Results of micrometallographic analysis of metalworking tools in graves of metallurgists in Moravia/Czech Republic

The number of finds relating to metalworking, without evidence of mining and processing facilities, is very limited. In Final Eneolith graves of specialized metallurgists that have occurred, they contain a metal-founding or metalsmithing toolkit, whose origins were from eastern Europe (the Maykop, Yamnaya Culture). Such metallurgical tools may have reached central Europe as part of the so-called Yamnaya Package before the onset of the Bee Beaker Culture (BBC); and unlike the Pontic region, these two types of metallurgy separated here. There are found an accumulation of metallurgists' graves in Moravia, where the complete metalworking toolkit is deposited in a predefined place in richly furnished male graves with a distinctive funerary architecture that exhibit a clear relationship to the grave goods. EDX-analysis detected a high content of metals (Cu, Ag, Au, Au–Ag alloy) on all working surfaces of stone tools, grinders, and boar tusks used for the final treatment of their metal products. This makes us believe that the used artefacts were laid as symbolical objects in the graves of these craftsmen who perfectly knew these advanced technologies. Due to their knowledge, their social significance gradually rose and finally reached the level of social elites, who were usually buried in a spectacular manner, including the quantity of grave goods (Überausstattung) and the pars pro toto deposition in one part of the finds.     

The Universe will be televised: space,science, satellites and British television production, 1946–1969

This essay uses material from the British Broadcasting Corporation (BBC) archives to show how space-related technoscientific activities played a key role in the development of BBC television. The essay focuses on a crucial period when this influential cultural institution transitioned away from radio as their primary broadcast medium in the 1930s and 1940s to reluctantly embrace television in the 1950s and 1960s. Space-related activities, including astronomy, cosmology, rocketry, aerospace engineering, astrophysics and interplanetary research, played a key role in the modernization of BBC television broadcasting in two intersecting ways. Space-related material provided informative, yet popular, programmatic material that helped BBC television compete in an increasingly commercialized media market, and, later, space projects supplied technologies that impacted on the mechanics of broadcast production and transmission. The profile and prestige of space as a topic, in particular, its visuality, the drama of exploration it presented, and its association with celebrity scientists like Bernard Lovell and Fred Hoyle, meant that such programming became a crucial business asset for the BBC and a professional asset for ambitious producers who saw its commercial potential. Following the launch of Sputnik in 1957, space technology became further intertwined with the development of British broadcasting as the fields of satellite communications and broadcasting transmissions infrastructure converged. In particular, BBC producers promoted the potential development of communication satellites within their television programming by portraying such satellites as plausible and necessary for the advancement of civilization, and most crucially, as a prospective British Space Race achievement.     

‘A Repository,a Switchboard,a Dynamo’: H.L. Beales,a Historian in a Mass Media Age

The historian H.L. Beales (1889–1988) managed to propagate a wider interpretation of nineteenth century social history through non-academic means. Whilst Beales failed to write much in the way of history, his parallel career as an adult education tutor, radio broadcaster and editor of Pelican books meant that he acted as an important propagator of the subject. This, combined with wide influence over a considerable proportion of the younger generation, means that he should be considered as a singularly important historian of the period, who realised and adapted to the potential of new mass media to reach new audiences.     

The BBC and decentralisation: the pilgrimage to Manchester

This research critically analyses the decentralisation of the BBC’s Department of Religion and Ethics, from its base in London to the office of BBC Manchester in 1994. It examines the rationale behind the BBC’s decision to move this production unit, and analyses the long-term impact of this policy on both the logistics and programme-making culture of the unit. Using interviews with staff working within the department at the time of the move, this research demonstrates how policy decisions such as this are negotiated by professionals within the Corporation and the conflicts which arise around efficiency and equality. The case of the Department of Religion and Ethics also provides important lessons for the future decentralisation of BBC departments to Salford Quays which is due to be implemented in 2011.     

