FILM AND BROADCAST

ARTS.
Renmark L. Eusebio
ICT – 12 Mabini
Broadcasting As A Medium Of Art
• The artistic potential of any medium is determined by
the unique form it offers and forces on the artist and by
its capacity as an effective vehicle of communication in
its own right.
The art of radio.
• In a similar way the art of radio began to be discovered when
those engaged in broadcasting became aware of the nature of
the medium in which they were working and of their special
relationship to their audience.
The art of television.

• In the 1950s and ’60s, radio was overtaken by television.

At first television as a medium was considered to be
little different from film. But, although television was a
hungry user of film, it needed film in forms that differed
from those required by the theatres.
Techniques and borrowings.
• It is useful to view all of the media together, ranging
from the individual performer appearing in the flesh
before his audience to the complex presentations of the
electronic and allied media.
Dramatic techniques.
• Radio began by restoring the ancient art of the
storyteller. Writers for radio next learned how to suggest
place and time by word of mouth, accompanied by the
impressionistic use of sound and music.
Film techniques.
• The basic principles that the television image shares
with the film image are, of course, its freedom to select
the compass of each individual shot and its freedom to
determine the nature of the movement within it.
Broadcasting Operations
Types of programs and development of studios.

• There are a number of distinguishable types of

programs that are broadcast, but they often
overlap in technique, subject matter, and style.
Radio, for example, broadcasts speech and music,
Entertainment.
• Entertainment can include comedy, impossible wholly
to differentiate from drama; quizzes, not always easily
distinguished from relatively serious programs of
information and education; popular music, in which the
frontier with jazz and serious music is anything but rigid;
and variety, or a series of unrelated acts, nearly always
linked by a popular presenter or established performer.
Drama.
• Radio and television drama is not best produced in a
theatre; the nature of the studio is therefore different.
Spoken word.
• Spoken-word programs have included entertainment types, such as “This Is
Your Life” and many of the “talk shows,” in which a personality interviewer
questions celebrities, sometimes with interludes of music or comedy or
with serious discussions, documentaries, or lectures.
Outside broadcasts
• Although broadcasts do not constitute a distinct and definable form, they
nevertheless have been since the birth of radio the most popular and
arresting of all material transmitted on either medium.
Relations with artists, speakers, authors, and unions.
• In the early days of radio, problems of fees, royalties, performing rights, copyright,
and relations with unions rarely were regarded. Entertainers performed largely for
publicity purposes. Only gradually did performers appreciate radio’s effect, first, as
a threat to their theatre earnings and, second, as a highly lucrative substitute.
Internal organization, administration, and policy control.

• The organization and administration of broadcasting bodies can, in the

case of a small independent station, be relatively simple, and the policies
can be implemented with ease. Sizable organizations, however, have a
complex problem, because it is not possible to determine success or failure
purely on the basis of financial returns..