, political literacy is important. Operational chronicle, its feature is a sign of the temporal sequence of events. Information sources: 1. Network of own and special correspondents, non-staff employees. Their materials do not require special processing or revision, they provide video, «sounding» material. 2. Special editions on the preparation of materials, existing in local radio studios, television studios. 3. Messages of the Information agencies of the country and foreign countries. 4. Press releases, announcements of press services of ministries, departments, organizations. 5. Press reviews: print, electronic, network publications, mobile applications. 6. Internet resources, sites, portals. The news, like any narration, is based on the scheme: 90

1. The plot. 2. The action. 3. The climax. 4. Denouement. Two factors are the priorities in the selection of material: – determination of the hierarchy of the significance of the events, – when making a decision – own editorial materials are put in the first place. All this is dictated by the concept of the news program. The concept of broadcasting is a set of fundamental principles for the selection, processing and presentation of information. 1. First are broadcast the main news of the day (block video and oral information), the priority is given to those having a sensetional character. 2. Blocks – official messages. 3. Domestic information: economic news, agriculture, business, etc. 4. International events, news of other countries. 5. News of culture, social sphere. 6. Sport. 7. Weather. Three main characteristics of objectivity in presenting news on TV and RB: 1. Separation of the fact from the opinion 2. Emotionally detached news coverage 3. Striving for accuracy and balance Objectivity is the method and style of presenting information / Requirements for the news: – accuracy – impartiality – sense of proportion, taste, – tone, – comment, – voice, – pronunciation, – corrections. There are two types of news information: 1. National information: news agencies, video recordings, the Internet. 91

2. Local information: press releases of local authorities, their press services, the media. The layout of the program is important in the preparation of news blocks – it is an effective tool of information policy, influencing the audience through the proposed structure of the news release. The sequence of the materials, i.e. «neighborhood» is not random. The editors work on the release of the information program: the chief editor, who is responsible for the information policy of the channel; editor of the day (commissioning editor) responsible for the content of the issue and editor of the directions, responsible for a particular program. The genres of information journalism are usually attributed to: – note (verbal message and video chronicle), – performance – interview, – report. TV author plot preparation consists of the following stages: – selection and approval of the topic, – study of the subject, – creation of the scenario plan, – participation in shooting, editing, – writing text. The TV-radio messages in the news broadcast are characterized by brevity: a report, interviews, speeches, comments that go for 2-3 minutes, television stories sometimes go for 40-50 seconds, with 1-1.5 minutes of synchronous videos. The traditional form of presenting information on the radio and TV is news bulletins, which are characterized by the frequency of broadcasting, the mosaic of the presentation of the material. Types of information releases are classified as follows: 1. By content: universal, i.e. information is presented on various topics; thematic – on a specific topic. 2. According to the broadcast volume: on TV -10 minutes, 30 minutes, hourly; on the radio – a minute, such messages are called «headers» of 3-5 important messages, – 5 minutes, more detailed presentation (4-7 messages), – 10-15 minutes. The final issues, a large volume affects their content, structure and composition. 92

3. By the frequency and urgency of the broadcast: – sounds that are switched at a specific time: every 15 minutes, at the beginning of each hour, etc. – emergency issues in case of emergency. 4. By forms of information materials: – text messages and video on TV, – a text on RB, only the messages that the announcer reads in the studio are heard, – messages with sound inclusions, for example, reporting from the scene. Three basic principles of the organization of the news material: 1. Principle of importance 2. Principle of observance of thematic unity 3. Principle of observance of geographical unity: local news, news in the Republic, abroad, etc. Thematic sections: news of science, culture, economy, etc. Broadcast time: 1. News in the morning. The main task is to give viewers and listeners basic information about the events of the day in the country, in the world. 2. News in the afternoon. Morning news in development, lightweight information, preference given to local events. 3. News in the evening. The final informational issues, their duration increases, the full panorama of the day is given. Modern information programs on radio and television are characterized by the following features: – continuous expansion of the range of information, – expansion of the subject, – great sharpness and relevance, – great freedom, – acceleration of the speech rate of information, – enrichment of vocabulary. Trends in the modern development of information broadcasting: 1. Increase in efficiency. 2. Reducing the volume of official communications. 3. Increase in the amount of advertising. 4. Specialization of the interests of viewers and listeners. 5. Increase in the role of local, regional broadcasting. 93

The media are characterized by: efficiency, clarity, analyticity, emotionality. Through the news releases social norms, values, behavior patterns, social knowledge, cultural achievements are transmitted by the media. Online media features – to inform, to quickly inform, to listen to the radio in cars, TV shows, print media features – to explain, analyze. In the modern period, young people prefer especially the Internet and mobile communication to all MMC, while the older generation gives preference to traditional media. Reporting on TV and RB is one of the main genres of teleinformation. Live report is a direct broadcast of the message transmission by the reporter, delivering a report with the elements of author's improvisation and comments based on previously prepared materials, without prior editing of the visual series; a reportage in the recording is a video- or film recording of the event, followed by editing based on additional author's text or a new visual material in accordance with the script plan; Problem reporting is a transmission from the scene, dedicated to the analysis and assessment, conclusions, lessons of this event. The features of the soundtrack allow us to talk about two types of TV report: synchronous report (the term originated during the appearance of synchronous cameras on TV, allowing you to simultaneously capture the image and sound, and therefore ensure that the spoken words match the articulation of the person talking on the screen) containing natural noise of the events and the speech of the participants, or dumb (as the tele-practices say, meaning the lack of sound from the scene); the narrator or journalist reads the offscreen text. Report classification: 1. By way of fixation: – video footage – movie report – photo report – reportage sketches. 2. By sound: – synchronous – voiced – dumb. 3. By way of broadcast: – live report: commented and uncommented, 94

– fixed (recorded on tape). Typology of TV reporting – eventual – thematic – problematic – staged. The structure and composition of television coverage 1. «Stand-up» (the beginning of the story about the event). 2. Offscreen text (continuation of the correspondent's story). 3. Synchron (actor, expert). 4. Wraparound (sometimes used). 5. Offscreen text (in which the presentation of information ends). 6. «Stand-up» (conclusions and forecasts of the correspondent). Situations of «Stand-up» use: 1. The correspondent has his own point of view on what is happening, but there is no video sequence. 2. If it is necessary to link among themselves the episodes, places of events. 3. To fix the presence of the correspondent. 4. To set out the context of the event, its history. 5. To analyze the situation or express your forecast. 6. To describe someone's or own feelings, emotions. 7. For visual demonstration of any action. Wraparound is the use of separate phrases, replicas, natural scenes, and dialogues in addition to your own text, along with the offscreen text. All the information of the wraparound should be compositionally and stylistically inscribed into the general context of the reportage. Most often, rapping is illustrative. It can exist not only in verbal form. A TV report contains another important composite element – lead. Lead is the first paragraph of the text of the report. The lead summarizes its main ideas, this is the text with which the speaker presents the report. Leads are of two types: 1. Hard lead – contains the main fact on which the report is built. 2. Soft lead – on the contrary, contains non-specific, generalized information. 95

A TV magazine, a radio magazine is a periodical television and radio publication that combines materials from different genres: informational, analytical, and artistic. An important feature of many radio magazines is the unity of the topic. Tele-radio magazines have stable forms: – thematic unity – thematic diversity – various genre palette, – original sound and video solution, The personality of the presenter also determines the character of the television and radio journal. TV and radio series or a cycle is a set of programs that are closely related to each other by the theme, concept, common ideas, protagonists. TV and radio series consist of independent programs that go on the air for a certain period. Television and radio channels are the form of broadcasting, popular and widespread on the radio and TV. The main feature of the channel is the long duration of each release of the program and a clear composition. The integrity of the channel is achieved by thematic unity. The personality of the TV and radio host is the unifying element of the television and radio channel. Work on the transfer. First of all, the type of program is determined: it may be a news release, TV magazine, review; the genres of individual scenes, timing, preparation time are also determined. A creative team is built, responsibilities are distributed among the participants. The job on the selection of illustrative material, the application for photo-film-video is assigned. Having outlined the topic and content of the future program, the editor gives a specific task to the correspondents – to prepare this or that material in a strictly limited period of airtime. Such a requirement teaches them the necessary sense of airtime, the desire to concentrate thoughts. Starting a television program, you need to adhere to the canons that have been established within this studio, use the materials available in the record library, in the TV film archives, music screensavers, caps, and screen savers, etc. Various special effects, computer graphics, animation, and curtains are also used on television, as well 96

as still frames, drawn or photo savers, intermediate image elements, etc. At the beginning of the program, during the change of the plots and before the final screensaver, it is necessary to repeat the names of the authors, performers of the programs, and the composition of the creative and technical team. The text of the plot, the transmission is written in advance and the image is «adjusted» to the text. The text is written after the image is taken to correct the scenario plan, most often this method is applicable to large forms of TV, to plots, videos, sketches. It is better to do the text in a conversational manner so that its reading harmoniously fits into the general outline, the general style of transmission. The style of the test and its pronunciation is determined by the tasks of the program. The text should not repeat the seen image. It is built according to the laws of drama, according to the laws of the counter office, complementing, explaining, commenting on the image. With an average reading rate, a standard computer text page sounds for two minutes. Exact, strict «announcer» text requires a clearer fit to the image. It is more freely combined with film frames, various phrases – author's text, comments and author's reproduction. Do not oversaturate the text with names, names, numbers, because the figures do not bear the figurative load, the audience will not have time to master the material. We must remember the role of pauses, sometimes they mean more than words can say – music, background noise (production, natural, etc.). The soundtrack can be recorded in advance and played back synchronously. Scenarios, scenario plans for complex volume transmissions are often written as a coherent narration, where the author's attitude is transmitted by including detailed remarks in the general fabric. Monologues and dialogues are recorded as in plays – after the character's name the text («bolvanka») comes or an approximate text in an improvised show sounds. The methods of working on script in television journalism are in many respects similar to the activities of documentary filmmakers and radio journalists. It should be cautioned to initiate the creation of a scenario of a television documentary transmission from attempts to write a script with detailed description of facts, events, events, 97

interviews. If this is done so, then in the reporting programs this will become a game scenario for non-professional performers. The experience of direct TV has shown that TV does not tolerate any show of «genuine events». Therefore, a scenario plan, a literary basis of the program are being developed on TV, dramaturgical moves are laid down, possible answers to the questions of the reporter and presenter are taken into account. The general subject of presentations of the participants of the program is discussed, the necessary «bridges» and transitions from episode to episode, from speaker to speaker, key turns and details are thought out, and without all that it is difficult to do in the program. The script should be a working document, a close version of which should be on screen. The creators of the programs should have an idea of what the future program will look like taking into account all the interviews, performances of the «heroes» of the programs, taking into account the artistic and expressive means of TV after all the recordings and editing. Improvisation remains for reportage moments, for monologues, dialogues, interviews. However, this does not mean that the scenario work is not preceded by a period of thorough preparation and selection of the material. The script should include preliminarily prepared fragments of documentary tapes, films, photo footage, tape recordings, excerpts from other broadcasts, concert numbers, etc. There are different types of scenario recording. The sheet is divided into two unequal parts (the right is wider). The visual row is written on the left (the video sequence is what we show), on the right there is the sound row. However, this more technological record, which in many respects is also the director’s version of the script, is not always resorted to. Practical tasks 1. Prepare an information release for broadcasting 2. Prepare a news release for television: 5 messages of 3-4 sentences each. Control questions 1. Where is the information for radio and TV news taken from? 2. What is the structure of an information news release on TV and RB ? 3. What sources of information does the publishing editor use to prepare news on RB and TV? 4. Criteria and principles for the construction of a news broadcast.

