目錄.2009 電視節目欣賞指數第四階段調查及全年綜合結果概述 ( 彭嘉麗 ) 2-3. 中國與互聯網世界多面睇 ( 李燦榮 ) 4-5. 名人文化中的媒體視角 ( 林援森 ) 6-7. 要改變上帝, 談何容易! 漫談數碼廣播的困難 ( 陳耀華 ) 8-9. 中港電視劇內容管理管窺

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1 目錄.2009 電視節目欣賞指數第四階段調查及全年綜合結果概述 ( 彭嘉麗 ) 2-3. 中國與互聯網世界多面睇 ( 李燦榮 ) 4-5. 名人文化中的媒體視角 ( 林援森 ) 6-7. 要改變上帝, 談何容易! 漫談數碼廣播的困難 ( 陳耀華 ) 8-9. 中港電視劇內容管理管窺 : 以警匪 犯罪 涉案題材為例 ( 張昕之 ) 動畫搞亂新聞業? 評論蘋果動新聞 ( 顏偉鴻 ) Broadcasting and Government (Pat Loughrey) 三月傳媒記事簿 ( 梁麗娟 ) 傳播書刊介紹 ( 沈旭暉 ) 18. 傳媒掠影 19. 傳媒參考資料 20 RTHK ON INTERNET 香港電台網上廣播站 傳媒透視 網上版提供分類搜索及各期文章閱覽 1

2 2 電視節目欣賞指數現 調查模式及方法 5% NOW 2, % 1, % 5% 一 世界大事回顧( 港台) 二. 鏗鏘集( 港台)* 三. 星期二檔案( 無綫)* 四 香港政治大事回顧( 港台) 五. 活著( 無綫) 六. 醫生與你( 港台) 七 大事回顧系列( 無綫) 八. 新聞透視( 無綫)* 九. 霎時感動( 無綫)* 十. 海關故事( 港台) 十一. 由1967 開始( 無綫) 十二. 華人移民史( 港台) 十三. 警訊( 港台)* 十四. 廉政革命35 ( 港台) 十五. 文化長河 非物質文化遺產系列( 港台)* 十六. 永遠懷念播音皇帝 鍾偉明( 港台) 十七. 回首2009 財經要覽/回首2009 港聞聚焦( 亞視)

3 電視節目欣賞指數 彭嘉麗 十八. 時事追擊( 亞視)* 十九. 頭條新聞( 港台)* 二十. 香港故事( 港台) * 全年綜合結果 , (28%) 50 (25%) 49 (24%) 45 (22%) (68.86 ) 25.0% 5% 2009 一. 巾幗梟雄( 無綫) 二 世界變格大事回顧( 港台) 三 世界大事回顧( 港台) 四. 鏗鏘集( 港台) ^ 五. 星期二/日檔案( 無綫) ^ 六 香港政治大事回顧( 港台) 七. 同心暖四川( 港台) 八. 新聞透視( 無綫) ^ 九. 毒海浮生( 港台) 十. 活著( 無綫) 十一. 醫生與你( 港台) 十二 大事回顧系列( 無綫) ^ 十三. 天下父母心( 港台) 十四. 汶川地震一周年( 無綫) 十五. 海底漫遊( 港台) 十六. 霎時感動( 無綫) 十七. 海關故事( 港台) 十八. 回首2008 全球風雲( 亞視) 十九. 由1967 開始( 無綫) 二十. 非常平等任務( 港台) ^ NOW NOW ( ) 電視台欣賞指數 I 欣賞指數 II 欣賞指數 III 欣賞指數 IV 全年平均欣賞指數 1. 有線電視 無綫電視 亞洲電視 NOW 寬頻電視 香港寬頻電視

4 4 中國與互聯網世界互 互聯網的可信性

5 5 中國與互聯網世界 李燦榮 N G O 中國小氣候在𨍭變 N G O ( ) ( ) ( ) 從好處看互聯網

6 6 名人文化中的媒體視角 任 Su Holmes Sean Redmond Framing Celebrity (Adulation) (Identification) (Emulation) (Fans) 名人的魅力及其效應 Elle (Live Scott) (Nicole White) (Ian Griffiths) S o f i a Johansson 從 靚模 到 𡃁模 B A N A N A Bora Coco Maggie Q Sun Boy'z William Angelababy ( Baby) (Live Scott) (Nicole White) (Ian Griffiths)

