'A hideously difficult country': British propaganda to France in the early Cold War

This article examines British propaganda efforts in the early Cold War in the light of a developing relationship in which the senders' own strategies were to be modified and challenged.The article argues that initiatives to broadcast propaganda from Britain into France via the BBC operated within a broader and developing information policy context. Broadcasting from outside the country through the BBC was supplemented with attempts by British personnel stationed in France to embed positive messages directly within the contemporary French media. By 1950 however, the Britsih propaganda initiative seemed inappropriate and outmoded, taken over by the French themselves and by a British desire to prioritise countries outside Western Europe.

Listening behind the Curtain: BBC broadcasting to East Germany and its Cold War echo

This article considers the BBC External Service's East German wing, which broadcast from 1949 on, focusing on the continuities in broadcast techniques between wartime anti-Nazi programming and slots such as 'Two Comrades' and 'The Bewildered Newspaper Reader', both of which replicated pre-1945 formats. The role of the Foreign Office, both as cold warrior in the 1940s and force for detente in the 1970s is included. The article also investigates the response from German listeners to the BBC's external service broadcasting in the 1950s and 1960s. The BBC paid special attention to its German listeners, and has preserved a large number of original letters at the Written Archive at Caversham, as well as conducting regular listener surveys. These considered whether Britain's democratic agenda was getting across in the late 1940s and 50s, but the author also considers to what extent German listeners were pressing for a harder stance in the Cold War or were urging caution on the great powers deciding their fate.

Advertising America: VOA and Italy

With President Truman’s ‘Campaign of Truth’ in the Fifties, Voice of America (VOA) established itself as one of the most important information programmes of the US government. The 20 million dollar budget allocated to VOA in those years enabled it to employ about 1,900 people and to broadcast in 45 different languages. Italy, with its strong and threatening Communist Party, was one of VOA’s main targets. Audience research however (performed by the United States Information Agency’s Italian branch and by the Italian opinion poll company Doxa) shows that the Italians always preferred their own national network RAI. The US government therefore started to target the RAI, with the aim of placing VOA-produced programmes directly on the Italian network in order to reach a mass audience. This article looks into what went on both ‘on’ and ‘off the air’, analyzing how various Italian ‘target groups’ were addressed by VOA. Drawing on documents from the National Archives and Records Administration in both Washington DC and New York City, and from the Doxa archives in Milan, the study examines how the American government prepared itself to conquer the Italian network RAI.

Teen TV meets T4: assimilating 'The O.C.' into British youth television

This article explores the presence of imported US Teen TV in the schedules of British youth television and the relationship between the two national forms. Focusing on the broadcast of The O.C on Channel 4 youth strand T4, it considers the role of the spaces in-between programmes in framing the audience’s experience of the imported US text. It demonstrates how the T4 supertext employed presenter performance, critique and parody to assimilate the glamorously aspirational US Teen TV text into the cynically engaged flow of British youth television.

Haptic interfaces: the live and the recorded body in Beckett's Eh Joe on stage and screen

Beckett’s sparse and minimalist pieces have continuously addressed the nature and characteristics of the media for which they were written. What does it mean when a work written specifically for television is transposed to the stage, as film director Atom Egoyan did in his 2006 version of Beckett’s Eh Joe? This article will focus on the implications of such a transposition and discuss how Egoyan’s version reveals the haptic interface present in the original piece, between body and technology, between the flesh and “spirit made light” of the electronic broadcast.

Precision placement of fertiliser for optimising the early nutrition of vegetable crops: a review of the implications for the yield and quality of crops, and their nutrient use efficiency

The research outlined in this paper highlights the importance of the early nutrition of vegetable crops, and its long-term effects on their subsequent growth and development. Results are also presented to demonstrate how the nutrient supply during the establishment stages of young seedlings and transplants can be enhanced by targeting fertiliser to a zone close to their developing roots. Three different precision fertiliser placement techniques are compared for this purpose: starter, band or side-injected fertiliser. The use of each of these methods consistently produced the same (or greater) yields at lower application rates than those from conventional broadcast applications, increasing the apparent recovery of N, P and K, and the overall efficiency of nutrient use, while reducing the levels of residual nutrients in the soil. Starter fertilisers also advanced the maturity of some crops, and enhanced produce quality by increasing the proportions of the larger and/or more desirable marketable grades. The benefits of the different placement techniques are illustrated with selected examples from research at Warwick HRI using different vegetable crops, including lettuce, onion and carrot.

