Rundfunk und Geschichte
Heft 1-2/2019
ISSN 0175-4351
Editorial 3
Thema: Stand und Probleme der rundfunkhistorischen Ausbildung
Horst Pöttker
Erkenntnisinteresse Verständigung
Über Situation und Sinn von (Rundfunk-)Geschichte
in kommunikationswissenschaftlichen Studiengängen 5
Rudolf Stöber
Kein Ende der Whig-Geschichtsschreibung
Stand und Probleme der rundfunkhistorischen Forschung 17
Vera Katzenberger
Zum Stellenwert rundfunkhistorischer Fragestellungen in studentischen Abschlussarbeiten
Eine Inhaltsanalyse aus kommunikationswissenschaftlicher Perspektive 28
Erinnerungen an 50 Jahre Studienkreis
Walter Klingler
Das Doktoranden-Kolloquium des Studienkreises Rundfunk und Geschichte. Die Grünberger Zeit.
Erinnerung für einige hundert Nachwuchswissenschaftler/innen 34
Edgar Lersch
Die denkwürdigen Vorstandswahlen 1991.
Der Studienkreis am Scheideweg? 42
Heiner Schmitt
Inspirator, Mentor und Führungspersönlichkeit
Friedrich P. Kahlenberg als Vorsitzender des Studienkreises 45
Reinhold Viehoff
Erinnerungssplitter 46
Rundfunkhistorisches Gespräch
Diese Anfangszeit hat die Rundfunklandschaft geprägt
Rundfunkhistorisches Gespräch mit Dr. Hans Hege (Auszüge) 49
Studienkreis-Informationen
Nachruf auf Dr. Margarete Keilacker 72
Medienhistorisches Forum 2018 74
Forum
Digitale Kommunikation und Kommunikationsgeschichte: Perspektiven, Potential, Problemfelder
Gemeinsame Tagung der DGPuK-Fachgruppen Digitale Kommunikation und Kommunikationsgeschichte
16. bis 18. Januar 2019 in Bremen 76
Die Entwicklung des lokalen Rundfunks in Bayern
Informationssitzung des Medien- und Verwaltungsrates der Bayerischen Landeszentrale für neue Medien (BLM)
15. November 2018 in München 79
Dissertationsvorhaben
Felix Wirth
„Hier heisst es noch ‚Gopferteckel!‘“
Schweizer Science-Fiction-Hörspiele, 1935-1985.
(Universität Freiburg, Schweiz) 80
Abstract
The radio of German-speaking Switzerland, until the 1960s known as Radio Beromünster, produced between 1935 and 1985 about 120 science fiction radio drama (Science-Fiction-Hörspiele). Within this period, there were significant changes regarding the narratives, themes, and aesthetics of radio science fiction. In my dissertation I follow the developments that occur in the interaction between a national institution – the Swiss Radio – and the transnational science-fiction-genre. The study examines the selection and editing procedures of science fiction radio drama as well as production and sound design techniques on the part of the Swiss Radio. The political and social conditions underlying these procedures are also taken into account. In this context, the key question is to what extent ideas and images of „Switzerland“ influenced the production of science fiction radio drama. The sources consist of written scripts and sound material, which are located in the archives of the Swiss Radio in Basel, Berne and Zurich.