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Chapter 9 AUDIOVISUAL ADVERTISING

Advertising as a social phenomenon, as an attribute of the commercial sphere is increasingly penetrating our lives. According to theorists, «advertising is a purposeful and substantiated activity in the field of communication, which mediates specific relations between the subject of this activity and the target group selected on the basis of socio-demographic characteristics. Advertising is a complex unity of its three main types: economic, socio-educational and government advertising. «It has great power as a means of influencing the public consciousness, it carries a number of functions: informational, commercial, organizational, educational function. The more perfect the content and form of advertising with the maximum information and the minimum volume, the more effective it is. Psychologists note that in advertising, it is not the word «communicative impulse» that affects the audience, but the communicator himself. And here, when communicating, it is important to inspire confidence, to convince the future consumer. Audiovisual advertising competes favorably with other means of advertising thanks to its inclusiveness, scale, combination of image, color and sound. Recordability of information obtained by audiovisual means is much higher. The advantage of such advertising lies in its efficiency. Advertising creators should be aware of the facts that influence the consumer response, should take into account the peculiarity of human perception, for example, such a concept as suggestion – a belief on an emotional level. If advertising first attracts the viewer, reader, listener with its emotional side, then it should interest him with its content, focusing on the main idea. Good advertising forms an idea in the consciousness of the audience – the image and associations connected with it. But it creates not only the image of the product, but also the image of the company producing this product. By the power of an attractive effect in advertising, as sociologists note, the first place belongs to the 99

woman, followed by children, then animals, and only then men. Such is the phenomenology. There are various means of distributing advertising: print advertising, transport, exhibition, advertising at the point of sale, audiovisual advertising (TV, radio, satellite TV, cable TV, video, teletext). Audiovisual advertising: it is an advertising television spot – a video spot and a radio spot – an audio spot, it will be successful if the entire range of artistic and expressive means of radio (RB) and television (TV) is used. Audio picture Advertisers appreciate radio for mobility, cheapness, flexibility. The ubiquitous distribution of radio makes it possible to listen to it at any time of the day, it covers such categories of people that the press and TV do not reach. Radio is addressed to the listeners engaged in other matters, forming the background of the work or leisure. Studies show that the efficiency of a minute radio spot is approximately equal to 75% of the efficiency of a standard 30 second television advertising. Radio, operating with words, music, sound effects, affects only hearing, offers the most effective means of sound expression – the human voice, personal appeal. The listener must submit, «see» the advertised product, so the word is the main element of the audio event. The word attracts attention, maintains interest. Here it is important the rhythm, style of narration, pause. Radio, more than any other advertising medium, relies on the art of the sounding word, on the skill of the authors, the writers. Advertisers run their campaigns nationally or regionally. At the local level, radio advertising should be less official, a little friendlier and a bit more enclosed than at the national one, broadcasting on the Republican level, local advertising is more relaxed. The style of advertising depends on the nature of the advertised product and the profile of the radio station. Each type of advertising has its advantages: «live» advertising is not expensive, a simple message does not require actors, special effects, or recording. If other features are important, for example, musical arrangement, then preference is given to the film. The writer should feel what kind of music is more suitable for this audience, the advertised product. The musical theme is often 100

based on various musical directions (pop, rock, jazz, country, blues, classics, etc.). Types of audio spots: 1. Direct advertising – the address of the announcer to the listener. 2. Dialogue – a conversation of two or more people. 3. Dramatization is a «life story» in which a problem is solved with the help of an advertised product or service. 4. Musical advertising On the radio, the standard is 60 second audio spots, on television – 30 second videos. Time is the main factor in audiovisual advertising, so its creators use a stopwatch. A line of 80 characters takes 5 seconds to air, or an average of 25 words is broadcasted in 10 seconds. The laws of radio advertising have their own specifics: 1. The author of the text should refer to the imaginary interlocutor. 2. The first 10 seconds of transmission are the most important. 3. Maximum speech speed should not exceed 2.5 words per second. 4. We must help the listener to see the goods. For this purpose, it is necessary to mention its characteristics such as size, color, weight, smell. 5. In the advertising program lasting for 60 seconds, the name of the product must be repeated 3-4 times. 6. Music and various sound effects should help perception of the goods, and not entertain the listener. 7. The sequence of presentation of the material should be as follows: first WHAT, then HOW, and only then WHERE. 8. You need to think about the time and intervals of transmission. Each audience has its time on the air, their favorite programs. 9. Keep conversational style, use simple words, short sentences. 10. Concentrate on a commercial idea. 11. Accent verbs, use them more often than adjectives. 12. The maximum number of words in a radio commercial is limited by its duration: 10 seconds – 20-25 words 101

20 seconds – 40-45 words 30 seconds – 60-70 words 60 seconds – 130-140 words. Video spot The creation of television advertising is much more difficult than the same work on the radio, it begins with the preparation of the text, then the visual, sound, optical equipment, various special effects, and editing are used during the filming. The specificity of the audio post is different from the video plot. The author not only develops the plot, but also sees the future audio spot visually, therefore, together with the director, he paints the scene and plot, and, together with the sound engineer, discusses how the sound part will interact with the image. TV advertising gives you an opportunity to appeal to the widest audience, especially at the most watchable time – «prime time». Once seen video clips are remembered for a long time. Videogames have more artistic expressive means: animation, computer graphics, frame changes, movement, light, color, music, noise, sound and editing (intraframe, interframe, associative, parallel, artistic, compositional editing). The specifics of a video spot are different from an audio spot. Color affects the emotional state of a person, it contributes to a more effective demonstration of consumer qualities of the product. Computer graphics on television, according to experts, arises in the audience a sense of authenticity and truthfulness of information. Animation gives the creator of advertising more freedom to represent various animals, graphic elements, combinations of objects, etc. The success of advertising is also determined by the popularity of the program, the accuracy of its choice and, moreover, by delivering it at the most watchable time – «prime time»: 19.00 –22.00, for example, when entertainment programs, television series are shown. The degree of watchability of advertising is affected by: – originality of content and form, – technical quality of the roller design, – persuasiveness of the material, etc. TV advertising is becoming more interesting, informative and, at the same time, difficult and expensive to produce and display. TV advertising gives a wide range of possibilities. To increase its effect102

tiveness, a number of psychological methods have been established, among which: emphasis on visuality, originality, brevity, proximity to the consumer, etc. Effective is the advertising, which is made with taste, at a highly professional level and which harmonizes with the interests and needs of the audience. When creating a TV commercial, consider the following points: – the subject, that should be specific, – mass audience, – evaluation function, – the nature of the image, in order to show comprehensively the object of advertising, – the nature of the impact. The main requirements that are used in the countries with developed screen advertising are as follows: – commercial ideas underlying advertising, – the main approaches to the transmission of the advertising message, – methods of demonstration of goods and services. Commercial idea (what to show on the screen): 1. The idea of a new product 2. New product model. 3. New product features. 4. New shape, size, packaging. 5. Components. 6. Production process. 7. Company (its image). 8. Place of production of goods. 9. The main methods of application. 10. Universality of goods. 11. Convenience. 12. Quality. 13. Efficiency. 14. The problem that gave rise to the creation of goods. 15. Results of use: tangible and intangible. 16. Lifestyle of the users. 17. User satisfaction. 18. The number of users. 103

Basic approach 1. Direct. 2. With a touch of humor. 3. With great exaggeration. Scenario television commercials For television advertising it is necessary to develop a television script. The most successful scenario is given in the book by Denisov D., Linda T. Advertising textbook. – Minsk, 1997. The video column (description of visual images) is given in the left column, the text is given in the right column. Video series Text Typical office, a young woman Voice over: is sitting behind the computer, She looks What are your children at the clock. doing now? Close-up – the face of a young woman – Woman: Are they sitting at home? serious, slightly worried look, she looks to the left of the camera. Voice announcer: The woman turns around, looking straight into the camera. Certainly, you told them to stay at home. But they are children! Medium plan – at a short distance from The camera a 8- year old girl is walking along Wouldn't you like the street, cars are passing by, to know where they are? one of them stops. Woman (with irony): Close up – hand of a young woman on A computer keyboard, fingers restless,

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Of course. If I give up home and work, who will earn money?

taping. Medium shot – a girl is talking to a suspicious man, sitting in the car. Voice of announcer: There is a way! Today each, even a single mother can allow herself to take care about her child. Let's name the main stages of the work on television advertising. 1. Concept development. The subject of the advertising message is the addressee of the advertisement and its consumers, the addressee of the advertisement and the benefit that he can derive from the advertised product, the product (service, fashionable novelty). 2. Development of the idea. Basic principles: – the originality of advertising determines the unexpected, lively idea and unusual words and pictures, – a good idea eliminates the «frontal» imposition of goods, services, – ideas that take the form of a visual expression of the quality of the product through associations or famous prototypes are the strongest, since they carry a clear, long-established image. – in each product the germ of «drama» is contained, which best reveals the essence of the product. 3. Criteria for securing advertising in the mind of the consumer – TV advertising should not be «overloaded» with minute details, – the idea should not be replaced by mastery, – you need a consistent and clear development of the idea of advertising. 4. Technology of work on the commercial: – the creation of a literary script. – directorial development – the study of visual solutions. – selection of actors, shooting. 105

– montage and tinting. Shooting technique: Live film. Animation. Combined movie. Stunt movie. The basis of good advertising is the idea – the plot of the commercial – this is the opinion of leading TV commercial makers, and therefore the formulation of the idea is the main task in creating an advertising film, the solution of which begins with the study of the goods. The word «plot» is used as a specific television term, meaning a small independent part of a television or broadcasting program or broadcast. Examples of social television advertising (video spot) The topic of the TV-movie is determined. The hierarchy of significance of problems is revealed by public opinion polls. These are usually the most pressing issues of domestic and foreign policy: taxes, crime, social programs, ecology, etc. Politicians seeking re-election make extensive use of montage from television with their speeches on a particular topic. Below is the example of a 60-second American television show in favor of the Republican Party. Video Sound Text Panorama of the street. Pavement wet City noise, street, knock of heels. after the rain. Woman’s legs, she is walking along the pavement against the background of a closed shop window curtain, voice behind the scene a woman passes by, a blurry silhouette of a man following her appears. The number of crimes 106

in America for the last years nearly doubled up. It’s getting dark. A woman in a coat. She is 45. A robbery is committed every 60 seconds She returns home late at night. 2,5 min, The camera moves with hands. - rape every 43 min, – murder…

Image is enlarged. Close up – woman..

And there will be worse if we don't take decisive measures.

The camera is still. A woman leaves: her silhouette becomes smaller she is hiding in the darkness.

An inherent right of everyone –

to get rid of of fear. The noise of receding steps. Screensaver: Your whole life depends on how you will vote. Word Projection Screensaver «Republican Party». 107

Editing of an advertising film – video Promotional films, video plots require dynamic editing. Classic sequential editing cannot be used in pure form in an advertising film. It simply does not meet the requirement for speed of development of events and does not fit into the framework of a small film. Sequential editing in an advertising film is a montage that allows the exclusion of certain phrases from the video sequence of the action performed. For example, in a feature film, the process of quenching a thirst with a drink can be shown in the following sequence: – large – label, – departure – opens the bottle, the hand pours the drink from the bottle into the glass, puts the bottle in place and removes the glass from the frame, – the hand carries a glass, brings it to the mouth, – the man is drinking, – the hand takes the glass from the lips and puts it in place, the hand leaves the frame. In an advertising film, this process can be shown as follows: – the hand appears and takes out from the frame the glass standing next to a half-empty bottle, hitting the label. – The hand takes the glass from the lips and brings it out of the frame. Thus, the time of the action is reduced many times with full preservation of the content of the event. Parallel editing can and should be used in advertising films, but it is subject to careful intraframe editing to eliminate unnecessary actions. Most commercials have several scenes. They are connected in certain ways. The simplest of them is a sidebar (one scene cuts into the next), it can mean simultaneity, acceleration, or diversity of action. Overlay – captions are superimposed on the video scene. The influx – the scene dissolves, at the same time there is another one. Manifestation – the scene manifests itself from the dark. Dissolution – the scene dissolves until it becomes dark. 108

Erasing – a new scene «erases» the previous one from the top to the bottom, from the bottom to the top, from the side, etc. «Wandering mask» – a part of one scene is placed on the top of another one. The promotional video should be solid, imaginative and original. Requirements for advertising video: – the idea should not be replaced by mastery, – a clear and consistent development of the idea of advertising is needed, – it should not contain the elements that overload this story, – advertising phrases should be short (9-11 words). The problem of interest to the consumer can be solved by: 1. Slogan – a short advertising slogan, appeal, aphorism, title. 2. Small beginning – a small text that describes the main idea of the slogan. 3. Information block – the main text. On television, advertising may be in the form of a roller, a report, a plot of teletext, a running line, an announcer. Television practice confirms that television advertising is an independent artistic genre, a professional industry that has its own specifics and patterns. Television advertising is the most expensive way to advertise. It achieves the greatest efficiency in the morning and evening, when the majority of people are at home after work and have a rest, especially at prime time from 19.00 to 22.00. Visual advertising includes: – advertising films, – promotional videos, – slide films. Promotional films Commercials – short advertising films, lasting from 15 seconds to several minutes, designed to be shown to the general public to advertise goods and consumer services. They use all genres of cinema and are built on dynamic plots, acute situations, unexpected interchanges. Promotional films – promotional films last from 10–20 minutes, telling not only about the products, but mainly about the enterprise itself to the customer, they are created to show various target groups 109

in order to create a favorable opinion of the advertiser’s activities and enhance his prestige. Advertising technical and prestigious films are closer to popular science in the genre, sometimes they use elements of animation, computer graphics and fiction films. Such films are intended for demonstration at exhibitions, fairs, presentations, press conferences, symposia, business meetings. Promotional videos Video advertising information is a specific type of video advertising, it is an operative video about an outstanding event in the life of the organization – advertiser (signing a large commercial transaction, releasing the first batch of new goods, celebrating an anniversary, etc.). Slide films – a program of automatically changing color transparencies, projected on one or more screens. Such a program is accompanied by a specially prepared phonogram. Slide films can be used for a diverse range of products, industrial products and services. They may have a prestigious advertising trend. One of the main advantages of this type of advertising is the ability to quickly and economically modify or simply replace some slides with other ones, without breaking the integrity of the program. To facilitate the process of displaying slide films, they are sometimes recorded on video tapes and shown on television screens. Some advertisers deal with the largest audience, others – with a certain category of viewers, listeners. But effective will be the advertising, which is made with taste, at a high professional level and that is in harmony with the interests and needs of the audience – future consumers. The topic of the video is determined. The hierarchy of significance of problems is revealed by public opinion polls. These are usually the most pressing issues of domestic and foreign policy: taxes, crime, social programs, ecology, etc. According to the researcher of the American television advertising N.A. Golyadkin, in the book «Creative TV Advertising (from the American Experience)», there are several rules on creating video clips: they must raise broad questions that concern all voters, because candidates need universal support; they should be simple and complete: one clip – one idea, giving a specific information, they should affect the feelings of the audience. 110

