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Extra resources for AN 08-10-94 SCR-578-A,B Radio Transmitter (maint.) (Mil TM)
In addition there is evidence in the recent developments in ‘new media’ (including both radio and audio) that there is a future for this genre. The structure of this entry is slightly different from some of the others; it starts with a brief history of radio drama and then considers the arguments of what might be called the ‘sceptics’ and the ‘advocates’. It might be useful to read this in conjunction with the entry on radio Soaps and Serials. The introduction and survival of radio drama in the USA and the UK is often connected to a desire to show evidence of ‘quality’ in broadcasting.
Street, 2006a: 134) recording This desire for actuality was to be satisfied as a result of the need to report on the Second World War, a powerful catalyst for change in the BBC. There was a growing realisation, reflected in the quote above, that the public needed to hear what was happening on the battlefront and preferably to hear first-hand reports and even the sounds of battle. BBC reporters used mobile recording vans, which at first only allowed three minutes of recording on portable discs.
Hilmes (1997: 97–130) discusses the pre-war American magazine and there is an excellent account of British war-time radio magazines in Nicholas (1996). Hendy (2007) has a full discussion of the ‘magazinisation’ of BBC Radio 4. QXP 11/28/2008 1:09 PM Page 33 Mus ic Music is one of the codes of radio and a universally important content of radio programming. music Imagine two people listening to the same piece of music. One of them has an MP3 player (or something similar) and chose this record from among many others.
AN 08-10-94 SCR-578-A,B Radio Transmitter (maint.) (Mil TM)