7 7 名人文化中的媒體視角 林援森 2007 網絡元素造成的擴散力量 Stephen Gundle Glamour (Buzzword) (Andy Warhol) ( ) 𡃁模 名詞衍生過程年份文字媒體出現次數相關文字媒體文字媒體出現次數相關文字媒體𡃁模靚模 A Face

8 8 漫談數碼廣播的困難在 扮演上帝角色的傳送平台 ( ) ( ) ( ) ( ) (If content is king, receiver is queen, then transmission is the God.) ( ) 推送式廣播 ( D A B ) D A B ipod F M iphone F M 聲音廣播的特點 i P h o n e (Kitchen Radio) (Clock Radio) (Car Radio)

9 9 漫談數碼廣播的困難 陳耀華 (Walkman Radio) ( I n t e r n e t Radio) ipod Nano F M (ipod R a d i o ) (Phone Radio) 數碼廣播的一大考驗 B B C Pat Loughrey F M A M A M F M A M A M F M D M B Joan Warner D A B 3.2% F M

10 10 中港電視劇內容管理 電 (Hong Kong Broadcasting Authority ) 大陸對媒介內容的控制準則 ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( 2004) ( ) ( 2003) ( 2004) ( 2007) (infobank.cn) ( ) ( ) (2004)

11 11 中港電視劇內容管理 張昕之 ( BC19 ) (case by case) ( ) ( 2007) ( ) ( ) ( 2004) ( ) ( ) 兩地的比較 ( ) ( ) ( ) ( )

12 12 動畫新聞對行業的衝擊面 動畫新聞的特性 Y o u t u b e facebook 動新聞娛樂化對行業的影響 求真變創作

13 13 顏偉鴻 動畫新聞對行業的衝擊 色情及暴力 ( ) 搶攻新媒體市場

14 Broadcasting and Gov t Government BBC s comings and goings with Government in Northern Ireland over 30 years but there were many tense moments. Critics were convinced that by giving airtime to those who sympathised with extremists we were providing the oxygen of terrorism. We, in BBC Northern Ireland, felt pretty uncomfortable when we realised that bombing and shooting incidents were being timed to coincide with main news bulletins - to ensure maximum publicity. Many of our journalists also felt it was a thankless task to provide fair coverage of an organisation which ultimately wanted to destroy the state of which they saw the BBC as a key part. That feeling came to a head in the early 1970s when our headquarters in Belfast was itself bombed. Significantly, the newsroom was blown apart. Many of us remained the targets of regular death threats. Nationalists believed that the BBC, by definition as reflected in its title, could only be a mouthpiece for the British Government. Pro- British Unionists strongly believed that we were letting the British side down by refusing to be partial and by employing people from the Catholic religious minority. I am immensely proud of the fact that in all my years in Belfast that I on no occasion had to discipline a BBC Journalist for any form of biased reporting. We all managed to leave our different backgrounds behind us at home at least while we were doing our jobs. The duty to be fair and as balanced as possible overcame our differences. As Lord Reith discovered in 1926, that is how we do more good in society. Government may not always agree with our approach but vigorous debate is ultimately healthy. And finally we turn to the contemporary world - a world where Public Service Broadcasting must be redefined. Let s look at multi channel broadcasting first. Multi channel broadcasting has fundamentally altered a long standing BBC device called hammocking. Difficult programmes about the Arts, or Current Affairs were often placed in the schedule immediately following light entertainment or comedy. The captive audience was thereby ushered unsuspectingly to more demanding programmes and our educational purpose was fulfilled somewhat surreptitiously. Nowadays, people graze around the schedule at will, moving from channel to channel across scores of options. As a result, the audiences for cultural programmes and current affairs programmes have fallen by between 60 and 70% in multi-channel homes. To win an audience nowadays most programmes have to aspire to be popular as well as significant. Those pressures are much less in the BBC although they are still present. In commercial television they are all pervading. It s appropriate to end on the single biggest revolution in the Communications industry that any of us will ever see and that s the dawning of the World Wide Web and the proliferation of sources and voices that it brings to every user everywhere. The cosy arrangement whereby national governments and national broadcasters could effectively manage the media consumption of most citizens is long gone. People can now get news, information and, even more readily, opinion from every perspective with a single click. A host of interest groups and blogs, relentless supply of data from all over the world has fundamentally changed the media market. The BBC move to Online has been controversial. Newspaper groups, in particular, protest to Government that if the BBC absorbs much of the Online news and information market they will lose advertising revenue and be forced out of business. A similar debate is going on all over Europe and the heart of the problem is the fact that newspaper and television advertising has collapsed in the current economic crisis. Most pundits believe that it will never fully recover. In response, Government has constrained the development of BBC services through the establishment of a Public Value Test and Market Impact Assessment. In short, this means that before any new service is opened, or an existing one expanded, the BBC must publicly demonstrate the value that it brings and prove that that value is not outweighed by its impact on the commercial market. In this turmoil the wonderful thing is that there s no certainty. Anyone who isn t confused isn t well informed. Yet it is my belief that great broadcasting will always survive and prosper, provided, that is, that it retains the trust of the audience, keeps relevant to their needs and keeps offering an editorial ambition that the mass market cannot match. Mr. Pat Loughrey Former Director Nations and Regions for the BBC, was invited to share his views on the role of Public Service Broadcasting in the International Experts Workshop which was held on 29 Mar to 1 Apr This article is an excerpt from his speech 14