The visualization of culture makes it necessary to take a fresh look at various types of communication, including advertising. Adequate perception of the message by the recipient depends on many factors that are taken into account when designing an advertisement. It is not only about the graphic elements included in the advertisement, but also about the form of the verbal component (the text of the advertising appeal). In advertising texts, it is necessary to use a typesetting that would help to visually organize the complex structure of the text and focus the attention of the recipient. Composition is the most important means of controlling the process of perception. A solid text is difficult to read, it is psychologically perceived hard, and this contributes to the destruction of the perception of the example. It is important to break the text into paragraphs, then visually it is perceived more easily. To focus on individual components of advertising, both the font design, the text column format, and the compositional highlighting in the text are important. Emotional impact is achieved by: – color (if it is impossible to ensure the quality of the printing performance, it is better to use black and white printing), – geometric shapes. The vertical shape is perceived as something dynamic, the horizontal one is associated with reliability. Horizontal lines create a feeling of heaviness, while the diagonal lines are full of movement and cause various associations. Line thickness makes sense. Thin lines symbolize grace, precision, thick ones – massiveness, heaviness. Ellipses are perceived more benevolently than a square or a circle. A triangle placed on one of its vertices is associated with motion. It is necessary to name such a factor as the content of the consciousness of the recipient. It is impossible to predict the emotional state in which the person is at the time of contact with the advertisement. Advertising psycho-technologies and a set of other communication technologies are aimed at changing the focusing on perception, on overcoming the barrier of perception of visual information. There are some psychological patterns of advertisement perception. 111

Psychologists have determined that the color scheme causes in a person certain feeling, e.g. a feeling of warmth or cold, calmness. Our consciousness is programmed indirectly. Man pays attention to anything, but not to the properties of things. These properties are not recognized. They are implied; this mechanism is used in the practice of ideological influence and in the practice of advertising influence. Suggestion is a peculiar method of psychotechnology, persuasion, suggestion – this is the process of influencing the human psyche associated with a decrease in criticality and consciousness in perception, which does not require any personal analysis or assessment. The essence of suggestion is to influence on the feelings of a person, and through them – on his will and mind. The impact depends on the visibility, accessibility, consistency of information, as well as on the authority of the suggestor. The effect is strong when the suggestion meets the needs and interests of the consumer of advertising. Good advertising guesses the values inherent in its target group (for example, job applicants – quality education). But, if this product or service is not needed to the person, then you can confuse your head not at the level of needs, but at the level of decision making. Promotional activities include: 1. Research (study of consumers of goods or services), analysis of the market being mastered. 2. Planning (definition of goals and boundaries of the market, provision of allocations, development of creative approach and advertising media). 3. Making decisions on cost estimates. The choice of advertising media. 4. Announcements (writing the text, preparing the decoration, production). The theoretical base implies: – advertising policy – the achievement of certain goals, – advertising strategy – long-term benchmarks, – advertising tactics – funds aimed at achieving the goal. Experts determine that the following steps are necessary for the creative realization of an advertising idea: 1. Collection and processing of information. 112

2. Information about the potential consumer and the means of communication to which the advertiser is oriented. 3. Characteristics of the product and the highlight of its distinctive properties, which can be used as the basis for the advertising motive. 4. Work directly on the text of the advertisement. Creation of the attitude involves solving three problems: what (content), how to say it – a logical (structure), and how to express the content in the form of symbols (form). A number of recommendations when writing advertising text: – in the advertising text one phrase should contain one idea, – the main idea should pass through the whole text of the advertisement, be expressed in the title, – breaking the text with subtitles, which should appear every 5-7 cm of text, – key paragraphs in bold type or italic, – the first paragraph of a long advertising message should not exceed 11 words, – advertising should resemble a personal, trusting conversation, – more facts in favor of the proposed product, – using the language understandable for the consumer. Practical tasks 1. Create a plot of social television advertising 2. Think up a plot of social radio advertising 3. Write a commercial audio storyline 4. Write a commercial video plot story. Control questions 1. Types of audiovisual advertising. 2. What is an «audio spot»? 3. What is a «video spot»? 4. «Prime time» on the radio and television: reveal this concept. 5. What does «suggestion» mean in TV advertising? 6. What is the common standard timing of the audio and video spots? 7. Describe the artistic and expressive means of radio advertising 8. Describe the artistic and expressive means of television advertising.

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Chapter 10 SPECIFICITY OF THE COMMUNICATION OF A TV AND RADIO JOURNALIST

The work of a television and radio journalist requires professional skills that are developed through constant training, the accumulation of practical experience, in addition to a broad outlook, in addition to the ideological position, natural features, educational level. Mastering the television profession is only possible as a result of studying the entire course of theoretical disciplines in combination with everyday creative practice. Often, students judge about the profession of «television» and «radio» only by what they see on television, hear on the radio, but this is only a visible part of the work of specialists. The main part of the work remains on the other side of the screen, the ether, and this is a huge, painstaking, hard work with its creative, technological, moral features. This is a job that requires from a journalist a strong nerve, physical endurance, patience, diligence, teamwork, sociability, a sense of humor, because work on TV and RV is a collective one, involving: a producer, director, editor, moderator, artist, illuminator, cameramen, sound operators and many other experts in their field. The success of the program and the plot depends on the professionalism of each member of the creative team. A television journalist, a radio journalist is an intermediary between the time, embodied in the work, and the audience. Speaking about the problems of speech culture, it is necessary to take into account the laws of on-air communication, television communication distances, types of communication itself, «the arc of comfortable conversation», spatial interaction, eye contact, personal communication distance, the issue whether we take into account the influence of our presence. The nature of communication is determined by the tasks that the journalist has set to himself. There are several types of communication: business communication, an influential form of communication and emotional one. The nature of communication is influen114

ced by different environments: national, social, cultural and professsional. The art of dialogue is not only the ability to ask questions, it is the ability to listen and hear the interlocutor, the ability to build the situation of the communication itself. An interesting interviewer may have an interesting journalist. And here human, ethical qualities are inseparable from professional ones. Confidential communication, as psychologists note, requires a closed space. Sometimes the nature of telecommunications is caused by the nature of the scene. A journalist should be aware of non-verbal means of communication, spatial interaction, eye contact, personal distance of communication, consider the influence of his presence, know about the degree of support of the interlocutors, about the «arc of comfortable conversation» – its distance varies from 1 to 2.5 meters. Communication, some researchers say, consists of words by no more than fifty percent. Others argue that the words we trust most of all carry the least information – 8% of information, 37% of information is transmitted through intonation. What constitutes the remaining 55% is gestures, facial expressions, glances. These are the elements of communication (by researcher Jacobson): 1. Words. 2. The way to build a phrase – stylistics. 3. The nature of the intonation of words, voice timbre, etc. 4. Facial expressions – changes in facial expressions. 5. Eyes expression. 6. Human smile. 7. The nature of gestures, gait. The role of non-verbal means in communication is great. If the words say one thing and the voice says another one, the audience will believe the voice. If the face, the look says something else, then they will believe the face. Gesture, facial expressions, expression of the eyes – all of this are non-verbal means of communication. And as a result, an elusive quality, which is called charm. 40% of information is transmitted through the emotional sphere. When evaluating male voices, preference is given to baritone – 62% of respondents, tenor -31% and bass – 7%. Among women, preference is given to medium timbre voices. More often, men get higher 115

score, higher ratings in the factor «competence-conviction», and women – in the factor «respect-attractiveness». The audience seeks to internally evaluate any communicator, appearing in the frame, as if to compare his image to himself. These processes occur unconsciously, but they affect the perception of information. The psychological tasks of a leading journalist are related to organizational tasks. Among the psychological tasks are the following: – carefully listen to the opinions of the participants, – help express their positions, – confront different points of view – try not to aggravate the situation. Among organizational tasks are the following ones: – engage everyone in the discussion, – consider the reaction of the audience, – give equal opportunity to speak to everyone. – corrects discussion, etc. Television theorist (BBC) – Brus Lewis identified the following qualities for a leading journalist working in the frame: – broad education, knowledge of life, people, – shrewd mind and resourcefulness – sense of humor, – patience – imagination – enthusiasm – modesty, self-confidence, ability to work in a team, etc. There is an internal and external image for a television journalist acting in the frame. The term internal image refers to the system of personal characteristics: emotionality, type of thinking, value orientations, etc. Under the external image his manner of holding, dressing, hairstyle, etc. is understood. The degree of trust to a communicator depends on such important qualities as credibility (initially on social status), competence (on information about education and professional position) and attractiveness (may arise from the appearance of the presenter and his manner of holding the discussion). The nature of communication requires television journalists to speak with the audience in a modern language. The dialogue can 116

attract by the energy of thought, energy of position, energy of rhythm and pause, maximum information per unit of time, energy of improvisation, etc. According to the researcher professor S.A. Muratov, there are four phases of conversation in any speech communication: 1. The initial stage – adaptation, «prelude» to the conversation. 2. The conversation itself. 3. Psychological relaxation of emotional stress. 4. The internal state that remains after the conversation. For the nature of communication, the journalist is ethically responsible. Speaking about the problems of the culture of perception, it is necessary to take into account the laws of on-air communication, the distance of television communication, types of communication. The image of the communicator is a link between: – the global information flow and its consumer, – different social groups of people and individuals, – the state, the ruling elite and ordinary citizens. The optimal image is the image that most fully implements all types of the above links. Then the image is relevant. You can connect the moderator with the audience using the methods of psychological influence: humor, the effect of personal conversion, change of impressions, a shocking situation, suggestion – the method of persuasion on an emotional basis, etc. The emotionality of the speaker in the frame, of the communicator seems to be three-layered: – on the one hand, it is an emotional expression, realization of some kind of psychological expression of his own, – on the other hand, it is a conscious, purposeful emotionnalization of the audience, – and thirdly – this is reflected by the rebound from the audience, a kind of self-inflation, what is called «courage» in the circus. Personal factor plays a big role on TV. If the theater and the cinema go to the actor, to the director, then on television, a TV program includes a person, moderator, TV reporter. There are 6 components that make up the popularity: – this is a positive setting, – this is an interest – this is trust, 117

– this is a coincidence with my positions, – this is a coincidence of «his» image with the desired image – this is purely emotional to «his» attitude. The style of individual programs is determined by the specifics of their genre, and this specificity depends on the subject and purpose of the image, the coverage of reality in this program. If the radio is the main source of information in the word, and the music, noise, sound has an auxiliary character, on television information can be given by all screen means, depending on the type of transmission. Improvement of the forms and methods of TV speeches, taking into account the unity of language and thinking, is a condition of heightened informative impact on the viewer. Personalized performance requires a harmonious combination of social and personal orientation of communication. Practical tasks 1. Conduct a television interview using the personal distance of communication. 2. Give examples of television programs with personal, social and public distance of communication. Give them a detailed analysis. 3. Analyze the stages of TV and radio communication in the frame, on the air. Control questions 1. Specificity of television communication in the frame and behind the scenes. 2. Non-verbal means of communication. 3. What are the elements of communication? 4. What influences the nature of our communication and, in particular, the television communication? 5. What is a «comfortable talk arc»? 6. What are the television communication distances? 7. Why does each TV communication distance correspond to a certain TV genre and a certain distance? 8. Why do television and radio strive for personal communication distance?

