Hit-Pirates? Radio Luxembourg and Europe n°1 as transnational actors of commercial entertainment in the long 1960s

打海盗？

• 批准号: 387791358
• 负责人: Professor Dr. Andreas Fickers
• 金额: --
• 依托单位: Maison des Sciences Humaines
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2018
• 资助国家: 德国
• 起止时间: 2017-12-31 至 2020-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/387791358?language=en
• 关键词: Hit; Pirates; Radio; Luxembourg; Europe

This project aims at studying the most important players in the field of French commercial radio broadcasting - Radio Luxembourg and Europe nr. 1 - in a transnational and entangled perspective. Due to their transborder transmission activities, both stations were privileged transnational actors in the European radio landscape. As such, they are highly relevant objects of study for the research project as they touch on several tensions adressed in the main proposal. From a political and institutional perspective, both stations occupied a specific position within the European broadcasting landscape as they challanged the public service broadcasting model which dominated the European continent in the long sixties. In fact, both their succesful model of finance as well as their programme philosophy seriously undermined the monopoly of public service broadcasting institutions in France and Germany and in fact inaugurated the emergence of the so-called dual broadcasting model in Europe. Despite the fact that this dual system existed in Great Britain since the start of Independent Television in 1955, the so-called stations périphériques established a duality of both private and public radio services in the French speaking broadcasting space. This tension created a specific dynamic of negotiating the identity of radio by several actors: the state, the private industry, cultural institutions and the audience. Based on a social constructivist theory of mediated reality, the project aims at focussing more specifically on the role and importance of the listeners. As users and consumers of the commerical radio products and services, they played an important role in the co-construction of a new radio infrastructure in Europe.It is this specific role of the medium radio in the mass media ensemble of the long 1960s which makes this study so important for the general project. As the long sixties were characterised by the establishment of television as the most porminently advertised new medium of the time, radio had to defend its place in the ensemble - and did so very succesfully. Indeed, radio managed to develop new formats, new technologies such as FM or mobile recording devices were introduced, and thanks to the transistor and car radio, a new culture of mobile listening emerged. Hit-Pirates does therefore not only offer new insights for a transnational media history, but can inform other disciplines such as popular music or sound studies which are currently high on the agenda of cultural studies.

该项目旨在研究法国商业广播领域最重要的参与者--卢森堡广播电台和欧洲广播电台。1 -在跨国和纠缠的角度。由于它们的跨界传播活动，这两家电台在欧洲无线电领域都是享有特权的跨国行为者。因此，它们是研究项目的高度相关的研究对象，因为它们触及了主要提案中涉及的几个紧张关系。从政治和体制的角度来看，这两个电台在欧洲广播领域占据了特定的地位，因为它们改变了在六十年代长期主导欧洲大陆的公共服务广播模式。事实上，他们成功的财政模式以及他们的节目理念严重破坏了法国和德国公共服务广播机构的垄断，事实上开创了欧洲所谓双重广播模式的出现。尽管自1955年独立电视台成立以来，英国就存在这种双重制度，但所谓的地方电台在法语广播领域建立了私人和公共广播服务的双重性。这种紧张关系创造了一个特定的动态谈判电台的身份由几个演员：国家，私营企业，文化机构和观众。该项目基于社会建构主义的中介现实理论，旨在更具体地关注听众的作用和重要性。作为专业无线电产品和服务的用户和消费者，他们在欧洲新的无线电基础设施的共同建设中发挥了重要作用。正是媒体无线电在20世纪60年代漫长的大众媒体合奏中的这种特殊作用，使得这项研究对整个项目如此重要。在漫长的60年代，电视作为当时广告最多的新媒体，广播必须捍卫自己在整个社会中的地位，而且做得非常成功。事实上，无线电设法开发了新的格式，新的技术，如调频或移动的录音设备被引入，并感谢晶体管和汽车收音机，一个新的文化移动的收听出现。因此，《打击海盗》不仅为跨国媒体史提供了新的见解，而且可以为其他学科提供信息，如流行音乐或声音研究，这些学科目前在文化研究的议程上名列前茅。