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

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-以跨国和纠缠的视角。由于它们的跨界传播活动，这两个电台在欧洲广播领域都是享有特权的跨国行为者。因此，它们是研究项目高度相关的研究对象，因为它们涉及到主要提案中提到的几个紧张局势。从政治和体制角度来看，这两家电视台在欧洲广播格局中占据着特定的地位，因为它们挑战了长达60年代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和节目理念都严重破坏了法国和德国公共服务广播机构的垄断地位，实际上开启了所谓的双重广播模式在欧洲的出现。尽管自1955年独立电视台开播以来，英国就存在这种双重体制，但所谓的广播电台在讲法语的广播领域确立了私营和公共广播服务的双重性。这种紧张关系创造了一种特定的动力，由几个参与者--国家、私营行业、文化机构和观众--谈判广播的身份。基于中介现实的社会建构主义理论，该项目旨在更具体地关注听者的角色和重要性。作为商业无线电产品和服务的用户和消费者，他们在欧洲新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年代漫长的大众传媒群体中的特殊作用，使得本研究对整个项目具有重要意义。由于长达60年代的特点是电视被确立为当时广告最多的新媒体，广播必须捍卫它在整个群体中的地位--而且做到了非常成功。事实上，无线电设法开发了新的格式，引入了调频或移动录音设备等新技术，多亏了晶体管和汽车收音机，出现了一种新的移动收听文化。因此，热门海盗不仅为跨国媒体史提供了新的见解，而且还可以为其他学科提供信息，如流行音乐或声音研究，这些学科目前是文化研究的重要议程。

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.