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Chapter 11 TV AND RADIO BROADCASTING: DEVELOPMENT PROSPECTS

As a result of technological changes, traditional methods of production, storage, distribution and reception of communication messages are supplemented and modified. For example, digital technologies emerged, the development of which began in 1979 by Japanese companies Phillips and Sony. The standard of digital sound system format CD produced a real revolution in the release of discs and equipment for their playback. The event was so outstanding that the history of audio equipment began to be divided into two stages: before the birth of the CD disc and after it. The CD system was the first to introduce two innovations to the mass audio equipment, namely: digital processing and optical recording. In the following years, these innovations were further developed in other areas of sound and audiovisual equipment. The CD has seriously pressed the most popular sound-tape carrier from the first place in the rating. They did not have time to get used to the silver compact disc, which was the first sign of the digital revolution, when a digital video disc appeared at the end of the twentieth century – video CD. The advantage of a video CD is a digital recording format and a contactless optical method of reproducing a signal using a laser beam. At the same time, physical wear of the video program carrier is almost completely eliminated, and deterioration of image and sound quality during operation is avoided. The Internet and new digital technology have revolutionized the entertainment industry, a personal TV computer allows consumers to choose content and integrate television with text services and computer games. The first TV computer became available in 1998. According to Greg Clark, the president of the News Technology news group, «with a new digital and satellite technology, the buyer will soon be ready to choose up to 300 stations» [1]. Since the 1980s of the twentieth century, the newest media communication (MMC), which includes cable, satellite TV, video text, cellular, mobile telephony, fiber optic communication, the Internet, 119

direct TV broadcasting, high definition TV, interactive, digital broadcasting began to speak as an independent MMC. One of the works of G.P. Bakulev in this area is devoted to the world experience. First, the researcher notes, there is a significant and constantly growing separation of the «production» of information and its dissemination: the supply of information products and their consumption are out of the monopoly control of content providers. Secondly, the enormous unlimited bandwidth of cable, satellites and video makes open to the consumer the entire information space of the world. Thirdly, it is a higher degree of interactivity, communication with the consumer, greater flexibility of forms and methods, not typical of the traditional MMC. Terrestrial, cable and satellite TV, despite all the difficulties of interaction, coexist, complementing, stimulating, changing each other [2]. Not only the MMC researchers, but also educators and writers write about the integration and even the replacement of verbal types of information with screen. «In modern networks, traditional publishing technologies integrate with audiovisual technologies, combining various types of content. Such integration leads to the fact that the information industry is expanding, blurring the boundaries between the sectors of traditional MMC systems and creating new open media systems» [3]. In 2007, a well-known sociologist, academician of the Russian Academy of Education, Igor Bestuzhev-Lada, predicted that «in 5-10 years a mobile phone and a portable monitor will make the television so familiar to us completely unnecessary, it will simply die. After all, any information can be obtained from the inexhaustible Internet at any moment «[4]. Satellite TV The satellites, which at first carried out only auxiliary functions, gradually turned into an independent means of propagating television signals. Satellites have expanded the coverage area with signals to entire countries, regions, continents. Unaware of state borders, they significantly increase the range of programs available to viewers, especially where it is limited to one or two channels. Satellite broadcasting in the form of direct television (NTV) provides complete freedom of choice. 120

The first satellites, specially designed for telecommunication needs, were launched in 1962 by the American «Telstar» and «Rayleigh». Both satellites belonged to the category of repeaters, i.e. provided the connection between the given points. Regular broadcasting through space was discovered in 1965 by the American satellite Early Bird, launched into geostationary orbit. It became the first satellite of the international organization Intelsat, created in 1964 to transmit telephone conversations, business information and television programs on a global scale. The problem of television broadcasting using artificial satellites of the Earth attracted the attention of the scientists of many countries who have long shown an increased interest, which was caused by the fact that from a satellite at a high altitude (up to 36–40 thousand km), it is possible to transmit signals, including television signals, over vast territories, up to a third of the entire earth's surface. But the possibility of implementing this idea appeared after the launch of the first Soviet artificial satellite of the Earth in 1957, and the start of the development of satellite communication systems and satellite television broadcasting in the former USSR was the launch of the artificial satellite of the Earth «Molniya – 1» in 1965. On August 11, 1962, the cosmovision was born in the USSR; the first transmission from the Vostok-3 and Vostok-4 spacecraft was conducted. In 1967, the first 20 receiving stations of satellite communications Orbita were commissioned for the regions of Siberia, Central Asia, the Far East and the Far North. The commissioning of the first Orbit stations marked the beginning of the retransmission of the program of the Moscow Television Center within the Soviet Union in 1967 and provided an increase in the number of TV viewers of the Central Television by more than 200 million people. For small towns, a screen system was created. The first «Eskran» satellite was launched in 1976. An experimental network of 60 receiving installations was ready for this date. The service area of the system covered the area of 9 million square kilometers, which accounted for about 40% of the entire territory of the USSR. It included the areas of Siberia, the Far North, and partially the Far East [5]. At the first stage (mid-1960s – early 1970s) satellite TV remainned somewhat exotic means used for the international distribution of 121

particularly important news, for example, about a man’s flight to the moon in 1969, reports from the Olympic Games, since the cost of the broadcast was very high – one hour of transmitting cost $ 3 thousand. By the mid-70s of the twentieth century, tariffs were halved due to the launch into the orbit of more advanced platforms. The satellites of this generation have the function of distribution, because the programs from them are received by ordinary broadcasting television stations and, after corresponding transformations, the frequencies enter the houses of television viewers. Transmitter power ensures reliable reception of signals over vast territories, so it became possible to move from broadcasting separate reportages to showing entire programs within a country or an entire region. From the mid-1970s, the interaction of cable and satellite communications systems began. Until that time, both of these systems developed in parallel ways. In the following years, the volume of space broadcasting, both domestic and international, grew rapidly. This was facilitated by the commissioning of satellites of new designs and a repeated decrease in the cost of their use. In the mid1980s, the rent for the transmitter on the satellite was about $ 300 per hour. Messages received via satellite communications are widely used in the news, television directly began to broadcast «mega-events» from anywhere in the world, and, according to M. McLuhan’s figurative expression, the whole world turned into a «global village». The use of satellite communications continues to expand with the development of ground-based information, communication, computer services, for the collection and transmission of exchange reports, communications between states, institutions, and so on. The most important difference of satellite systems from traditional types of communication is the possibility of implementing global communication in a wide frequency band, i.e. with high speed with both fixed and moving objects located almost anywhere in the world. Cable TV Currently, cable and satellite broadcasting are difficult to imagine without each other. However, cable communications appeared much earlier than space. The cable solves the problems of overloading the ether due to the fact that it «closes» the propagated signals 122

inside its physical body. However, for a long time this method was perceived as no more than an application or addition to broadcasting, simply because the audience of cable networks was limited only to those who were connected to them. It is very important that by cable you can transmit many more channels than over the air. In addition, the cable allows for more stringent control over the reception of signals. Broadcasting is effective in that it provides unrestricted access to the transmitted message. The cable establishes the physical connection between the program provider and the consumer, ensuring direct commercial relations in the field of broadcasting, since nowadays programs can be sent only to those who pay for their reception. Cable effectively summed up the technical, and therefore economic, and moral basis for the introduction of differentiated pay per view programs, alternative forms of entertainment and other services. Cable extended the laws of supply and demand in the sphere of TV. Suppliers of programs and other forms of entertainment, and consumers who can better satisfy their needs in entertainment, information and audiovisual culture in general, benefit from this. The most important role of the cable is that, being a physical link in the «communicator-addressee» chain, it technically erases the difference between personal and mass communication. Depending on the network structure, the cable allows you to perform various types of communication. It gives the consumer the opportunity to respond to the services received. This means that the subscriber at least gets access to those programs for which he is willing to pay as much as possible – he becomes a full participant in the cable communication process, be it a broadcast, a private conversation or data exchange. In the development of cable TV, several periods are distinguished, which are characterized not so much by the technology (for example, the type of cable used – coaxial (copper or fiber-optic), but by the functions performed. These phases are universal and allow determining the coordinates of any national broadcasting system in the global communication evolution. At the initial stage, cable systems, firstly, provide reception of programs in the locations where telecentre signals do not reach because of long distance or obstacles (high houses, mountains, etc.), 123

secondly, improve reception quality where it is low and, thirdly, reduce the number of spoiling type antennas on the roofs. In the second stage, the cable is used to expand the choice of the audience. Relaying signals from remote stations that are inaccessible to conventional antennas becomes the first additional service of cable systems for which they charge. The third stage in the development of cable broadcasting is characterized by a mutually beneficial alliance with satellite technology, thanks to which the programmatic choice of viewers in all parts of the world increases substantially, since programs can be distributed on a global scale. As a result of technological changes, traditional methods for the production, storage, distribution and reception of communication messages are modified and supplemented. Special hopes are placed on fiber-optic cable, which should be the cheapest means of video distribution. This thin glass wire has an amazing capacity for transmitting a huge number of channels of information. Fiber-optic communication lines (FOL) can transmit television signals many thousands of times faster. Just 70 pounds of fiber-optic cable can transmit the same amount of information as a single ton of copper cable. It is equally important that the production of 70 pounds of fiber-optic cable requires only 5% of the energy necessary for production of one ton of copper cable. Both in terms of materials and energy consumption, the production of this type of cable is analogous to the new economy. Until 2000, one optical fiber could transmit 10 million conversations simultaneously, whereas in 1988 this figure was only 3,000 [6]. If the lifetime of the satellites is 16-20 years, then that of the cable is 40 years or more. Cable networks, due to their higher speed and cheaper rates, are replacing ordinary telephone wires, providing instant connection to the whole world, excluding only places that are difficult to reach for cable laying. Japan has already developed an ambitious program to create a nationwide system of fiber-optic communications. In Singapore, every home and institution are equipped with fiber-optic cable for future interactive services. South Korea plans to transform the information society through fiber-optic multimedia by 2010. In Hong Kong, Motorola launched the Max project over a wireless infor124

mation network that allows you to send mail and faxes using a laptop computer without a telephone jack. «Max» will provide two-way transmission of messages printed with the help of Chinese characters, an on-line assortment, transactions with stocks and foreign currency, even radio sets at hippodrome jumps. Cable satellite broadcasting is being developed in Kazakhstan, major cities and regional centers of the Republic are equipped with powerful digital telephone exchanges, and a high-speed fiber-optic TAE trunk line (Trans-Asian-European transmission line) is being laid. The Trans-Asian cable line is being built, its length is 6,000 km, and the total length of TAE from Frankfurt-am-Main (Germany) to Shanghai (People's Republic of China) will be 27,000 km. TAE will be the most important data transmission link between the continents. The basis of this giant telecommunications line is a part of the area of 1,750 km. That passes through Kazakhstan, which since the time of the Silk Road was a link between the East and the West. At the beginning of the 21st century, cable TV entered the fourth phase of its development, the «mega channel TV» phase of digital super highways. The basis of such a jump was established by the methods of digitalization, signal multiplexing and the integration of televisions, telephones and personal computers into a single network. An important feature of the new stage will be a sharp expansion of the choice of functions performed, in which the broadcast of television programs is an important, but not the main part. The possibility of two-way communication between the main station and the subscriber allows you to increase the volume of services – from home security to tele-sales. Cable networks will become the «electronic circulatory system of society». The advantage of cable over land lines is obvious: it can transmit many more channels than it is possible over the air. Its capacity is 1000 times higher than in the ordinary telephone network and 4 times higher than in the channels of ordinary television systems. New cable TV features allow communication in several directions: – cable TV eliminates obstacles in the implementation of feedback, 125

– it is possible to transfer multilateral and rich information at will and choice, – implementation of a «live» dialogue between the participants in two-way communication is possible [7]. At present, the role of cable TV has increased. During its development, in addition to creating its own programs that take into account the characteristics of the area served by cable TV, the following tasks are solved: – reception of signals of various stations of satellite TV, – creation of a multi-purpose broadband system based on cable TV, which includes reference information service, – video, telephone, video sharing, photo telegraph, etc. Cable TV systems allow you to create two-way communication in the mode of reference information service. Two-way communication is needed for training programs, organizing contests, sociological research, etc. According to the subscriber’s request, various informational materials can be transmitted via the cable TV network: train schedules, encyclopedia certificates, photographs, etc. Cable TV delivered via coaxial or fiber-optic cable can be considered a safer route than uncontrolled access to satellite channels. Many countries encourage investment in cable systems as a means of meeting the needs for more channels stimulated by satellite TV. Digital TV Currently common analog methods for processing a television signal limit the number of overwrites, image quality, and the possibility of implementing various special effects. These restrictions are removed by moving to digital signal processing methods. Digital methods of transmitting images over communication networks make it possible to transmit not one but several television broadcast programs over satellite or fiber-optic channels and more economically use the channels for other signals. The creation of digital television equipment allows you to combine individual «digital islands» (mixers, special effects blocks, digital correctors, etc.) that existed among the analog equipment of telecentres into a universal system with a single digital coding standard. The first digital television studio was commissioned in 1989 by BBC, which has already switched to digital broadcasting. Creating a fully digital television center will not only improve the quality of 126

television signals, but also enrich the technology of television production, make it more flexible and high-performance. Digital TV in combination with fiber-optic cable will allow you to create systems for 500 or more interactive channels. Kazakhstan will switch to digital broadcasting by 2015. Interactive TV The idea of interactivity: with the help of various technical means, the viewer has the opportunity to participate in various forms in the programs that are broadcast interactively. An interactive console will allow the viewer to decide for himself from which point and from what plan to watch a specific episode of the program or program. In specialized stores an auxiliary device that connects to the receiver, to the phone and the electrical network is sold, it is attached to a palm-sized remote control. The auxiliary device looks like a small flat box with a running line and a printout filled with a roll similar to that used in ordinary cash registers. At certain moments of the program, the creeping line appears to appeal to viewers who, depending on their desires, click on one or another button on the remote control: they order to watch any film, make purchases. The main providers of such services will be several telephone, cable and satellite companies. Leading firms are in a hurry to form and capture this promising market. The possibilities of interactive TV are being studied, the future belongs to this type of broadcasting. According to the head of the American company «Walt Disney» M. Eisner, the interactive 500-channel future can develop according to two scenarios. According to the first, the audience will «lock in» in front of the televisions. Interactivity will allow viewers to shop anytime, anywhere, without leaving home. Thanks to special glasses and headphones, people will be able to personally experience various events, visit different countries without leaving their homes. Virtual reality will become the primary reality. In a different, «optimistic» scenario, television will not succeed in killing people’s basic functions of human communication and interaction. TV will be a catalyst, pushing people to joint experiences. Pay TV will play a major role in the interactive future. One of the leaders of the company Time Warner DJ. Helms believes that the future interactive network will change the «channel» and «audience» 127