15 Broadcasting and Gov t Broadcasting and All organisations bear the DNA of the period of their foundation so I ll explain the BBC s early history and then go on to my own experiences during one of the Corporation s most traumatic challenges the Northern Ireland Troubles. Lastly, I ll look at the challenging future of Public Service Broadcasting in a multi-channel, multi-platform world. Marconi developed short wave radio in the first quarter of the last century. Lloyds of London commissioned Marconi to work in Northern Ireland between Ballycastle and Rathlin from June to September In 1919, Marconi inspired the first transmission of the human voice across the Atlantic Ocean. Soon the airwaves were full of music and singing. Full, that is, until they were banned by the British Government after severe complaints from the military and admiralty about interference to their important messages. A pilot seeking a weather report before landing could only hear a lady singing entertaining but not useful in the circumstances. But even the military couldn t restrain public demand and commercial pressure here in Britain. In 1922, although the post office allowed Marconi to resume broadcasting, regulation was still in the air. The radio manufacturers were persuaded to co-operate with each other to establish a single broadcaster. However, Marconi held much of the key technology and refused to share with his rivals. So a single, Marconi approved, company was the government s solution. There was apparently no money in content production (only in selling sets) so the commercial firms offered no resistance. The British Broadcasting Company was formed at a meeting of representatives of more than 200 firms in October Soon, following a public enquiry, the company was replaced by a Public Service Corporation with a Royal Charter. In 1926, the Postmaster General felt that a Corporation, created by Royal Charter, was a more appropriate vehicle for British Broadcasting than a mere Company or a Commission as the Crawford Committee had suggested. As early as 1926, with a General Strike in the air, he realised that a clear distance was essential between broadcasting and Party Politics. The BBC should not be seen, he said, as a creature of Parliament and connected with political activity. Any other structure would lack in his view a certain amount of status and dignity. Instead of Directors, the Corporation had Governors appointed by Government. Reith became Director General, working directly to the Governors and their Chairman. This system has its dangers. Each of Britain s main political parties, at times, appointed a chairman of the Governors to sort out the BBC and make it more amenable to current Government policy. In reality, however, such Chairmen tend to go native and ultimately defend the BBC s independence. Government, however, retains considerable reserve powers, and can veto any programme. This is a power which has never been directly exercised. In many ways the BBC became a model for Public Service Broadcasting around the world. Reith s succinct and very early mission statement to inform, to educate and to entertain still essentially describes the core purpose of many great national broadcasters. The BBC solved many problems for Government. It kept commercial influences, journalists, programme makers and indeed its political critics at arms length. It offered a regulated and indeed controlled environment for free speech. That freedom was always within clearly defined and accepted parameters. The monarchy, the Church of England, the military, the establishment were seldom severely criticised on BBC airwaves, at least not until the 1960s. The BBC, perhaps willingly and sometimes subliminally, became an agent of patriotism. At its most obvious the BBC is almost always on the side of a British athlete or sportsperson in any competition. It supports and nurtures British writing, British performers, musicians, songwriters and actors. Programmes explore our heritage, our environment, our economy and our prospects for the future. By the late 1970s the very words Northern Ireland led most of the UK audience to switch to a different station. The conflict seemed hopeless and the voices depressing. Yet the BBC was determined to provide News, Current Affairs and Documentaries which challenged all sides in that intractable dispute. The British Government was, to put it mildly, unenthusiastic about having its Northern Ireland policies challenged and about seeing spokespeople for the enemy given UK-wide airtime. In the white heat of the IRA hunger strike in 1981, Margaret Thatcher enacted legislation which effectively banned every known member of Sinn Fein from being heard on air. Perversely, it was only their voices which were banned. Their message could still be heard provided it was read by someone else. Time does not permit a blow by blow account of the 15

