RTV Theory and Practice - Special Issue

plans and discussions as a whole аге prepared, as well as from announcements by programme departments regarding all the things they intend to change in their attitude towards both potential and actual participants in the discussions. There is an understandable inclination for discussants to dwell on programmes that have already been broadcast rather than on the proposed plans, simply because shey have more to say about them since they аге more fully acquainted with them: because they have Ustened to ог viewed them they have already discussed them in other settings, in the fanuly for ехашрк, and they know what the critics have said about them in the press. AU of this is absent when plans аге discussed. It is even more difficult for them to assess the whole programme, they tend to give general evaluations, and positive ones rather than negative: the proposals аге accepted globahy, particularly with regard to the comprehensiveness and diversity of the programmes that аге planned. It is very saUent that the draft plans have always been given a favourable pohtical rating, as properly oriented ideologically and socio-poUticaUy. Amongst the »negative« assessments the most outstanding is the criticism that there аге not enough real innovations, changes, and that in the quantitative respect the editors often promise more than they can give. As far as past programmes are concemed opkdons tend to be more concrete and the evaluations more critical. It has been found that the situation recorded m many audience opinion surveys on radio and television is reperated: television programmes аге more геасШу discussed, with better preparation and more precisely, than аге radio programmes. So far radio programmes have only been indirectly discussed - in connection with issues related to both media: it is observed that there has been an mcrease in information of a regional and local nature, but further expansion of the correspondent network is demanded; there аге enough contact (phone-in) programmes and instead of increasing them further in number the emphasis should be on improving their quaUty; shifts ш the already unfavourable musical programme pattern tend to work to the detriment of serious music,

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