itself, and even replace the video recorder. According to the influence on the audience habits, new television technology is comparable to the introduction of color TV in the 1960s. The MIPS company, a subsidiary of Silicon Graphic, has developed a revolutionary computer system that will turn a television into a home-based multi-functional entertainment center that costs no more than 250 pounds. Offered by «Media Architecture» under the name «Magic Carpet» will be the basis of the set-top box. These settop boxes will allow viewers to interact with all kinds of digital interactive services, including video-on-demand, tele-shopping, interactive TV and the Internet. As a result of technological changes, traditional methods for the production, storage, distribution and reception of communication messages are modified and supplemented. Special hopes are placed on the fiber optic cable, which should be the cheapest means of video distribution. This thin glass wire has an amazing capacity for transmitting a huge number of channels of information. Fiber-optic communication lines (FOL) can transmit television signals many thousands of times faster. Just 70 pounds of fiber-optic cable can transmit the same amount of information as a single ton of copper cable. It is equally important that the production of 70 pounds of fiber-optic cable requires only 5% of the energy necessary for production of one ton of copper cable. Both in terms of materials and energy consumption, the production of this type of cable is analogous to the new economy. Even before 2000, one optical fiber could transmit 10 million conversations simultaneously, whereas in 1988 this figure was only 3,000 [8]. If the lifetime of the satellites is 16-20 years, then that of the cable is 40 years or more. Cable networks, due to their higher speed and cheaper rates, are replacing ordinary telephone wires, providing instant connection to the whole world, excluding only places that are difficult to reach for cable laying. Japan has already developed an ambitious program to create a nationwide system of fiber-optic communications. In Singapore, every home and institution are equipped with fiber-optic cable for future interactive services. South Korea plans to transform the information society through fiber-optic multimedia by 2010. In Hong Kong, Motorola launched the Max project over a wireless information 128

network that allows you to send mail and faxes using a laptop computer without a telephone jack. «Max» will provide two-way transmission of messages printed with the help of Chinese characters, an on-line assortment, transactions with stocks and foreign currency, even radio sets at hippodrome jumps. The Internet is becoming more dynamic, acquiring new multimedia features. As a result, traditional television acquires the features of interactivity. Broadcasters are increasingly embracing the idea of engaging viewers in what is happening on the screen. Television surveys, live broadcasts, communication with viewers and via mobile telephony, e-mail, and also the Internet chat is just the beginning. The essence of interactive TV is not limited to the expansion of traditional television to a two-way system of information transmission. The main thing is the transition from broadcasting technologies to narrowly focused and individual ones. When TV viewers from passive consumers of television information become active participants in the formation and distribution of television programs. Television will become a universal supplier of new forms of information, communication, entertainment and e-commerce, as well as a universal means of access to the global resources of the Internet. Interactive television is a kind of all-encompassing term, such as multimedia. There is a classification of services provided by companies in the field of interactive TV. It highlights four main areas that differ in both functionality and content. Advanced or Internet TV, Personal TV, Interactive TV and Smart Home. New interactive TV technologies are implemented using a TV and an additional device called the Set-Top Box, plus a remote control and / or wireless keyboard. Simple interactive scripts are already actively used in traditional television broadcasting. These are television polls with the help of phone calls, live chat on TV, trade in various products on the principle of «shop on the couch». But advanced, personal and interactive TV will step much further. The most complex and interesting of all types of television is interactive TV. It provides the viewer with ample opportunities for active participation in television programs. Using different forms of feedback – answers to questions, filling out questionnaires and others, the viewer has a direct impact on the course of the program. He can become a co-author of the program, choose the scenery, 129

options for the program or film script, provide his virtual image for participation in the show, etc. By combining the possibilities of personal and interactive TV, you can watch news programs collected and edited to your taste. So far, one of the listed possibilities has been implemented – viewing from different cameras at the viewer's choice. Such broadcasts of football matches are conducted by the British company BeSkyBe, and Formula 1 racing is the own broadcast system of its organizers. Users receive several images from a satellite and can choose interesting types of surveys themselves. BeSkyBe has 5-6 million subscribers. Expanded TV. With the help of advanced TV or Internet TV functions, the viewer will get access to additional information resources, including the Internet resources: browsing Web-pages, working with e-mail. He can search for the necessary information, make purchases in electronic stores, communicate by e-mail, participate in forums, chat rooms, send SMS messages, store personal information in electronic address books and calendars, create family albums, etc. Simultaneously with watching television programs, viewers will be able to perform actions directly related to the current program, for example, request and receive additional information: information about the program, its authors and participants, announcements of future programs, etc. They will be able to access the archive of the programs that have been shown. For example, while showing a video clip, you can find out the autobiography of the artist, the schedule of his concerts, and order tickets. For example, when watching a football game, you can see the table of games, the list of participants in the game, read sports news, and learn more about the commentator. And all this, without looking up from a TV program or a match. The expanded TV viewer will have the opportunity to choose his programs in the electronic program guide and receive more detailed information and announcements on them. In between interesting shows, you can take part in online games and other interactive entertainment. Enhanced TV technology is fairly well known worldwide and is fully standardized. 130

Enlarged TV is used by satellite broadcaster BeSkyBe and a number of other companies. The number of Web-TV subscribers is several million. In the USA, about two million families use this technology. Now it is quite a popular technology for the use of which at home you must have the appropriate consoles. The price level for these consoles is from 150 to 350 dollars. The number of TV sets is several million. In the USA, about two million families use this technology. Personal TV Personal TV allows the viewer to choose the time watching television from an electronic program, creating a kind of personal television channel through which the necessary programs will be broadcast at the right time. Some broadcasters provide another type of service – video on demand. This technology allows you to order programs of interest, movies at any convenient time. Major suppliers of such services operate in Europe, the USA and Japan. Their devices are an analogue of digital video recorders, which allow you to simultaneously watch TV and record interesting programs on other channels. They work with analog cable networks and use electronic program guide (EPG). Smart home Interactive TV creates the conditions for the implementation of the concept of Smart Home, when the TV becomes the center of control of household and household appliances. Devices with remote control already exist, but the development of this market is hampered by the high cost of additional means of displaying their status. Using the TV as a control center will allow you to take the first steps towards the «smart home». The owner of the house through the Internet will be able to monitor the condition of the house and all existing devices while away from home, for example, at work. Such complex systems already exist, but not in the mass market. Each solution is created according to the requirements and capabilities of a particular customer. The number of different television networks, channels and other broadcasting companies that support interactive TV technology is five to six dozen. Recently, the number of subscribers of interactive TV has increased 10 times, and the number of people who watch interactive channels goes to tens of millions. Cable satellite broad131

casting is being developed in Kazakhstan, major cities and regional centers of the Republic are equipped with powerful digital telephone exchanges, and a high-speed fiber-optic TAE trunk line (TransAsian-European transmission line) is being laid. The Trans-Asian cable line is being built, its length is 6,000 km, and the total length of TAE from Frankfurt-am-Main (Germany) to Shanghai (People's Republic of China) will be 27,000 km. TAE will be the most important data transmission link between the continents. The basis of this giant telecommunications line is a part of the area of 1,750 km. That passes through Kazakhstan, which since the time of the Silk Road was a link between the East and the West. Kazakhstan continues to implement the project of the national joint-stock company Kazakhtelecom to create a national information superhighway, which will cover all regional centers and major cities of Kazakhstan with digital flows and ensure the transit of international information flows. The communication industry of the Republic is at a qualitatively new stage of development, which is determined by the geopolitical position of Kazakhstan and the socioeconomic transformations taking place in the country. It is planned to create an information management system for the communication complex in the Republic. The solution of this problem requires significant funds. The total amount of investments required is estimated at over $ 10–12 billion till 2030, including up to $ 3 billion till 2000. This amount is distributed between the industries, 25% being allocated to the telecommunications sector [9]. Kazakhstan plans to switch to digital broadcasting by 2015. The development of new information technologies changes the methods of broadcasting and commercial distribution of television products, which affects the creative process of TV workers. The use of new video equipment and digital systems contributes to the development of image processing capabilities, which will lead to the change in the form of audiovisual expression. For example, the use of computer technology in the production of animated films generates new forms of graphics and animation. The development of new information technologies changes the methods of broadcasting and commercial distribution of television products, which affects the creative process of TV workers. The use of new video equipment and digital systems contributes to the 132

development of image processing capabilities, which will lead to the change in the form of audiovisual expression. For example, the use of computer technology in the production of animated films generates new forms of graphics and animation. The revolutionary shifts in information, space TV and communication technologies are a tremendous accelerator of change. Their consequences will deeply affect all aspects of life and communication. Practical tasks 1. Prepare reports on the topics: «Interactive TV», «Digital broadcasting», «Specificity of cable and satellite broadcasting». 2. Prepare for the round table on the topic «The impact of new ICT on television and radio». Control questions 1. Development of cable satellite TV in the world. 2. Development of cable satellite TV in Kazakhstan. 3. Digital TV and RV in the world. 4. Prospects for the development of interactive TV. References 1. Information technology a «threat» to TV industry //Asia Mass Communication Bulletin, 1998. – Vol. 28. – № 1. – P. 5. 2. Бакулев Г.П. Кабельно-спутниковое вещание: мировой опыт. – М., 1996. – С. 3. 3. Groebel J. New media development. Stability and change in communication behavior //Trends in communication. – 1997. – № 1. – P. 6-7. 4. Телевизор умрет через 10 лет//Время. – 2007. – 20 сентября. – С. 24. 5. Братаков П. Научно-техническая революция и образ жизни//Образ жизни: проблемы отражения в СМК. – М., 1990. – С. 150. 6. Нэсбитт Дж., Эбурден П. Мегатенденции. Год 2000. Новые направления 1990-х годов. – М.: ИНИОН, 1992. – С. 23. 7. Панорама. – 1999. – 16 апреля. – С. 2. 8. Нэсбитт Дж.,Эбурден П. Мегатенденции. Год 2000. Новые направления 1990-х годов. – М.: ИНИОН, 1992 . – С. 23. 9. Егоров В.В. Телевидение между прошлым и будущим. – М.: Воскресенье, 1999. – С. 11.

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Chapter 12 MODERN TV AND RADIO BROADCASTING IN KAZAKHSTAN

The role of television and radio as a means of people's life orientation cannot be overestimated. TV and RV act as the most important means of democratization of society, expression of public opinion, formation of an active consciousness participating in the social transformations of the country. Currently, the entire social potential of TV and radio in Kazakhstan is aimed at the implementation of industrial-innovative development of the country, economic modernization, and the socio-cultural development of Kazakhstan's society. The new socio-political situation in the Republic makes it necessary to take a fresh look at the growing importance of television and radio broadcasting in the mass media system. The media is an integral social institution and they have all the qualities that are characteristic of the life of modern society. Further development and improvement of TV and radio broadcasting is directly dependent on the socio-political, economic and cultural development of the country. The development of digital technologies and mass media increases the information flow, improves the quality of socio-economic processes. Not only natural and material resources, but also telecommunications infrastructure, television and radio, information resources constitute national wealth. «The scope of information is assessed by a set of parameters that include public access to the «old» media and communications – newspapers, television, telephones, and new media – telecommunications infrastructure, cable systems, computers, mobile phones [1] Priorities in the development of the information society in Kazakhstan have changed against the backdrop of the rapid introduction of new information technologies. And it is important here to take into account the national specifics, cultural identity of the society, the specifics of telecommunication development in the Republic in the era of globalization and digitalization. 134