Broadcasting and market-driven politics in the UK and Germany: the Peacock Committee in comparative perspective

When, from the 1980s onwards, market-driven politics won widespread recognition in liberal capitalist Western democracies, processes of broadcasting marketization in the UK and Germany were decisively determined by two inquiries: the Committee on the Financing of the BBC, chaired by Alan Peacock, and the Commission for the Development of the Technical Communications System (KtK), chaired by Eberhard Witte. This article compares how both inquiries, driven by their chairmen, affected domestic communications policy-making. The research is situated within a critical political economy framework and it is argued that critiques from scholars within cultural policy depicting Alan Peacock and the inquiry he chaired as driven by a narrowly economistic understanding of broadcasting are partly unjustified. As the comparison with the radical restructuring pursued by Eberhard Witte brings to the fore, Peacock, in fact followed a moderate reform agenda of gradual change, aiming to preserve some core cultural elements within public service broadcasting.     

“An Ancient Celtic world had filled the air”: the Celtic turn in Louis MacNeice’s mid-century radio writing

This article focuses on the specific meanings and figurations of Celtic identity, myth and history in three works by Louis MacNeice: his long poem Autumn Sequel (1954), written for broadcast on the BBC, and his two late radio plays They Met on Good Friday (1959) and The Mad Islands (1961). It will demonstrate that the poet moves from expressing an archaic and insipidly romanticised form of Celticity in Autumn Sequel, to depicting a significantly more sophisticated Celtic character and identity in They Met on Good Friday and The Mad Islands; both dramas, it will be argued, are informed by a more thoroughly archipelagic conception of cultural formation and identity in the British and Irish isles. In all three texts, MacNeice’s radiogenic engagement with Celtic material functions as a means of interrogating, though not always successfully, the forms and potentialities of human agency, community, and artistic activity within a post-war climate of political disenchantment, social fragmentation and perceived cultural vacuity. The essay will also demonstrate that MacNeice’s Celtic themed radio writing is an important aspect of the poet’s lifelong exploration of his psycho-cultural genealogy and a means of further clarifying his complex maternal and paternal inheritance.     

Broadcasting after devolution: policy and critique in the Welsh media landscape 2008–2015

This essay examines the provision of media (especially broadcasting) in Wales and considers recommendations made in key reviews and reports which have sought to bring about change in how the media serve people in a devolved Wales. It provides a critical insight into how these debates have developed since 2008 and reveals how some of the monumental economic, policy, production and technological changes that have affected broadcast and digital media internationally have taken shape in Wales specifically. The chief aim is to identify how a distinctly Welsh media policy agenda is developing in the context of devolution. This research is timely given the growing political pressure from several parts of the UK both for greater accountability of broadcasting to the nations of the UK and also for substantive devolution of powers over broadcasting to their governments. The essay argues that media scholars need to pay further attention to how policy evolves in the context of multi-governmental levels such as those existing in the devolved nations of the United Kingdom.     

Communicating with the European Resistance: an assessment of the Special Operations Executive’s wireless facilities in the UK during the Second World War

Summary: This article presents for the first time an examination of the Special Operations Executive’s (SOE) UK-based communication facilities. Established in 1940, SOE was responsible for coordinating all acts of sabotage against the enemy overseas. This was only possible with the aid of a reliable communications link with the Resistance. By examining SOE’s Home Stations, this article will demonstrate the value the organization placed in reliable wireless communications.     

Archaeology on Television, 1937

The birth of archaeologically themed television programmes is intimately linked to the birth of television itself. Yet little is known of the earliest broadcasts owing to both the fragmentary archival record and the longstanding hype surrounding later archaeology TV productions. This article examines two of the first such shows, likely the earliest in the English-speaking world for which records survive, focused on the British Iron Age site of Maiden Castle and on the reconstruction of prehistoric pottery. While noting the role of Mortimer Wheeler in their development, I also highlight several key women who produced the programmes, starred in them, and otherwise held critical posts in the establishment of professional archaeological practice in Britain, including Margot Eates, Ione Gedye, and Delia Parker — all based at London's Institute of Archaeology (IoA). These BBC TV broadcasts were specifically deployed to showcase the sites and methods of the burgeoning discipline of archaeology. More importantly, however, they were subtle players in the building of intellectual and institutional capital for both the IoA and the BBC. Augmented by other graphic media produced by the IoA itself, the earliest televised archaeology shows generated income, exposure, capacity, and clout for these two very different but pioneering organizations.