Motivational, emotional, and behavioral correlates of fear of missing out

Social media utilities have made it easier than ever to know about the range of online or offline social activities one could be engaging. On the upside, these social resources provide a multitude of opportunities for interaction; on the downside, they often broadcast more options than can be pursued, given practical restrictions and limited time. This dual nature of social media has driven popular interest in the concept of Fear of Missing Out – popularly referred to as FoMO. Defined as a pervasive apprehension that others might be having rewarding experiences from which one is absent, FoMO is characterized by the desire to stay continually connected with what others are doing. The present research presents three studies conducted to advance an empirically based understanding of the fear of missing out phenomenon. The first study collected a diverse international sample of participants in order to create a robust individual differences measure of FoMO, the Fear of Missing Out scale (FoMOs); this study is the first to operationalize the construct. Study 2 recruited a nationally representative cohort to investigate how demographic, motivational and well-being factors relate to FoMO. Study 3 examined the behavioral and emotional correlates of fear of missing out in a sample of young adults. Implications of the FoMOs measure and for the future study of FoMO are discussed.

The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style

The BBC television drama anthology The Wednesday Play, broadcast from 1964-70 on the BBC1 channel, was high-profile and often controversial in its time and has since been central to accounts of British television’s ‘golden age’. This article demonstrates that production technologies and methods were more diverse at that time than is now acknowledged, and that The Wednesday Play dramas drew both approving but also very critical responses from contemporary viewers and professional reviewers. This article analyses the ways that the physical spaces of production for different dramas in the series, and the different technologies of shooting and recording that were adopted in these production spaces, are associated with but do not determine aesthetic style. The adoption of single-camera location filming rather than the established production method of multi-camera studio videotaping in some of the dramas in the series has been important to The Wednesday Play’s significance, but each production method was used in different ways. The dramas drew their dramatic forms and aesthetic emphases from both theatre and cinema, as well as connecting with debates about the nature of drama for television. Institutional and regulatory frameworks such as control over staff working away from base, budgetary considerations and union agreements also impacted on decisions about how programmes were made. The article makes use of records from the BBC Written Archives Centre, as well as published scholarship. By placing The Wednesday Play in a range of overlapping historical contexts, its identity can be understood as transitional, differentiated and contested.

Attempted re-establishment of a sooty tern Onychoprion fuscatus breeding colony on Denis Island, Seychelles

Seychelles supports around three million nesting pairs of sooty terns. However, there have been recent declines and the colonies continue to face ongoing threats from habitat change and excessive commercial harvesting of their eggs, as well as potential threats by commercial fishing and climate change. A possible method to counter these threats is to re-establish breeding colonies on islands from which they have disappeared. An attempt was made to attract birds to a previously occupied island through habitat management, decoy birds and playback of recorded sooty tern calls. Habitat preparation involved predator eradication and tree removal to provide open ground with bare sandy areas and low herb vegetation. Overflying birds were attracted by broadcast calls, with some circling over and landing among the decoys. Large three-dimensional plastic models were superior to other models presented. This study demonstrated that large numbers of birds can be attracted by these means and that the birds then undertook behaviour associated with breeding, including egg laying by a few birds. However, after five seasons a breeding colony has not yet been established; one possible cause is the emergence of unexpected egg predators, common moorhen Gallinula chloropus and common myna Acridotheres tristis.

The chaotic frequency hopping signals for MIMO radar

In multiple-input multiple-output (MIMO) radar systems, the transmitters emit orthogonal waveforms to increase the spatial resolution. New frequency hopping (FH) codes based on chaotic sequences are proposed. The chaotic sequences have the characteristics of good encryption, anti-jamming properties and anti-intercept capabilities. The main idea of chaotic FH is based on queuing theory. According to the sensitivity to initial condition, these sequences can achieve good Hamming auto-correlation while also preserving good average correlation. Simulation results show that the proposed FH signals can achieve lower autocorrelation side lobe level and peak cross-correlation level with the increasing of iterations. Compared to the LFM signals, this sequence has higher range-doppler resolution.

Performing right: legal constraints and Beckett’s plays on BBC television

Drawing on BBC archival documentation, this article outlines how BBC television versions of Beckett’s plays were affected by copyright. Rights to record and broadcast original drama for the screen differ from those governing adaptations of existing theatre plays. Rights can be assigned for specific territories and periods of time, and are negotiated and traded via complex contractual agreements. Examining how Beckett’s agents and the BBC dealt with rights sheds new light on the history of his work on television.