The development of the intellectual potential of Kazakhstan’s society, the creation of a number of high-tech industries in the priority sectors of the country has become the key direction of the upcoming development stage of the Republic. Currently, the state programs of «electronic government», «Information Kazakhstan 2020», «Digital Kazakhstan» are being implemented in the country. The e-government web portal has been launched, this portal as a single window brings together all the Internet resources of state bodies. Kazakhstan is actively introducing new digital technologies in the media. The vast territory of the country also contributes to the development of satellite TV – television without borders. A great help in this direction is the Kazakhstan cosmodrome «Baikonur» – the center for launching space rockets. Thanks to the satellite TV system «Zharyk» («Light»), it became possible to broadcast TV programs from the northern and southern capitals to all regions of Kazakhstan, as well as to cover part of Russia, Uzbekistan, China, Mongolia with peripheral broadcasting. In June 2006, the first Kazakhstani satellite, Kazsat-1, was launched. Kazsat-2 was launched in mid-July, 2011, it provides the Republic with satellite communications, as well as digital television and radio broadcasting. This satellite is intended for domestic broadcasting and telecommunications. And with the launch of KazSat-3, Kazakhstan will not depend on foreign telecom operators. The most important priority for Kazakhstan is the country's transition to digital broadcasting by 2020, which is due to global trends – the International Telecommunication Union under the Geneva 2006 agreement for the transition period (2007-2015) for the introduction of digital broadcasting. Kazakhstan is implementing the State Program for the Development of Digital TV and Radio Broadcasting in the Republic of Kazakhstan for 2008-2015. At present, the mobile telephony market is actively developing in the country, there are over 32 million users of cellular communications (the population of Kazakhstan is over 18 million inhabitants). There is a rapid growth in the development of the Internet in the country; by 2018, the number Internet users in the Republic will have exceeded 13 million people. The Internet is a conductor of cultural influence, a catalyst for communication, uniting people according to their interests. It creates 135

a qualitatively new virtual information environment, which not only provides a reflection of the current state of society, but of its selfregulation as well. «The Internet, with its multi-billion-dollar audience, the power of technology allows any knowledge to be created immediately to the billion-dollar market, to turn it into an innovation. This happens because the access to this knowledge is expanded and facilitated so much that it actually with 100% probability finds those who are ready to implement it» [2]. A significant factor determining the use of ICT and electronic media in Kazakhstan is the specifics of the country with its vast distances, the presence of remote areas with low population density, as well as differences in the level of economic development of the regions of the Republic. New socio-economic, technological conditions required a new mechanism for coordinating information and communication development in the country. A new approach was needed, based on the interests of the people, and the focus would be on social, cultural, economic and managerial goals. This approach ensured the use of the intellectual potential and rich experience of the citizens of the Republic as a driving force for the development of the information society – the knowledge society. Mass communication, information acquired a global character, its development, improvement has become an important element of the development of society. In many countries, the situation in the information industry is considered crucial to economic development. Countries make great efforts to make wide use of all types of communications. The Television Laboratory in 1966, and later the Department of Television and Radio Journalism in 1972 was organized at the Faculty of Journalism of Al-Farabi Kazakh National University by Professor, Doctor of Philology Marat Karibayevich Barmankulov – the founder of television and radio journalism in Kazakhstan. He trained thousands of television and radio journalists, who today head the country's leading media, educated a galaxy of scientists, followers of his scientific school, who today teach at the faculty of journalism, including doctors of science, professors, lecturers: L.S. Akhmetov, G.Z. Ibraeva, Sh.I. Nurgozhina, S.Kh.B. Barlybaeva, K. Kabylgazina, K. Tursynov, Sh. Nurzhanova, A.A. Moldabaykov and many others. 136

In the 1970s, the television studio had only one amateur video camera, video projector and editing table. In the mid-1990s, the UNESCO office in Kazakhstan equipped the television studio and radio studio with the latest at that time television and radio equipment. With the receipt in 2009 of a new digital television and radio equipment, the television and radio laboratory of the faculty of journalism acquired a higher status. Currently the Barmankulov Teleradiocomplex of the KazNU is a training and production television and radio studio with the latest digital equipment and all the technical conditions for creating television and radio programs. The Faculty of Journalism of the Al-Farabi Kazakh National University has the latest digital television and radio complex, thanks to which it is possible to teach students television and radio skills at the level of the leading television and radio companies of the country. The Barmankulov Teleradiocomplex, first of all, is a training television and radio studio. Every day there are training sessions on radio journalism and television journalism, where theoretical and practical classes are taught by teachers of the Faculty of Journalism, as well as by the leading television and radio journalists of Kazakhstan. Students meet weekly the leading journalists of the country in the television studio. TV workshops of «Kazakhstan», «Khabar», «Caspio-Net», «31 channel», TRK «Astana», «KTK», «Almaty» and other channels held their master classes. During the period covered, many thematic, author's student programs, programs about the university's active work in the field of science, the educational process, social, cultural and sports student life, documentaries about the country's leading scientists, social videos and, of course, daily events of the Kazakh National University were reflected in the newsletter of TRC in the Kazakh and Russian languages. Annually, newly enrolled students of the faculty of journalism of the Al-Farabi Kazakh National University come to the Teleradiocomplex (TRC) of the KazNU named after M. Barmankulov to join the television and radio works, learn how to make television and radio programs. At the very beginning of their acquaintance, the friendly team of the Broadcasting Company teaches them to write plots, shoot, edit and voice their texts. Months full with hard work 137

and patience pass until the first-year students learn how to shoot television stories, and only six months later will they be able to approach the major thematic programs and broadcasts. Among these are the programs about «Nanotechnology in KazNU», about nuclear physicists, about the museum of biology, social videos: about the dangers of smoking, about the ethical behavior of students, about the Subject School Olympiad, about the Al-Farabi Olympiad, about the Rally of Honors, videos about all the faculties of our University, commercials about the university for career guidance, «Nauryz», «Students and Work», «Opening of the Office of the Registrar», «Anniversary of the 100th anniversary of academician, professor T.T. Tazhibayev», «Student Spring», «Internet journalism», «Student Alliance of Kazakhstan», the clips about the university, which you can see on the main site of the al-Farabi Kazakh National University: www.kaznu.kz, as well as the on the specialized website of the Faculty of Journalism: www.jurfak.kz. At present, the students of the Faculty of Journalism produce the following programs and programs on the air at the university television broadcasting center «Al-Farabi»: «Academic hour», «Special status», «Point of separation», «International meetings», «Television debates», «Territory of success», «A Day in History», «Interviews with Stars», «Legal Clinic», «Kuriltai», «International Meetings», «Impact Factor», «Sheberkhana», «City of Virtues». «Lifestyle», «By the eyes of foreign students», «IT Epoch», «Professionals», «Tournament of al-Farabi», «Around the World», «Useful Things», etc. The Barmankulov Teleradiocomplex prepared documentaries about famous scientists of Kazakhstan who received gold medals from the al-Farabi KazNU: about Z.O. Ibrashev, Z.A. Mansurov, A.I. Idrisov. Television essays about academicians, professors of the KazNU: M.K. Barmankulov, A.B. Bekturov, B.A. Beremzhanov, T. Kakishev, H. Bekkhozhin, F.B. Baimbetov were released. The work of the KazNU M.K. Barmankulov TRC is designed for informational, scientific, educational, youth broadcasting throughhout the campus. Currently, the internal television broadcast on monitors, which are installed throughout the campus of Al-Farabi KazNU. The television and radio complex is designed to create university television for students of the faculty of journalism as an educational 138

and practical base that allows them to gain experience in real journalism creating conditions for the students to adapt quickly to professional requirements, taking into account the new working conditions of a multimedia journalist. The whole life and activity of the university (scientific, educational, social, cultural, sporting), all of its 15 faculties are covered by the Tele-Radio Complex. Trying to bring the production process closer to the educational process, the faculty of journalism and the TV and Radio Complex of the KazNU holds meetings, round tables, master classes with leading experts of the country's TV and radio companies and journalists, practitioners, TV reporters and PR specialists. They conducted their master classes in the television studio: – Chairman of the Kazakhstan Broadcasting Company Kainar Olzhay, – Representative of the magazine «Advisor» (Russia) in Kazakhstan – Vladimir Pavlenko, – PR-director of «Mega Center» Alisher Elikbaev, – journalist of the SEC «Kazakhstan» Yerzhan Mukash, – journalist of the SEC «Mir» Botagoz Aldongarova, – presenters, television journalists of the KTK TV Company Sergey Ponomarev, Arthur Platonov, – producer, host of the Khabar TV channel Ilya Urazakov, – mdirector, producer Valery Kartun and others. The guests of the television studio and the faculty of journalism were American and British professors: David Lafontaine (Los Angeles, USA) gave a lecture on «Multimedia journalism», Alain Palmer – Director of the Department of Communications for International Media Training. He delivered a lecture on «Global Communication» (UK), Ms. Palmer – Vice-Rector of the British Youth University delivered a lecture on the «Blogosphere». Professor A.M. Richter of the Moscow State University named after M.V. Lomonosov held a master class on electronic media, on new information technologies and digital broadcasting, met with students and undergraduates of the faculty. Master classes were held at the KazNU and were taught by professors of the Faculty of Journalism of the University of North Carolina, Alaska: – David Kapp, Charles Tugl, Charles Fedulo, Florian Topfl – a specialist in 139

the study of the media. Such meetings of professionals with the students of the faculty of journalism broaden the horizons of the younger generation, the idea of modern MMC in the world and in Kazakhstan. TV studio and radio studio contribute to: – the formation of a creative environment; – the involvement of young people in intellectual activities; – raising the awareness of teachers and students about life in the Kazakh National University; – popularization of scientific, educational, cultural values; support for young talents; – application of acquired knowledge in practice; – the presentation of the views of contemporary youth and students in a TV and radio broadcast; – promoting a healthy lifestyle. The programs of the television and radio studio of the KazNU of the Faculty of Journalism are of great social importance for the preservation and enhancement of scientific and cultural values, the dissemination of knowledge and traditions of the best examples of Russian science and education, educating young people in the spirit of patriotism, love for the university, for the Motherland. The pursuit of a new, progressive is typical of a professional, and a fairly high educational and general cultural level helps the journalist to see and understand the new in order to fight for its spread, for the confident progress of society forward. The work of a convergent journalist requires professional skills, which are developped through constant training, the accumulation of practical experience, in addition to a broad outlook, in addition to the ideological position, natural features, educational level. Mastering the journalistic profession is possible only as a result of studying the entire course of theoretical disciplines in combination with everyday creative practice. Often, students of faculties and departments of journalism judge the profession of a TV journalist only by what they see on television or hear on the air, but this is only a visible part of the work of electronic media specialists. The main part of the work remains on the other side of the screen and the ether, and this is a huge, painstaking, hard work with its creative, technological, moral features. This is a job that requires a 140

strong nerve from a journalist, physical endurance, patience, diligence, teamwork, sociability, a sense of humor, because the work of the journalist is both individual and collective, especially on television, where the producer, director, editor, TV and radio host, moderator, artist, lighting specialist, camera operators, sound engineers and many other professionals are involved. The success of the program, the plot, the material as a whole depends on the professionalism of each member of the creative team. The journalist is an intermediary between the time embodied in the work and the viewers. Speaking about the problems of the performance culture, it is necessary to take into account the laws of on-air communication, television communication distances, types of communication itself, the «arc of comfortable conversation», spatial interaction, eye contact, personal communication distance. The journalists were asked a question – «What personal and professional qualities should a TV presenter have?», and in the journalists’ answers personal qualities predominated and, above all, such as: – independence of views and thinking, – the ability to defend their point of view, – courage, honesty and decency, – adherence to principles and responsibility. Only on this basis can professional qualities be formed, such as: – competence, erudition, education, – ability to speak in public, – good diction, the art of improvisation, – natural behavior, etc. The nature of communication requires audiovisual journalists to speak with the audience in a modern language. To dialogue can attract: energy of thought, energy of position, energy of rhythm and pause, maximum information per unit of time, energy of improvesation, etc. The personal factor plays a large role on TV. If the theater and the cinema go to the actor, to the director, then on television, a TV program includes a communicator, moderator, television journalist. Television and radio are not only the means of mass communication, but also the types of creativity. Each type of creativity has its own specific artistic language – a set of technical methods and 141

figurative and expressive means with which the creator implements his plan. Creation of different media information contexts requires special skills and professional journalistic skills. Television and radio journalists switch to convergent journalism faster and more actively, because preparation of television and radio materials requires knowledge of digital technology, various television, radio equipment, digital editing. And these skills and abilities serve as the basis for mastering multimedia journalism, allow for faster adoption of knowledge in the field of newspaper, publishing, photography, as well as the Internet design and web content. Convergence as a concept begins to dominate media management, including the production of content. Having a significant impact on the collection, creation and distribution of the information product, convergence not only radically changes the approaches to information management, fundamentally reconstructing the organizational structure of the media, but also forms a new model of journalism. Hence the new requirements in the preparation of convergent journalists. Electronic media offer a variety of interactive relations between the user and the manufacturer, as well as the content distributor. Currently, the work of journalists has become operational, mobile. The viewer can contact the content creator, the journalist, the moderator, the television and radio journalist with any question by sending him an e-mail message, by mobile phone, by the Internet. This feedback has become more effective, interactive due to the introduction and rapid development of new digital technologies, which facilitated the work of journalists, but presented new technical, multimedia requirements, new approaches to the creative process, new forms of information management, communication process management. And here a new level of training of multimedia journalists is needed, followed by the future development of mass communication. In the near future, approximately three quarters of the population will be employed in the field of information and in areas related to communication. The information technology revolution has stepped up the introduction and development of new media. In Kazakhstan, as in the rest of the world, the social networks, the Internet, 142

cable satellite TV, mobile telephony are developing rapidly, the number of Web publications is growing, and digital broadcasting is becoming popular. New media are the first to respond to the challenge of time, seeking to meet the new increased demands and requirements of a large audience. Many researchers come to the general characteristics of new media. First, they are «tied» to the screen. Secondly, they offer simultaneously text, sound, video, as a static image, and moving images. New media in one degree or another are interactive. In the expanding media space, print, analogue radio and television are perceived as «old», traditional media, new channels of information delivery and information itself, based on digitalization (transition to digital format), defined as «new media» is demanded. The Internet and network technologies spurred the development of convergent journalism, new media, and changed the media landscape of the 21st century. Convergence is a merger of markets, technologies, and various types of mass communication, and the production of a media product. All these trends speak about the rapid development of new information technologies, about the active introduction of new media into the Kazakh society, which directly affect the development of modern journalism and the training of today's convergent specialists. Basic disciplines of undergraduate and graduate programs at the faculty of journalism of Al-Farabi KazNU are «Internet journalism», «Convergent journalism» that complement the basic discipline of the bachelor’s program «Television and Radio Journalism», reflecting all new trends in journalism and mass communication in the world and in Kazakhstan, focusing their attention on the development of online journalism, new media, social networks, the blogosphere, information and communication technologies in the process of globalization and digitalization. The attractiveness of the united convergent media is growing, aided by traditional media, in particular television and radio broadcasting; there is a saving of material resources, more efficient use of creative potential. Convergent edition is a promising form, a new model of activity of the journalistic team. It allows making the work of journalistic personnel more operational, organized and productive. 143