16 16 傳媒記事簿 3/2010 廉署高調拘捕幾名電視台高層陳志雲記招近百傳媒蜂擁至 A B NOW * * * * 亞視股權爭拗繼續開火新股東將亞視打造亞洲C N N * * * * C N N * * * *

17 17 梁麗娟 傳媒記事簿 3/2010 搜尋器谷歌由內地轉至香港傳媒自我審查問題愈見嚴重 (Google) ( C N N I C ) FM101 FM101 * * * * 歲月神偷 成就永利街保育計劃報評會譴責 東方新地 9.6% % 9 4, % 1 8 % NOW 80% 4,560

18 18 傳播書刊介紹書名 : Online Chinese Nationalism and China's Bilateral Relations (Challenges Facing Chinese Political Development) 編者 :Simon Shen & Shaun Breslin 出版社 :Lexington Books 出版日期 :2010 年 沈旭暉 自 (Andrew Chadwick) (Philip Howard) 2.0 Web 2.0

19 19 傳媒掠影追趕潮流平板電腦 ipad wi-fi ipad ipad ipad ipad ( C o l u m b i a Journalism Review) ipad 27% 276 ipad ipad ipad Android G P S i P a d * * * * 英國報業收費與免費 (News International Ltd) ( B B C ) I N M

20 MEDIA REFERENCE April 2010 傳媒參考資料 1. 不只是網絡電視台公元二零一零年, 早已白熱化的網絡視頻戰爭, 因為傳統媒體集團的奇襲而再掀波瀾 國家網絡電視台, 究其根本是什麼來呢? 從內容選擇上看來, 有以為是將原來中央視網的視頻部份升級與再分配 世界廣播電視二零一零年三月號 2. INFLUENCES ON USE OF THE MOBILE PHONE FOR INTERNET CONNECTIVITY IN CHINA As the mobile telephony converges with the Internet, more than 100 million Chinese access the Internet via mobile phones. This study examines the use of mobile phone as a gateway to the Internet with a focus on analyzing the influence of demographics and use of traditional media on such use. MEDIA ASIA Volume 36, Number 4, YOUTUBE VS OLDTUBE IN SPORTING ARENA The global deal between the Indian Premier League and Google s YouTube video platform, sealed in Jan 2010 is truly groundbreaking. The agreement gives YouTube rights to carry live coverage of IPL around the world. In one fell swoop it expands the IPL s exposure into new markets, opens up a new form of distribution for sports rights and introduces new opportunities for brands. MEDIA 11 February READY TO TURN THE CORNER Addressable advertising is ready to become television s next big success story. The key is whether media sales and marketing companies can educate clients on how addressable ads can work for them. BROADCASTING & CABLE March SATELLITE INDUSTRY DOING WHAT IT DOES BEST The global satellite industry came together swiftly and seamlessly to provide critical backbone communications infrastructure devastated by the earthquake in Haiti. Whether for relief efforts or in support of the media outlets providing heartbreaking images of the ruin, satellites did what satellites do best --- they transmitted information. ASIA-PACIFIC BROADCASTING March 2010 * 傳媒透視 由香港電台出版, 新媒體拓展組編製 查詢及來稿, 請聯絡執行編輯張玲玲小姐 ( 今期暫代編輯 : 韋佩文小姐 ) Media Digest is published by RTHK and produced by New Media Unit. Enquiries and contribution, please contact Managing Editor Ms Mayella Cheung (Acting Editor: Ms Echo Wai). 電話 / Tel : (852) 傳真 / Fax : (852) 電郵 / 20