Broadcasting in Ireland (1978) outlines the historical and sociological background of Ireland to place the progress of its broadcasting service in the context of its post-independence development. It analyses the difficulties of running public service broadcasting financed by both licence fee and advertising, and competing in half its television reception area with two of the premier broadcasting systems in the world. With regular broadcasting beginning with Independence, its development was inevitably bound up with the process of building the political, economic and social framework of the new State, and this book closely examines how the Irish broadcasting system coped with the attending economic, cultural and political difficulties.

It has become apparent that Northern Ireland feels left behind in UK broadcasting terms. Levels of production are comparatively low. Northern Ireland producers find it difficult to win commissions from the UK's major broadcast organisations. Digital switchover, already under way in some parts of the UK will not occur in Northern Ireland until 2012. Nor, since UTV remains strong enough to provide news in competition with the BBC, will Northern Ireland benefit from public money proposed for new independently funded news consortia. The evidence the Committee received confirms and demonstrates that Northern Ireland is the least well served of the UK's four nations in terms of network production that reflects and portrays its life and in the amount of network programming produced there. The Committee makes a number of recommendations to remedy this.

This book explores the question of how society has changed with the introduction of private screens. Taking the history of television in Ireland as a case study due to its position at the intersection of British and American media influences, this work argues that, internationally, the transnational nature of television has been obscured by a reliance on institutional historical sources. This has, in turn, muted the diversity of audience experiences in terms of class, gender and geography. By shifting the focus away from the default national lens and instead turning to audience memories as a key source, A Post-Nationalist History of Television in Ireland defies the notion of a homogenous national television experience and embraces the diverse and transnational nature of watching television. Turning to people’s memories of past media, this study ultimately suggests that the arrival of the television in Ireland, and elsewhere, was part of a long-term, incremental change where the domestic and the intimate became increasingly fused with the global.

Analysing historical and contemporary examples, this book offers a thematically-informed synthesis of influential research on Irish audio-visual culture.

Accompanying CD-ROM contains ... "Appendix : ... recordings of works by Irish composers in RTÉ Sound Archives / compiled by Richard Pine and Joan Murphy." -- p. [vii].

Draws from a wide range of disciplines to bring together 36 leading scholars writing about 400 years of modern Irish history

Within the growing field of TV series studies, little work has yet been done on Ireland. This volume fills the gap by offering new and compelling studies of contemporary Irish TV series. It argues that there is a distinctly Irish culture of TV fiction series and examines some of its finest examples, from Father Ted to Love/Hate and Sin Scéal Eile.

Derived from the renowned multi-volume International Encyclopaedia of Laws, this analysis of media law in Ireland surveys the massively altered and enlarged legal landscape traditionally encompassed in laws pertaining to freedom of expression and regulation of communications. Everywhere, a shift from mass media to mass self-communication has put enormous pressure on traditional law models. An introduction describing the main actors and salient aspects of media markets is followed by in-depth analyses of print media, radio and television broadcasting, the Internet, commercial communications, political advertising, concentration in media markets, and media regulation. Among the topics that arise for discussion are privacy, cultural policy, protection of minors, competition policy, access to digital gateways, protection of journalists’ sources, standardization and interoperability, and liability of intermediaries. Relevant case law is considered throughout, as are various ethical codes. A clear, comprehensive overview of media legislation, case law, and doctrine, presented from the practitioner’s point of view, this book is a valuable time-saving resource for all concerned with media and communication freedom. Lawyers representing parties with interests in Ireland will welcome this very useful guide, and academics and researchers will appreciate its value in the study of comparative media law.

Irish Media: A Critical History maps the landscape of media in Ireland from the foundation of the modern state in 1922 to the present. Covering all principal media forms, print and electronic, in the Republic and in Northern Ireland, John Horgan shows how Irish history and politics have shaped the media of Ireland and, in turn, have been shaped by them. Beginning in a country ravaged by civil war, it traces the complexities of wartime censorship and details the history of media technology, from the development of radio to the inauguration of television in the 1950s and 1960s. It covers the birth, development and - sometimes - the death of major Irish media during this period, examining the reasons for failure and success, and government attempts to regulate and respond to change. Finally, it addresses questions of media globalisation, ownership and control, and looks at issues of key significance for the future. Horgan demonstrates why, in a country whose political divisions and economic development have given it a place on the world stage out of all proportion to its size, the media have been and remain key players in Irish history.

"An interdisciplinary examination of the responses of literary authors in Germany, from 1895-1930, to the emerging media of image and sound recording"--Provided by publisher.