Currently, there are two main areas of work of this edition: it is the primary role of the coordinator, collecting and distributing topics, news, information, as well as the universalization of reporters on the ground, who should be able to collect information for all types of media: record comments on audio and video media, write materials for online media and newspapers, shoot and prepare reports for TV, newspapers and magazines. This leads to a real mastering of multimedia by a modern journalist who is able to work in any format of mass media, but is well versed in a certain subject. The key direction of the upcoming development stage of the Republic will be the creation of a number of high-tech industries in the priority sectors of the country. Currently, state programs are being implemented: «Electronic Government», «Information Kazakhstan 2020», «Digital Kazakhstan». Kazakhstan is actively involved in the digital race and is one of the leaders in the digital transformation of the CIS countries. The Republic has achieved particularly significant success in the direction of e-government, where, according to the UN, Kazakhstan ranks the first among the CIS countries. In the program «Information Kazakhstan 2020» it is planned «by 2020 to increase the volume of Kazakhstan-made television production up to 60% of the total airtime. The number of Internet sites in .kz and .kaz should be increased by 50% compared with 2012, the number of media on the Internet will be 95% of their total quantity [3]. The country has developed the State Program «Digital Kazakhstan», its main goal is the progressive development of the digital system to meet the challenges of sustainable economic growth and increase the country's competitiveness in the international arena. Thanks to digitalization, the Kazakhstani economy should increase by 30%, in monetary terms, it will be more than 2 trillion tenge. It is planned to create about 200 thousand new jobs in the field of ecommerce. Only due to the digitization of customs and tax services, the state budget will receive more than 100 billion tenge [4]. During the implementation of this program, Digital Kazakhstan, the following changes are expected: the share of the Internet users in 2021 will be 81%; the digital literacy rate of the population in 2021 will be 81.5%; the growth of labor productivity in ICT in 2021 will be 5.9%; the number of employed in the ICT industry in 2021 will be 110 144

thousand people, the share of public services received in electronic form, of the total volume of public services will be 80% [5]. The digital era is fundamentally changing the broadcasting environment, erasing the lines between the types of media, print and electronic communication. A new model of convergent journalism is being formed and begins to work in the university system of education, that allows preparing multimedia specialists, convergent journalists of the modern media market at the journalism faculty of the Kazakh National University. Practical tasks 1. Prepare written works on the themes: «Development of traditional media and new media», «Interaction and interrelation of media and social networks», «Transformation of the media sphere in the modern period». 2. Prepare presentations on the topic: «Mass media and convergence», «Media and digitalization», «Media and globalization». Control questions 1. Analyze the process of adaptation of traditional media to the new conditions of digitalization and convergence. 2. Make an analysis of modern media development in Kazakhstan. 3. Show the influence of the globalization process on the development of new media in the country. 4. What is the specificity of media development in Kazakhstan? 5. Give a comparative analysis of the media development of two countries: Kazakhstan and Russia. 6. The contribution of educational television and radio complexes (radio studios and television studios) to the educational process of broadcasting specialists. List of used sources 1. Вартанова Е.Л. Новые проблемы и новые приоритеты цифровой эпохи // Информационное общество. – 2002. – 21 мая. 2. Абенов М.А. Вступительное слово // Интеллектуальный прорыв в будущее: материалы международной научно-практической конференции. – Алматы, 2011. 3. Казинформ. – 2012. – 27 ноября. 4. Цифровизация двигает экономику// Казахстанская правда. – 2018. – 26 января. – №18. – С. 1. 5. Государственная программа «Цифровой Казахстан-2020». https://zerde.gov.kz/activity/management-programs/digitalkazakhstan/#hcq=CVIYxFq

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CONCLUSION

In the last decade there have been fundamental changes in the socio-political, economic and cultural spheres of society in Kazakhstan. The main task of the state policy of the early 1990s was the transition to the market relations, the creation of a market infrastructure and a competitive environment in all spheres of social reproducetion. This task included the implementation of the process of privatization of the media sphere, which gave an impetus to the formation of independent mass media and television and radio companies. The development of alternative media has increased the choice of information, expanded the information flow, improved the quality of socio-economic processes, contributed to the process of democratization in society. Information becomes accessible, operational, it quickly acquires a great impact on people, makes them strive for the lifestyle of more developed countries. Here there is a great danger of filling the Kazakhstani audiovisual market of low-quality foreign products. It is important to understand the impact of this information flow on culture, education, lifestyle of people. It is becoming more difficult to resist this influence during the process of globalization, with the rapid development of the Internet, satellite TV, and the standardization of «mass culture». Reforming a country can be successful if society maintains its identity in the context of globalization with the active development of MMC and, in particular, television. The information flow is a source of power that can mobilize the potential of society and direct it to create an open democratic society. The media create an ideological, moral and socio-psychological atmosphere that sets up the citizens of a multinational country to build a civil society. The question of national priorities in the broadcasting policy, cultural identity, the mentality of perception of Kazakhstani society arises. The solution of these problems will contribute to: – the growth of own broadcasting products, – quantitative and qualitative growth of domestic media, television and radio companies, – competitive audio-visual market, satisfying the growing needs and requirements of the Kazakhstan society. 146

For the development of rural communication, a national satellite communications network is being created. It provides an opportunity to develop communication in hard-to-reach places without expensive and time-consuming cable laying and will provide additional highquality international communication. Cable satellite TV and digital broadcasting expand the exchange of information between nations, between urban and rural population. In addition to broadcasting, these new information technologies had a tremendous impact on the mass media: new media, social networks, the blogosphere, new types of communication appeared. At the beginning of the 21st century, fundamental changes took place in the information development of Kazakhstan, which influenced the media landscape of the country, the development of television and radio. The broadcasting and information industry are moving to a new level, affecting not only companies, but also countries and regions determining the ability to withstand the competitive struggle of the high-tech world of the 21st century. Television and radio are the first to respond to the challenge of time, changing their broadcasting policy, seeking to meet the new increased requirements.

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29. Гальперин Ю.М. В эфире – слово. – М., 1997. 30. Галушко Р.И. ТВ в развивающихся странах Азии, Африки и Латинской Америки: учебно-методическое пособие. – М.: МГУ, 1986. 31. Гаспарян В.В. Три этапа новейшей истории ТВ журналистики. – М., 2000. 32. Глейзер М. Радио и телевидение в СССР. 1917-1986 (Даты и факты). – М.: Искусство, 1989. – 142 с. 33. Глейзер М. Радио и телевидение в СССР. 1917-1963 (Даты и факты). – М.: Госкомитет СМ СССР по радиовещанию и телевидению, 1965. – 230 с. 34. Голдовская М. Творчество и техника. – М., 1986. 35. Голядкин Н.А. Краткий очерк становления и развития отечественного и зарубежного телевидения. – М., 2001. 36. Голядкин Н.А. ТВ информация в США. – М., 1996. 37. Голядкин Н.А. Творческая телереклама – М. 2000. 38. Голядкин Н.А. Ветер перемен и лидеры международного вещания //Бюллетень иновещания, 1989. – №2. 39. Диалоги о телевидении. – М., 1974. 40. Добрынин С.А. Тележурналист и документальный герой: взаимодействие на экране и съемочной площадке. – М., 2008. 41. Долгова Ю.И. Телевизионная политическая коммуникация. – М., 2002. 42. Звучащий мир. Книга о звуковой документалистики. – М., 2002. 43. Егоров В.В. Телевидение между прошлым и будущем. – М.: Воскресенье, 1999. 44. Егоров В.В. Телевидение: теория и практика. – М., 1993. 45. Егоров В.В. Рождение отечественной телепублицистики. – М., 2008. 46. Егоров В.В. Рождение отечественной телепублицистики. – М., 2008. 47. Ефимова Н.Н. Звуковое решение телевизионных программ: учебное пособие. – 1999. 48. Искусство разговаривать и получать информацию. – М., 1993. 49. Караганова Ж.В. Образ тележурналиста: закономерности формирования. – М., 2004. 50. Кузнецов Г. Критерии качества ТВ программ. – М., 2002. 51. Кузнецов Г. 7 профессиональных граней журналиста ТВ. – М., 2001. 52. Культура повседневного общения на телеэкране. – М., 2004. 53. Ламэй Крэг Л., Мицкевич Э., Файрстоун Ч. Автономия ТВ и государство. – М., 1999. 54. Литвинцев А.Э. Канал «Культура» на перекрестке телевизионных традиций – М., 2007. 55. Лозовская В.Ю. Особенности психологического воздействия рекламы – М., 2003. 56. Маковеев В. Г. Российскому радиовещанию – 75 лет // Радио. – 1999. – № 12. – С. 6-9. 57. Михадкович В.И. О сущности ТВ. – М., 1998. 58. Муратов С.А. Встречная исповедь. – М., 1988.

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59. Мосина В.Ф. Цифровое вещательное ТВ. – М., 2005. 60. Мосина В.Ф. Цифровое телевидение. – М., 2008. 61. Мысаева К., Барлыбаева С., Альжанова А. Конвергентная журналистика. – Алматы: Казак университетi, 2017. 62. Нуртазина Р. Современные массовые коммуникации в условиях глобализации. Часть I. Учебное пособие. – Алматы: Типография Комплекс, 2006. – 384 с. 63. Нуртазина Р. Современные массовые коммуникации в условиях глобализации. Информационный медиаландшафт различных моделей общества. Часть 2. Учебное пособие. – Алматы: Типография комплекс, 2007. 64. Нуртазина Р. Республика Казахстан: СМИ и политика». – Алматы: Азия Принт, 2011. 65. Общество и книга: от Гуттенберга до Интернета. – М.: Традиция, 2000. 66. Очерки по истории советского радиовещания и телевидения // В кн.: Телевидение и радиовещание в СССР. – М.: Искусство, 1979. – С. 9-44. 67. Политическая и профессиональная культура журналиста на ТВ экране. – М., 2002. 68. Почепцов Г.Г. Информационные войны. – М.: Ваклер, 2000. 69. Привалова Н.К. Работа над видеосюжетом. – М., 2000. 70. Рагулина Ю.В. Современные тенденции отечественного информационного ТВ. – М., 2006. 71. Саппак В. Телевидение и мы. – М., 1988. 72. Сапунов Б.М. Культурология телевидения – М., 2001. 73. Современные проблемы аудиовизуальных СМК: сб. статей. – Вып. 17. – 2006. 74. Телевизионная мозаика: сборник статей. – М.: МГУ, 1998. 75. Телелабиринты. – М.: Искусство, 1988. 76. Телевидение вчера, сегодня, завтра. – Вып. 1-9. – М., 1981-1989. 77. Техника и технология видеомонтажа: учебное пособие / под ред. П. Олефиренко. – М., 1999. 78. Фролов М. Репортер у микрофона. – Л., 2005. 79. Фирсов Б.М. Телевидение глазами социолога. – М., 1971. 80. Фэнг И. Теленовости: секреты журналистского мастерства. – М., 1993. 81. Энтман Р., Рид Ди, Мицкевич Э., Файрстоун Ч. Телевидение, радио и приватизация. – М., 1998. 82. Эверетт Дэннис, Джон Мэррилл. Беседы о масс-медиа. – М., 1997. 83. Шаболовка, 53. Страницы истории ТВ. – М., 1988. 84. Цвик В. Мир новостей: новости мира. – М., 2008. 85. Цвик В.Л. Телевизионная журналистика. – М., 2004 86. Центральное бюро научно-технической информации по радиоэлектронике, 1957. – 125 с. 87. Юбилейное заседание // Радиофронт. – 1940. – № 7/8. – 10 с. 88. Юровский А. Телевидение – поиски и решения. 2-е изд. – М., 1983. 89. Юровский А.Я. Очерки теории телевидения – М.: МГУ, 2004.

