Prasar Bharti & Vividh Bharti

Prasar Bharti & Vividh Bharti

Name: Parmar Dipali K.

Roll No. : 24

Assignment Sem. 4

Email Id: dipaliparmar247@gmail.com

Submitted to: The Department of English, MKBU.


Prasar Bharti
Introduction:
The year 1997 was a 'land mark year' which saw far reaching measures to free the broadcast media from the shackles of Government control 50 years after independence.
It was the first instance of a government voluntarily bringing legislation to free the media from its control which may set in motion a chain of events in the country bringing in revolutionary changes in the field.
For over three decades beginning with Chanda committee report in 1966 and continuing through the reports of the Verghese Committee (Akash Bharti) in 1978 and the Joshi Committee in 1985- expert committees set up by the government made a case for organizational restructuring of broadcasting, so as to give it greater autonomy.
As a result, the Prasar Bharati Act (1990) was formed by the government. It was kept idle for seven years. In July 1997, it was activated after being notified and came into force on September 22, 1997. Then came the amendments to the Act which was widely seen as ushering in a regime of full autonomy to All India Radio and Doordarshan.
The Prasar Bharati Board has been formed with an executive member and six part-time members, paving the way for granting autonomy to Doordarshan and All India Radio.
Prasar Bharti Act:
The Prasar Bharati Act provides for establishment of a Broadcasting Corporation, to be known as Prasar Bharati, to define its composition, functions and powers. The Act grants autonomy to All India Radio and Doordarshan, which were previously under government control. The Act received assent of President of India on 12 September 1990 after being unanimously passed by Parliament. It was finally implemented in November 1997. By the Prasar Bharati Act, all property, assets, debts, liabilities, payments of money due, all suits and legal proceedings involving Akashvani (All India Radio) and Doordarshan were transferred to Prasar Bharati.
Prasar Bharti Board:
The Prasar Bharati Act stipulates general superintendence, direction and management of affairs of the Corporation vests in Prasar Bharati Board which may exercise all such powers and do all such acts and things as may be exercised or done by the Corporation.
Functions and Objectives:
    The primary duty of the agency is to organize and conduct public broadcasting. Prasar Bharti’s main functions can be identified like this;
It’s objectives are as under:
  1. Upholding the unity and integrity of the country and the values enshrined in the Constitution.
  2. Safeguarding the citizen’s right to be informed freely, truthfully and objectively on all matters of public interest, national or international, and presenting a fair and balanced flow of information including contrasting views without advocating any opinion or ideology of its own.
  3. Paying special attention to the fields of education and spread of literacy, agriculture, rural development, environment, health and family welfare and science and technology.
  4. Providing adequate coverage to the diverse cultures and languages of the various regions of the country by broadcasting appropriate programmes.
  5. Providing adequate coverage to sports and games so as to encourage healthy competition and the spirit of sportsmanship.
  6. Providing appropriate programmes keeping in view the special needs of the youth.
  7. Informing and stimulating the national consciousness in regard to the status and problems of women and paying special attention to the upliftment of women.
  8. Promoting social justice and combating exploitation, inequality and such evils as untouchability and advancing the welfare of the weaker sections of the society.
  9. Safeguarding the rights of the working classes and advancing their welfare.
  10. Serving the rural and weaker sections of the people and those residing in border regions, backward or remote areas.
  11. Providing suitable programmes keeping in view the special needs of the minorities and tribal communities.
  12. Taking special steps to protect the interests of children, the blind, the aged, the handicapped and other vulnerable sections of the people.
  13. Promoting national integration by broadcasting in a manner that facilitates communication in the languages in India; and facilitating the distribution of regional broadcasting services in every State in the languages of that State.
  14. Providing comprehensive broadcast coverage through the choice of appropriate technology and the best utilization of the broadcast frequencies available and ensuring high quality reception.
  15. Promoting research and development activities in order to ensure that radio broadcast and television broadcast technology are constantly updated.


Vividh Bharti
Introduction:
The Vividh Bharati service of All India Radio was conceptualized to combat Radio Ceylon in 1957. Within no time it proved to be a popular channel of every household. Vividh Bharati radio channel was launched on October 2, 1957. The service provides entertainment for nearly 15 to 17 hours a day. It presents a mix of film music, skits, short plays and interactive programmes, Some of the old popular programmes of Vividh Bharati are 'SangeetSarita', 'BhuleBisreGeet', Hawa Mahal, 'Jaimala', 'InseMiliye', 'ChhayaGeet' etc., are still distinctly recognized by the listeners. From time to time new programmes were introduced like 'BiscopeKeBatein', 'SargamKeSitare', 'Celluloid KeSitare', 'Sehatnama', ' Hello Farmaish', ' SakhiSaheli' & ' AajKePhankaar'.
All these programmes are produced centrally at Vividh Bharati Service, Borivali, Mumbai and up-linked to the satellite. 40 Vividh Bharati stations across the country down-link these programmes through captive earth stations provided at each of these AIR stations. Some local programme windows are also provided at these stations to give regional flavour to the listeners. These 40 Vividh Bharati stations are known as Commercial Broadcasting Service Stations and are located at all major and commercially vibrant cities covering 97% of the Indian population.
Over the years a number prominent people from Hindi cinema have lent their voice to the channel, including, LataMangeshkar and actors Raaj Kumar and Amitabh Bachchan, who worked as a radio broadcaster in his early career, many celebrities take part in the popular show VisheshJaimala to encourage Indian Army and BSF soldiers. Today its archives which started the record of film, Yehudi Ki Beti in 1933, has 22,000 ghazals, geets and Hindi film songs. The station celebrated its golden anniversary on October 2, 2007.
History:
    Commercials were introduced initially in the Vividh Bharati Service in 1967 on an experimental basis. Realising the role of advertising in accelerating the social and material progress of the country, commercials were extended to Primary channels including FM & Local Radio Stations MW 1KW in a phased manner. Advertising on Radio is not only cost effective to the advertisers but also has the potential to reach far flung areas where no other mass media has succeeded in making any tangible dent.
In 1999 Vividh Bharati Service proved its success connecting Indian Soldiers posted on remote border areas to their family members through a special programme entitled "Hello Kargil" (during Kargil War), through which not only the family members of the soldiers, but even a layman including young and old conveyed their best wishes to the soldiers to keep up their morale. Eminent actors, play back singers, renowned writers, lyricists, directors and music directors have found way to express their experience and opinion through the Vividh Bharati Platform . A special programme entitled "UjaaleUnkiYaadonKe" takes the listeners into the world of nostalgia dipping into the memories of the artists of the yester years. With the advent of new technology the transmission of programmes gradually migrated from earlier medium wave transmission to high quality digital stereo FM.
This service now enjoys global listenership through Direct to Home Service (DTH) besides other 11 channels of All India Radio.
AIR had been receiving advertisements through its registered agencies only. With the changing demand of the environment, direct clients are also entertained by all AIR stations. In remote and far flung areas, canvassers are appointed for bringing in local business. There are 15 main CBS Stations, located in each state capital responsible for booking for their entire state. Besides there is a Central Sales Unit called as CSU at Mumbai meant for booking for more than one state. A single window booking facility is available in CSU to facilitate bulk booking with a single contract. Further details of CSU are available at their website" www.csuair.org.in".
Services:

