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Figure 6 Programme Content in Three AM Riio Stations 1986 War Bhor Tor, Drama Station Soc TOF Ror, Music Station I Tor Or News/Music Station Average air time 20 his/cIa ;y1ta'c Popular entei \dve its News I iibrmauou tainment Source: Stations' programme logs and recordings (Mon-Fri). May 1986. Audience: Lower to lower-middle classes in D. E and C categories Wor Bhor Tor -Women, all age group Sor Tor Ror -Adolescents,female&male Tor Or -Male oriented
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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
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 72 and 73: O — V. '-'I C-.)- V- It) -V b1 I-
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
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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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