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151

Course purpose

e-mail Phones Description of the discipline

Prerequisites, lecturer

Type Lec 3

Lab 5

5

Number ECTS of credits

ANNEX

377-33-40-(вн.13-51) Room To show the important place of television and radio in the system of mass media (mass media), their importance and popularity in modern conditions, their nature, specificity, system of expressive means. Give a general idea of television and radio journalism, the role of a journalist in the creation of television and radio programs. The course is designed to introduce the basics of television and radio: with terminology, with the specifics and nature of TV and radio broadcasting, with modern trends in broadcasting, with genres of TV and radio broadcasting, with artistic and expressive means of broadcasting. 1. Knowledge of broadcasting terminology, history of the development of TV and radio broadcasting, theories of radio and television, knowledge of new information and digital technologies of TV and radio broadcasting.

Scheduled

0

Pract

Hours per week

ОК 2 TV and radio journalism Introduction to Journalism Barlybayeva S.Kh. – Doctor of Office hours Historical Sciences, Professor

al-Farabi Kazakh National University Syllabus (Code) Television and Radio Journalism Fall Semester 2018-2019 tuition year Discipline code The name of the discipline

SYLLABUS

152

Course organization

Learning outcomes

References and resources

Available online: Additional training material is available on your page at univer.kaznu.kz. in the EMCD section. (It is recommended to master digital editing courses) This is an introductory course, in which a general acquaintance with theoretical and practical material will be carried out, in preparation for the discipline an important role is given to the textbook and practical tasks. Homework and classroom assignments (there are 7-9) will provide an opportunity to become familiar with the practical application of the learned theoretical material. 1. You must prepare for each class lesson in advance, according to the schedule below. Tasks: oral answers and written, practical work are prepared in advance for the next class session, which already discusses the next topic and the following tasks.

2. Ability to use technical and creative skills when creating programs on radio and television. 3. Expanding the general outlook on the electronic media, in particular, in the field of television and radio, the idea of the specifics of TV and RV creativity as a collective activity. 4. To be able to think and behave in the frame and behind the scenes, to be ready for the air psychologically and morally. 5. To be able to write TV radio plots, scenario plans, to be able to edit video-audio materials, voice them and go on the air. 1. Барманкулов М.К. Возможности космического ТВ: учебное пособие. – Алматы, 2000. – 194 с. 2. Барлыбаева С.Х. Телевизионная журналистика. – Алматы: КазНУ, 2011. 3. Телевизионная журналистика: учебник. – М.: МГУ, 2012. 4. Цвик В.Л. Телевизионная журналистика. – М., 2011. 5. Основы радиожурналистики: учебное пособие. – М.: ГИТР, 2010. 6. Barlybayeva S., Myssayeva K. The new media development in Kazakhsan: Textbook. – Almaty: Kazakh University, 2017. – 90 с. 7. Barlybayeva S.,Makarova G. Digital journalism: Monography. – Almaty: KazNU, 2018. (на английском языке). – 163 p. 8. Barlybayeva S., Myssayeva K. The technologies of preparing of TV programs: Textbook. – Almaty: KazNU, 2018. –121 с.

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Evaluation Policy

20% 30% 10% 40% 100%

Hometasks Presentations, reports, speeches Attendance, activity, originality Exams TOTAL

1,2,3,4,5,6 2,3,4 4,5,6 1,2,3,4,5,6

Weight Learning outcomes

Description of independent work

2. Homework assignments will be distributed throughout the semester, as shown in the schedule of discipline. 3. Most homework assignments will include several questions that were addressed in a lecture lesson. To study the material, you will need: textbooks, lecture notes and practical examples, Internet resources. 4. During the semester, you will use the studied theoretical and practical material to prepare for the control-1 and the control-2, and for the exam at the end of the semester. Specific practical tasks: «write an essay on a given topic», compose «TV and RV connection», «come up with a broadcasting schedule of one day of a radio company», «come up with a broadcasting schedule of one day of a television company», «prepare a television broadcasting plot», «prepare a script plan transmissions and others will be distributed in the classroom. All these tasks together will make up 40% of the final course grade. 5. These answers, reports, presentations, discussions, additions to speeches will be evaluated at 50% of the final assessment. 6. Activity in the classroom, attendance, originality of the assignment -10% of the total assessment. - The following rules should be followed when doing homework: • Homework must be completed within a specified time frame. Later homework will not be accepted. • Homework should be done on one side of a sheet of A4 paper or on a double sheet of exercise book. • You can work together with another student to create television and radio plots, programs, provided that each of you works and is responsible for a particular area of work: traveling to a shooting, recording a TV or RV material, «storyboard-deciphering» of the recorded material, preparing the scenario plan of the RV program, the preparation of the scenario plan for the TV program, digital editing on TV and RV, voice acting and other aspects of the creation of broadcast materials.

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2

Discipline schedule Week 1

Discipline policy

Workshop / practical / laboratory lesson-1 Review of the References, acquainttance with the broadcasting infrastructure, television and radio journalists, with TV and radio programs.

Theme Hours Lecture 1- Overview lecture. Introductory part. Disclosure and explanation of broadcast terminology. 2

1

Maximum score

Below are the minimum percentages: 95% – 100%: А 90% – 94%: А85% – 89%: В+ 80% – 84%: В 75% – 79%: В70% – 74%: С+ 65% – 69%: С 60% – 64%: С55% – 59%: D+ 50% – 54%: D0% -49%: F Appropriate homework or project deadlines may be extended in case of extenuating circumstances (such as illness, emergency cases, accidents, unforeseen circumstances, etc.) according to the University Academic Policy. Student participation in discussions, responses, presentations and in creative tasks, written work in class will be considered in its overall assessment. Constructive questions, dialogue, and feedback on the subject matter of the discipline are encouraged and encouraged during the class, and the teacher will consider the active participation of each student in the class when deriving the final grade.

Your final grade will be calculated by the formula:

155

Seminar / practical / laboratory lesson-2 The history of the TV and radio development in the world

SIW (Homework, project start, etc.) The impact of ICT on the development of TV and RT Lecture 3 – The main periods of the history of the Soviet TV and Radio

Workshop / practical / laboratory class – Development of TV and radio broadcasting in the 1930-1970s

SIW (Homework, project start, etc.) Formation of the broadcasting journalism

2

3

2

3

1

1

SIW (Homework, the beginning of the project, etc.) The history of the development of communication Lecture 2. The emergence and development of radio and television

3

1

2

1

1

2

1

1

156

Workshop / practical / laboratory class – Kazakhstan broadcast: past and present

SIW (Homework, project start, etc.) Analysis of Kazakhstani programs Lecture 5 – Specificity of radio and TV

Workshop / practical / laboratory class – «Language and nature of radio and television»

SIW (Homework, start of the project, etc.) Characteristic features of Radio and TV Lecture 6. Artistic and expressive means of PB and TV

Workshop / practical / laboratory class – The role of words, music, noise, nonverbal means on radio

2

3

2

3

2

1

1

Lecture 4- The history of the TV and radio development in Kazakhstan

1

2

1

1

2

1

1

2

1

157

Seminar / practical / laboratory classes – TV and radio trends: specialization of programs and stations, decentralization, commercialization, personalization of information, convergence, etc.

SIW (Homework, the beginning of the project, etc.) Current trends in the development of TV and radio broadcasting: globalization, internetization, demassification, localization Lecture 8. Information news programs on TV and Radio

2

3

1

1

SIW (Homework, the beginning of the project, etc.) A written work on the theme «Expressive means of TV: light, color, installation, music» Lecture 7. «Modern trends in the development of TV and radio

3

1

1

2

1

1

158

SIW (Homework, project start, etc.) Structure, composition, sources of news broadcast information Lecture 9. Audiovisual advertising

Seminar / practical / laboratory lesson- «Prepare television advertising using artistic and expressive means of video events»

CPC (Homework, the beginning of the project, etc.) Analyze radio commercials: audio shows. Lecture 10. Specificity of communication on TV and radio

Workshop / practical / laboratory classes- Prepare reports on verbal and non-verbal communication. Four distances of communication, an arc of comfortable conversation.

3

2

3

2

1

1

Workshop / practical / laboratory classes – Prepare news bulletins for radio and TV.

2

2

1

1

2

1

1

2

159

Workshop / practical / laboratory lesson«Informational genres of broadcasting, analytical and artistic ones»

SIW (Homework, the beginning of the project, etc.) The structure of TV and radio reporting, its features Lecture 12. «Modern broadcasting in Kazakhstan

Seminar / practical / laboratory class- «Analysis of state and commercial television and radio stations of the Republic»

2

3

2

1

1

Lecture 11. «Genres on TV and RV»

1

2

1

1

2

1

SIW (Homework, start of the project, etc.) Prepare for the round table on the topic: «Specificity of TV and RV communication: in the frame and on the air»

3

159

Seminar / practical / laboratory class – Professions: editor, correspondent, director, producer, operator

2

Seminar / practical / laboratory lesson – Specificity of the development of digital, interactive broadcasting

2

1

SIW (Homework, the beginning of the project, etc.) Staff correspondent, special correspondent, commentator, columnist Lecture 14. Broadcasting: development prospects

3

1

SIW (Homework, start of the project, etc.) Prepare an analysis of information and analytical programs of the country's TV companies Lecture 13. Journalistic professions on TV and Radio

3

2

1

1

2

1

1

160

Seminar / practical / laboratory lesson – The Impact of Audiovisual Communication on the Development of Modern Society

SIW (Homework, start of the project, etc.) Write an essay on the topic «The broadcast model of Kazakhstan»

2

3

1

SIW (Homework, start of the project, etc.) Create a broadcasting schedule of one day TV and radio company. Lecture 15.- TV and RV as a communication process

3

1

2

1

1

WRITING AND COURSEWORK ON «TELEVISION AND RADIO JOURNALISM» 1. The impact of new information and communication, digital technologies on TV and radio development. 2. Place of TV and radio in the media system. 3. Tele-radio broadcast as a complex of artistic and technical means. 4. Traditional and new media: ways of interaction. 5. Specificity of TV and radio: language, nature, properties. 6. TV and radio functions. 7. Inventors of radio. The development of broadcasting in the world. 8. The invention of television. TV inventors. 9. The role and significance of video recording in the development of TV. 10. Television and radio broadcasting in the USSR in the 1930-1980s. 11. Television and radio broadcasting in Kazakhstan in the modern period. 12. Definition of broadcasting genres: informational, analytical, artistic and journalistic genres. 13. TV and radio in the period of restructuring: 1985-1991. 14. The development of documentary television and radio film. 15. Television and radio broadcasting of Kazakhstan in the period of independence. 16. The current state of television and radio broadcasting in Kazakhstan, in Russia. 17. Brief description of radio companies and radio programs in Kazakhstan. 18. Brief description of the modern development of broadcasting in different countries. 19. Current trends in the development of television broadcasting. 20. Modern trends in the development of broadcasting. 21. The language of the screen, its components: word, frame, plan, angle, installation. 22. Types of television editing, its purpose (technical, constructive, artistic, interframe, parallel, associative, electronic, digital). 23. Mounting as a means of reflection and expression on TV and radio. 24. The profession of the operator – between technology and art. 25. The specifics of the work of the chief editor, the news editor of the issue and the editor of the program. 26. Directing the ether. 27. The ratio of the image and the words on television. 28. From the application to the script. 29. Means of creating a journalistic television script. 30. Screenwriter in the film crew. Job of a screenwriter after shooting. 31. Typology of television radio journalism. 32. Genres of information journalism. 33. Interviews as a genre and as a method of television radio journalism.

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34. Types of interviews on radio and television. 35. Genres of analytical television radio journalism. 36. Talk shows on radio and television as a genre: its goals, specificity. 37. Informational news releases on TV and radio: the specifics of the work. 38.Hadoshestvenno-expressive means of TV and radio. 39. Transfer, program, channel. 40. Editor – as an organizer of the creative process. 41. Producer on TV and radio, the specifics of the work. 42. Reporter on television and radio: the specifics of the work. 43. Interviewer, showman, moderator on TV and radio. 44. The leading television and radio news. 46. Rating the program as a means of improving it. 47. Methods and means of sociological research of the audience of television and radio. 48. New and types and formats of television and radio journalism. 49. The specifics of communication on the radio and TV. 50. Television and radio professions. 51. Audiovisual advertising: the specifics of the preparation. 52. The future of broadcasting: problems and prospects. 53. The role of television and radio in the life of modern society.

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Еducational issue

Barlybayeva Saule

TV AND RADIO JOURNALISM Educational manual

Editor B. Popova Typesetting K. Umirbekova Cover design Ya. Gorbunov Cover design used photos from sites www.MyTravelBook.org

IB №13211 Signed for publishing 06.12.2019. Format 60x84 1/16. Offset paper. Digital printing. Volume 10,25 printer’s sheet. 100 copies. Order №8192. Publishing house «Qazaq University» Al-Farabi Kazakh National University KazNU, 71 Al-Farabi, 050040, Almaty Printed in the printing office of the «Qazaq University» publishing house.

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