Programmes:
    Vividh Bharti provides many programmes on different languages. Here are some of them with it’s timings…
Hindi language
Hawa Mahal
Sangam 6 to 7
SangeetSarita 7 to 8
BhuleBisreGeet 8 to 9
BinacaGeetmala 9 45 to 10
Jaimala and VisheshJaimala 11 to 12
InseMiliye 12 20 to 01
ChhayaGeet
BiscopeKeBatein
SargamKeSitare
Celluloid KeSitare
Sehatnama
Hello Farmaish
SakhiSaheli
Pitara
Hello Saheli
Jigyasa
Youth Express
Ek hi film se
GyanVigyaninhindi
AajkeFankar (Presented by Yunus khan)
AapkiPasand
Telugu language
EkaChitraGeetalu - Telugu songs (4-5) from one film
Harivillu - Programme on a specific topic using Telugu film songs
Hello F.M. - Live Phone-in programme on Telugu film songs
Janaranjani - Telugu film songs on popular demand
SanskritaPatamnerchukundam - Telugu programme for learning Sanskrit

Reference

 

http://dilipbarad.blogspot.in/2015/10/rubric-for-evaluation-of-written.html

 

Comments

Post a Comment

Popular posts from this blog

Rasa Theory

Image
Rasa Theory Indian Poetics: Rasa theory and natya shastra Name: Parmar Dipali K. Roll No. : 26 Assignment Sem. 2 Email Id: dipaliparmar247@gmail.com Submitted to: The Department of English, MKBU. v Classification of Literary Theories:             It is possible to classify the literary theories on the basis of what aspect of literary composition is central to them. Accordingly, we have theory of: 1. Language , namely alamkara and vakrokti. 2. Style and compositional value, namely guna/dosa, riti, and auchitya. 3. Verbal symbolism, namely, dhvani. 4. Aesthetic experience, namely, rasa. 5. Narrative, namely, mahakavya. 6. Discourse analysis, namely, yuktis . 7. Comprehensive analysis. 8. Interpretation. v Introduction to Major Literary Theory “Rasa Theory” : The rasa theory originates with Bharata in Natyasastra. It claims that the object or meaning that is sought to be conveyed in literary compositions is in the nature of an emotional effect
Read more

Characters analysis of "Tom Jones"

Image
To evaluate my assignment click here                                                             Tom Jones                                                                     CHARACTER ANALYSIS OF TOM JONES              Department of English (M.K.B.U.)   Parmar Dipali K.   Roll No: 30   M.A. Sem. 1   Batch: 2015-’17   Email Id: dipaliparmar247@gmail.com                      Character List 1. Squire Allworthy: Respected gentleman, "the favourite of both Nature and Fortune," and Tom's guardian. He supports Tom as his own, though believing he is a foundling. Brother of Bridget Allworthy. 2. Bridget Allworthy: Sister of Squire Allworthy, she is unmarried at the beginning of the story, but becomes Mrs. Blifil when she marries Captain Blifil. She is an unattractive woman alleged to have been immortalized by Hogarth in his sketch "Winter's Morning.&qu
Read more

Aristotle and Dryden's views​be on Three Dramatic Unities

Image
  To evaluate my assignment click here   Aristotle’s Poetics ARISTOTLE AND DRYDEN'S VIEWS ON THREE UNITIES Department of English (M.K.B.U.) Parmar Dipali K. Roll No: 30 M.A. Sem. 1 Batch: 2015-’17 Email Id: dipaliparmar247@gmail.com Dryden's views on the three dramatic unities Supporting the ancients, Crites reminds that all the rules of drama were discovered by the ancients. The English have added nothing of their own in Aristotle's Poetics and Horace's Ars Poetica. The three dramatic unities—Unity of time, Unity of Place, and Unity of Action—are the special gifts of the ancients. The French call them the three unities.   1. The Unity of Time: The unity of time they comprehend in twenty-four hours, the compass of a natural day, or as near as it can be contrived; and the reason of it is obvious to everyone,--that the time of the feigned action, or fable of the play, should be proportioned as near as can be to the duration of th
Read more