Extraction of unexpected rules from Twitter hashtags and its application to sport events

Twitter has become a dependable microblogging tool for real time information dissemination and newsworthy events broadcast. Its users sometimes break news on the network faster than traditional newsagents due to their presence at ongoing real life events at most times. Different topic detection methods are currently used to match Twitter posts to real life news of mainstream media. In this paper, we analyse tweets relating to the English FA Cup finals 2012 by applying our novel method named TRCM to extract association rules present in hash tag keywords of tweets in different time-slots. Our system identify evolving hash tag keywords with strong association rules in each time-slot. We then map the identified hash tag keywords to event highlights of the game as reported in the ground truth of the main stream media. The performance effectiveness measure of our experiments show that our method perform well as a Topic Detection and Tracking approach.

My generation(s): cycles, branding and renewal in E4’s 'Skins'

In an era of fragmenting audience and diversified viewing platforms, youth television needs to move fast and make a lot of noise in order to capture and maintain the attention of the teenage viewer. British ensemble youth drama Skins (E4, 2007-2013) calls attention to itself with its high doses of drugs, chaotic parties and casual attitudes towards sexuality. It also moves quickly, shedding its cast every two seasons as they graduate from school, then renewing itself with a fresh generation of 16 year old characters - three cycles in total. This essay will explore the challenges of maintaining audience connections whilst resetting the narrative clock with each cycle. I suggest that the development of the Skins brand was key to the programme’s success. Branding is particularly important for an audience demographic who increasingly consume their television outside of broadcast flow and essential for a programme which renews its cast every two years. The Skins brand operate as a framework, as the central audience draw, have the strength to maintain audience connections when it ‘graduates’ those characters they identify with at the close of each cycle and starts again from scratch. This essay will explore how the Skins brand constructs a cohesive identity across its multiple generations, yet also consider how the cyclic form poses challenges for the programme’s representations and narratives. This cyclic form allows Skins to repeatedly reach out to a new audience who comes of age alongside each new generation and to reflect shifts in British youth culture. Thus Skins remains ever-youthful, seeking to maintain an at times painfully hip identity. Yet the programme has a somewhat schizophrenic identity, torn between its roots in British realist drama and surrealist comedy and an escapist aspirational glamour that shows the influence of US Teen TV. This combination results in a tendency towards a heightened melodrama at odds with Skins claims for authenticity - its much vaunted teenage advisors and young writers - with the cyclic structure serving to amplify the programme’s excessive tendencies. Each cycle wrestles with a need for continuity and familiarity - partly maintained through brand, aesthetic and setting - yet a desire for freshness and originality, to assert difference from what has gone before. I suggest that the inevitable need for each cycle to ‘top’ what has gone before results in a move away from character-based intimacy and the everyday to high-stakes drama and violence which sits uncomfortably within British youth television.

Voices of Occupiers/Liberators: The BBC's Radio Propaganda in Italy between 1942 and 1945

The ambiguity of the role played by British propaganda in Italy during the Second World War is clearly reflected in the phenomenon of Radio London. While Radio London raised the morale of the Italian civilians living under the Fascist regime and provided them with alternative information on the conflict, the microphones of the BBC were also used by the British government to address a country they were planning to occupy. In this article, I will analyse the occupation/liberation operations that were run at the BBC Italian Service from two separate angles. On the one hand, the analysis of the programmes broadcast between the months preceding the Allies’ landing in Sicily and the actual occupation shows how the Allies built their image as liberators and guarantors of better living conditions. On the other, the analysis of the relationships between the Foreign Office and the anti-Fascist exiles reveals that the Italian BBC broadcasters were not always allowed to freely express their political opinion or to dispose of their own lives.

Digital visualisation in Classics teaching and beyond

For the last few years, I have been working on an extensive digital model of ancient Rome as it appeared in the early 4th Century AD. This sort of visualisation lends itself to many applications in diverse fields: I am currently using it for research work into illumination and sightlines in the ancient city, have licensed it for broadcast in TV documentaries and publication in magazines, and am working with a computer games studio to turn it into an online game where players will be able to walk round the streets and buildings of the entire city (when not engaged in trading with or assassinating one another). Later this year I will be making a free online course, or MOOC, about the architecture of ancient Rome, which will largely be illustrated by this model.