Tatiana Eichenberger
Experimentelle Klanglabore des Rundfunks
(Universität Basel, Schweiz) 82
Abstract
The dissertation project „Experimental Sound Laboratories of Radio“ examines the possibilities of an aesthetic experiment under conditions of technical media configurations in the electronic studios of the broadcasting corporations in Europe after the Second World War. In these early years of the electronic studios (1950s), a standardized technical equipment was not available, regulated procedures in the manufacturing processes of electroacoustic sounds had not yet been developed, and a clear distribution of tasks was not given. Thus, a post-war period electronic studio can be compared with the configuration of an experimental environment of a scientific laboratory, in which in the interactions and interplay of the human and non-human actors new artefacts and relations – devices, professions, productions as well as aesthetic concepts and knowledge – are created. In order to develop a raster of the studio as an experimental system, an international comparative approach has been chosen: The developments of at the beginning of the 1950s, foremost in the continental Europe countries France, Germany and Italy are examined through the eyes of the relatively late established studio at the BBC in April 1958, the BBC Radiophonic Workshop. As the sonic output of these studios was very different, the research focus lies on productions which have been realized with the technical instruments of the radio regardless of their function as autonomous compositions or functional productions for radio. The narrow connection between the radiophonic art and electroacoustic music is therefore one of the main focuses of the research, which is positioned on the intersection of media studies and musicology and thus requires an interdisciplinary approach.
Anna Bischof
Im Kampf um die Deutungshoheit: Radio Free Europe zwischen US-amerikanischen, tschechoslowakischen und deutschen Interessen (1950-1973)
(Ludwig-Maximilians-Universität München) 84
Abstract
This PhD-thesis examines the collapse of the Soviet bloc from the perspective of cultural exchanges, the circulation of ideas and broadcasting historiography. In particular, it analyses the work of Radio Free Europe (RFE) and its various networks with the Polish underground during the 1980s. Defining mobility and superimposed inscriptions as main axioms of power, it analyses how immutable mobiles, as defined by Bruno Latour, allowed RFE to become not only a broadcaster but also a centre of calculation. Starting from the micro level, it investigates the mediation of truth and facts beyond the great divide, and the heterogeneous allies and networks that had to be mobilized in order to guarantee the stability of knowledge and society. Finally, in accordance with Latour’s Actor-Network Theory (ANT) and its implied political philosophy, it elaborates on the quest for ‘trustworthy agents’ (Steven Shapin) that supported the Polish underground in renegotiating the social contract – the Res publica – behind the Iron Curtain. Using ANT helps in accounting for the materiality of Cold War micro-politics and the trust-dependency of social order.
Anna Grutza
Europas ‚heimliche Agenten‘ und die Macht der Dinge: Eine transnationale Mediengeschichte politischer Akteur-Netzwerke im Kalten Krieg
(Europa-Universität Flensburg) 86
Abstract
This work follows the observation that up to date RFE history has been written mostly as that of an US-American psychological weapon in the Cold War fighting Communism. Taking the example of the Czechoslovak Service of RFE (1950-1973) it argues that in order to better understand what RFE was and what it did we need not only to take leave of the alleged dichotomy of “Western truth” vs. “Communist propaganda and lies”, but also analyze RFE as a media institution operating in various environments respectively interacting with them: Besides the US-American/Cold War context, these were mainly the fragmented anticommunist exile in Western Europe and in the US, the audience in Czechoslovakia, the Communist-controlled Czechoslovak media as RFE’s foremost adversary, and the West German context taking into account that RFE headquarters were located in Munich. Following the approach of entangled media history this project intends to reveal how closely these contexts were interrelated, how they often exerted immediate influence on the development and activities of RFE – and how on the other hand RFE influenced and interacted with them.
Rezensionen
Ute Daniel
Beziehungsgeschichten. Politik und Medien im 20. Jahrhundert.
(Christoph Classen) 88
Jan-Pieter Barbian / Werner Ružicka (Hrsg.)
Eberhard Fechner – Ein deutscher Erzähler
(Christian Hißnauer) 90
Anna Jehle
Welle der Konsumgesellschaft. Radio Luxembourg in Frankreich 1945-1975
(Clemens Zimmermann) 91
Kiron Patka
Radio-Topologie. Zur Raumästhetik des Hörfunks.
(Fritz Schlüter) 93
Katrin Jordan
Ausgestrahlt. Die mediale Debatte um „Tschernobyl“ in der Bundesrepublik und in Frankreich 1986/87
(Erik Koenen) 95
Autorinnen und Autoren dieses Heftes U4
