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CHAPTER 5 PRODUCING NEWS AND COMMENTARY IN THE BROADCASTING INDUSTRY This chapter offers a concrete analysis of the process of cultural production based on the general position developed in chapter 4, in which we argued that it is the dynamics of the economic and political control and relations with the rest of the media industry that shape the development of the dual system of radio broadcasting. How then are these forces translated into organisational structures and occupational practices? How do they shape media output? These questions in turn raise issues about the relations between organisational goal, professionalism, and communicator autonomy (Elliot, 1972, 1977, Mu rdock, 1980). How does professionalism as an occupational ideology mediate between organisation goals and practitioners' ideal for example? How do creative producers negotiate between the commercial code and artistic code in the production of popular culture? - The following analysis examines the production of both the serious genres and the major popular genres of music and drama, on three AM commercial stations. These are; Tor Or (The Royal Air Force), Sor Tor Ror (The Royal Navy), and Wor Bhor Tor (Energy Unit, Military Supreme Command Headquarter) radios. They represent the three models of military commercial stations outlined in section 4.2. However, it is not enough simply to examine practices with/u these stations since not all programmes are made in-house. The production of commentary and religious programmes are monopolised by the state and made directly by the military and the Sangha. Similarly since most of the popular programmes are pioduced by the sponsors or the media industries (see Table 4) our investigation must explore the dynamics of drama and music industries. These will be dealt with in the next chapte. The present chapter concentrates on actuality programming, looking in turn at; military commentary programmes; Sunday sermon; news and current affairs programmes; and news commentaries.
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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
Page 22 and 23: In the present era of resurgent cap
Page 24 and 25: 2.6 A Chronology of Events, 1932 -
Page 26 and 27: US government cut military aid to a
Page 28 and 29: on the other, it undermined the sub
Page 30 and 31: This was not the first time that th
Page 32 and 33: The cardinal position of the monarc
Page 34 and 35: 3.2 Nationalism and Militarism; Con
Page 36 and 37: In the Thai language the word for '
Page 38 and 39: Reforms designed to 'modernise' the
Page 40 and 41: Development Plan (1961-1966), serve
Page 42 and 43: 3.3 Paternalism and the Emergence o
Page 44 and 45: With Prem as the father figure (dub
Page 46 and 47: development of capitalism has trans
Page 48 and 49: democracy they were hostile to gove
Page 50 and 51: However, since the civilian governm
Page 52 and 53: egion total(%) Bangkok Central Nort
Page 54 and 55: the power of allocative control wou
Page 56 and 57: emained unfulfIlled. There were lar
Page 58 and 59: decisions used to secure the audien
Page 60 and 61: Restrictions on programme content w
Page 62 and 63: "Radio advertising is very cheap. A
Page 64 and 65: 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
Page 70 and 71: editorial and advertisement. Commer
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
Page 92 and 93: commercial success, and the fact, a
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 116 and 117: or diversity in programming. Noneth
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
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In this sermon, civil servants are
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Through these programmes the milita
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Kampuchea and constantly ambushes v
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The military argues that it is the
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The rigid divisions that operated i
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are sometimes present in the same p
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"The Japanese PM won the election a
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"Parliament is no! an arena for rev
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forms. Nonetheless, it contradicts
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A second politku problem is posed b
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PART ONE: THE FINAL PLANNING OF THE
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In this rationalisation the author
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and her courtly speech are always s
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CHAPTER 8 DRAMATISING MASCULINITY A
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Sua is trained in a male dominated
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generally within the adventure form
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which carry the two themes simultan
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TOH: "Sua, you have succeeded... ev
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Sua Term is depicted as the hero's
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logging franchises in Laos and Burm
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"... 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
Page 193 and 194:
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
Page 257 and 258:
Huncharoen, C. (1983) "Panha karn K
Page 259 and 260:
Murdock, G. and Janus, N. (1985) Ma
Page 261 and 262:
Rajakool, C. (1984) The Social and
Page 263:
Volosinov, V. (1973) Marxism and th
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