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or diversity in programming. Nonetheless, as our exploration has revealed there is a complex and often contradictory internal relationship between the major constituents of the system. As a result, radio plays an ambivalent role as both an instrument of the state and of its capitalist owners. As we have tried to show, media practitioners form a potentially disruptive force in the process of message distribution. How these struggles are being played out in the various programme forms is the subject of the following three chapters. In order to examine the interplay of various ideologies, and the continuities and breaks within and among them, we employ the scheme of programme classification devised by Schlesinger et al (1983). This is based on cross-cutting dimensions open and closed, and tight and loose, which taken together, allow us to examine both the number of viewpoints on a particular issue presented in a programme and the way they are l)reseted. The static concept of a closed or open programme space is coupled with the dynamic distinction between tight and loose formats, in which a tight format is "one in which the images. arguments and evidence offered b i/u' prograinnie are organised to converge upon a single preferred interpretation and where oilier possible con clusiojis are margiiialised or closed-off A loose format in contrast, is one where the a,nbiuities. contradictions and loose ends generated within the program me are never fully resolved, leaving the viewers with a choice of interpretations. (Schlesinger et al, 1983:32) Using these distinctions our saniple of programmes falls into three broad groupings shown below. In the first group, the Sunday sermon and military commentary programmes are both closed and tight. As we noted earlier these programmes mainly present the view points of the official institutions and the formats they employ close off other interpretations. These 'dominani ideologies' are far from homogeneous however. Rather they are often self-contradicting. The accommodation of the religious schism for example, reveals the tension within the Sangha. Similarly, as we shall see, the Sunday sermon programmes have to grapple with the juxtaposition of the Buddhist moral ethic and the notion of modemnisation in an industrial capitalist society. There is evidence of similar incoherences in the military commentary programmes. Political legitimation becomes more problematic as the military is obliged to reform whilst at the same time reaching out for new allies in the dominant power bloc and the public in general. The traditional institutions are thereby engaged in ideological struggle among themselves. On the other hand, they must also attempt to maintain the hegenionic position: 108
SCHEME OF DISCOURSE ANALYSIS Intended audience national > segmented 1) Official programmes The Sunday sermon Pua Pandin Thai 2) News and current affairs Official news Kao Si Mum Baan bulletin 3) I'opular entertainment Drama serial Action-Adventure Romance Music Music video Pre-recorded music programme closed > Programme space Sian Manusati Kao Duan Juan Saang Political romance Live music programme open The second group of programmes centres around news and popular news commentary. The programme space of the official news bulletin although still closed is relatively more open compared to the first group of programmes. In response to a more liberal political atmosphere and the competition on news production the official news bulletin must deal with a number of viewpoints other than their own. International news, such as the over throw of the Shah of Iran in 1979 or news from the socialist countries - the USSR and China, often poses particularly serious 'difficulties' for selection and pI'eseJtatiol. As a result, the programme format is tightly structured to establish the official perspective. By contrast, the popular news commentary programme, whose materials are based on the press, is relatively open but the format is tight in its effort to mobilise support for a particular viewpoint. Some of these viewpoints may coincide with the official perspective when the issue is concerned with ,iatioiiczl securit y '. But on matters of political interest the program me often challenges the established view as we shall see later. Within the third group, popular entertainment, m usic programmes are relatively more open than dramas in which there is a high degree of self-censorship. Music programnies are also looser in their formats, especially in the live programmes that invite audience participation. The images in both genres however are interconnected with the visual media of television, music video, film, and the press. The production of meaning is therefore closely related to the visual images. 109
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RADIO IN A TRANSITIONAL SOCIETY: TH
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Chapter 1 1.1 I .2 Chapter 2 2.1 2.
