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5.1 The State and Media Production: Political Goals and Social Integration Media production in the Thai broadcasting system is generally governed by the state's conception of political and social integration. As laid out in the Broadcasting Regulation B.E.2517 (1974) the principle roles of the broadcast media are: - to promote the system of constitutional monarchy - to promote the national interests and policies in the realms of politics, military, and economy - to promote the consciousness and responsiblity of the citizen towards the nation, religion and the king - to promote social unity - to propogate against any opposition ideologies - to disseminate news and information from the government in order to establish a correct understanding among citizens - to preserve tradition and culture Commercial radio must comply with these guidelines in their production of both information and popular programmes. It must also surrender parts of the prime-time schedule for the three officially produced programmes - news, military commentaries and Sunday sermons. These programmes are relayed from their sources of production; the military via radio Kong Pol I (1st Regiment Army), and the Department of Public Relations via Radio Thailand. Schedules of Official Programmes Siam Manusati News National Anthem Sunday Sermon News National Anthem Pua Pandin Thai News News 6: 45-7 :00 7:00-8:00 8:00-8:03 8:00-8:30 12:30-13:00 18:00-18:03 18:03-18:15 19:00-19:30 20:00-20:30 Mon-Sat Mon-Sat Mon-Sat Sun Mon-Sat Mon-Sat Mon-Sun Mon-Sat Mon-Sat 68 Military commentary Official bulletin Religious programme Official bulletin Military commentary Official bulletin Official bulletin The Production of Military Commentary Programmes: Siam Manusati and Pun Pandin Thai Both Siam Manusati (The Conscience of Siam) and Pua Pandin Thai (For the Land of the Thai) are current affairs programmes. Altjiough they are produced
within the military hierarchy the centralisation of control takes different forms. Within their common goal of guarding the nation, Siam Manusati represents the view of the dominant faction within the army, while Pua Pandin Thai encompasses a broader ideology of the Right and the bureaucratic state. The former is produced by the army security unit, the Psychological Operation Centre in the Internal Security Operation Command (ISOC), the latter by the army programme production centre. Siam mamisati was conceived after the April Fool's Day coup in 1981 when the Young Turks were crushed by the government of General Prem and his military supporters. However, because the military is confronted with a crisis of political legitimation within the dominant power blocs, the programme is based around the running theme of 'poliiical consensus'. The production team of Siam Manusati consists of a small core of script writers and two male announcers, all of whom are military officers. Scripts are written in the morning and censored by the Head of the Psychological Operation Department in the afternoon. Alterations to scripts are made on the basis of high level policy or fresh military information. The revised scripts must undergo a second reading before being recorded in the unit's studio. This final stage may be supervised or unsupervised depending on the time of the day and the importance of the issue. On a routine day, the production process is concluded within office hours. Recording might however, run into the evening.1 Since the programme deals with current affairs there are invariably political controversies and these demand longer production time and greater supervision, as in the case of the general elections in 1983 and 1986, and the constitutional amendment controversy in 1983. However, expense is not a major constraint. Since production cost is absorbed by the overall military budget there is no limit set to the over-time pay for the production team. Thus, the production team operate as state functionaries under stringent control in order to carry out military political objectives. As they are military officers themselves, they share a common ideology with the organisation and the programme. Any day-to-day operational conflict that might occur is subsumed under the general military code of conduct. Interview with the script-writer, March, 1986. 69
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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 -
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 74 and 75: ai C L I-. 0 L 0 H U 0 0 L 0 H 0 U
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
Page 124 and 125: 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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