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Chapter 8 8.1 8.2 8.3 Chapter 9 9.1
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List of Figures Figure 1 The Admini
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Our inquiry therefore, is a small a
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4 --- First we begin with an apasis
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2.1 Introduction CHAPTER 2 MODERN T
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labour' either worked their own lan
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In the urban areas, the US military
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US, Japan and Europe. Between 1974
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In the present era of resurgent cap
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2.6 A Chronology of Events, 1932 -
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US government cut military aid to a
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on the other, it undermined the sub
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This was not the first time that th
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The cardinal position of the monarc
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3.2 Nationalism and Militarism; Con
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In the Thai language the word for '
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Reforms designed to 'modernise' the
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Development Plan (1961-1966), serve
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3.3 Paternalism and the Emergence o
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With Prem as the father figure (dub
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development of capitalism has trans
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democracy they were hostile to gove
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However, since the civilian governm
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egion total(%) Bangkok Central Nort
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the power of allocative control wou
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emained unfulfIlled. There were lar
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decisions used to secure the audien
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Restrictions on programme content w
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"Radio advertising is very cheap. A
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Although the emergent music industr
Page 66 and 67: million). This enabled it to expand
Page 68 and 69: In addition, the quantity of media
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Page 72 and 73: O — V. '-'I C-.)- V- It) -V b1 I-
Page 74 and 75: ai C L I-. 0 L 0 H U 0 0 L 0 H 0 U
Page 76 and 77: 5.1 The State and Media Production:
Page 78 and 79: Pua Pandin Thai shares similar ideo
Page 80 and 81: The closed form of the Sunday sermo
Page 82 and 83: 5.2 The Production of News and Curr
Page 84 and 85: After the downfall of the military
Page 86 and 87: presentation. On AIvl radios, these
Page 88 and 89: Table 7 The Structure of Programme
Page 90 and 91: The routine of Kao Si Mum Baan begi
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Page 94 and 95: Table 8 A Summary of the Structures
Page 96 and 97: the theatre as well as from the civ
Page 98 and 99: How then can a declining industry n
Page 100 and 101: Phibun's military patronage, music
Page 102 and 103: a more cautious strategy. Since it
Page 104 and 105: The drama companies submit one-page
Page 106 and 107: Monthly salary - Main actors - Dire
Page 108 and 109: The production of popular music in
Page 110 and 111: exaniple, goes out into the country
Page 112 and 113: A small number of singers, such as
Page 114 and 115: the case of Grammy we do see a more
Page 118 and 119: Music programmes for example, are a
Page 120 and 121: political power is now on the decli
Page 122 and 123: of the sermons dealing with social
Page 124 and 125: In this sermon, civil servants are
Page 126 and 127: Through these programmes the milita
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Page 131 and 132: The military argues that it is the
Page 133 and 134: The rigid divisions that operated i
Page 135 and 136: are sometimes present in the same p
Page 137 and 138: "The Japanese PM won the election a
Page 139 and 140: "Parliament is no! an arena for rev
Page 141 and 142: forms. Nonetheless, it contradicts
Page 143 and 144: A second politku problem is posed b
Page 145 and 146: PART ONE: THE FINAL PLANNING OF THE
Page 147 and 148: In this rationalisation the author
Page 149 and 150: and her courtly speech are always s
Page 151 and 152: CHAPTER 8 DRAMATISING MASCULINITY A
Page 153 and 154: Sua is trained in a male dominated
Page 155 and 156: generally within the adventure form
Page 157 and 158: which carry the two themes simultan
Page 159 and 160: TOH: "Sua, you have succeeded... ev
Page 161 and 162: Sua Term is depicted as the hero's
Page 163 and 164: logging franchises in Laos and Burm
Page 165 and 166: "... My father wan Is me to have an
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The final way in which the film and
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the story, and not least by his bes
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KANITA: "(whisper) No sweat, physic
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CHAPTER 9 PRIVATISING SENSUAL PLEAS
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ealistic lyrics. Pleng Luktoong bor
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consumption. The following advertis
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Luktoong lyrics: resistance and acc
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worldview with the traditional inst
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When the balance is struck the song
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prevails. These songs juxtapose the
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These pre-emptions are however, ove
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Ah, ha, cutie, so handsome Whose lo
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This track reproduces the style of
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the album. They are juxtaposed with
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9.3 Luktoong Music Radio: DJs and C
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Programme of Luktoong Artists -Adve
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month or approximately £25)6 with
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'Pleng Hit Pua Kizun': DJs and the
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traditional popular sport that is b
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It is in this final slot, where the
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The field research The field study
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The second problem arises from the
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small dinning hail (which seats abo
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Category I Accommodation 2 Food 3 C
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positions, though some of their act
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The Unionisation of the Aporn Texti
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". .we can 'I bear the house-keeper
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after her predecessor resigned, the
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einforce alternative spaces by inte
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A collective biography All of the n
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drama and the prime-time soap opera
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In the factory, the workers are abl
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pointed out, "a tragic ending is to
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of the story however. One responden
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(1) "1 wonder if they are from Kora
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sung among the women workers and on
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On the first anniversary of the Uni
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ealist narrative were rejected. As
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(B) "Now, there are well wishers wh
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In this manifestation of symbolic p
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CHAPTER 11 CONCLUSION The aim of th
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11.2 Cultural Mediation and The Lim
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occured within the workers themselv
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Bibliographies Adorno, T. and Horkh
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Chaloemtiarana, T. (1976) "The Evol
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Huncharoen, C. (1983) "Panha karn K
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Murdock, G. and Janus, N. (1985) Ma
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Rajakool, C. (1984) The Social and
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Volosinov, V. (1973) Marxism and th
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