After graduating from the School of Television you will become a “TV Journalist”
Duration of training: 9 months.
Classes must-sees 3 times a week for 4 academic hours.
Extracurricular activities 2 times a week for 4 academic hours. By attending elective classes you acquire related specialties, Editor and Producer of programs.
Evening groups from 19.00 to 22.00 /// Day groups from 14:00 to 17:00 /// Weekend group - Saturday from 12 00 to 18 00.
To the training program "TV JOURNALIST COURSE" Includes internship on TV channels. There are no additional costs.
At the end of the course, students take a state exam and defend a thesis.
State diploma of professional training in specialty "TV journalism".
The cost of training is 18,000 rubles per month. Payment monthly.

We guarantee employment in your specialty after receiving a diploma from our School of Television.

Television journalism

The School of Television is proud of its graduates - television journalists.

A television journalist is one of the six roles of a journalist on television: presenter, reporter, interviewer, commentator, columnist. Very often these roles are combined in one person. But it all starts with journalistic work. Dictionaries define the profession as follows: a journalist is an employee who delivers information about incidents and life events. What is hidden behind these dry lines? First of all, these are special character traits: commitment, perseverance, accuracy, curiosity. To be able to find information that will be useful and interesting to television viewers, to see facts from which potential material can be formed, to grasp connections between seemingly disparate data that are actually parts of the whole. Then, a good humanitarian education: literacy, knowledge of the native language, literature, art, economics, politics, psychology. Of course, a journalist cannot have an equally deep understanding of all aspects of life, but he must be able to find competent and high-quality sources that will help him correctly solve the task. Now professional skills: structuring an interview, the architectonics of a report, criteria for selecting news, choosing characters, the ability to edit, voice-over and much more. It's hard to say. Yes. But how interesting and exciting! To be always at the center of events, meet new people every day and have the opportunity to tell millions of TV viewers about it!

Mastery of a television and online journalist with intensive training in the basics of filming and editing

Do you want to make a career as a television journalist?
Are you a beginner online video content producer?
Have you recently created your YouTube channel or account?
Do you want to join an online project team as a professional editor or journalist?
Would you like to be in an educational environment, together with future journalists, presenters, directors, cameramen, editors, producers?

That is, do you need specific skills, first-hand information from practitioners, increased professional literacy, learning successful strategies, creative communication? This is what we offer in our courses. additional education Television schools

You will also be able to take advantage of our production base: master a teleprompter, film with a video camera, shoot with good equipment, use photo studios, etc.

A lot has changed in journalism these days. The independent journalism sector has grown in the Internet sphere, and this sphere has become an important media space. Now, for example, YouTube works like a regular social network and to get your own channel you only need to register. Ways have emerged to monetize a journalist’s activities on the Internet (we talk about this in class).

It is important for a journalist to understand the basics of working on both TV and the Internet; this expands the range of its application, employment, and creative presentation.

Due to the development of technology, the profession of a journalist is becoming multifunctional - filming on an iPhone or digital camera, editing on your laptop, presenting on the Internet on your channel - have become commonplace. And along with highly professional filming by specially trained cameramen and editing by directors who are experts in their field, there is also journalistic filming and editing.

Our educational program is aimed at training specialist journalists with multi-professional skills.

Intensive training and our innovative express methods allow you to quickly master a range of skills and competencies that meet the standards of higher professional education.

Prospect of the profession: for an editor and journalist - the level of project manager, creative producer of large television projects and Internet projects, management of their own channel on the Internet.

Educational and thematic plan

Introduction
The course program is designed for 564 hours for students studying on the job. The program is designed for retraining creative workers of television and news agencies, as well as people with higher education in other professions and receiving additional professional education.

General cultural lectures and practical classes offer modern aesthetic guidelines, a progressive scientific view on the development of culture and art. Exciting activities provide motivation for further self-education.

Studying the latest digital and computer technologies in the field of working with information flows will help our graduates work successfully.

Students at the School listen to lectures and get to know the subjects more deeply in theoretical and practical classes.

The teaching methodology is as follows: a greater or lesser number of hours on a topic depends on the special focus of the training profile and is built on the principle of a spiral - the first hours provide an introductory generalization in a concentrated form (for example, at least 4 hours), subsequent hours (for example, 16) reveal this in depth topic, according to the tasks of the specialty profile.

For each specialty, the most important subjects are selected for in-depth study. This is how the number of hours in the USP for each specialty is formed.

A methodological feature of the program is the introduction of role-playing games.

The learning process combines theory, role-playing and business games, practical tasks in the classroom, independent practical projects.

Lectures provide general professional theoretical and informational foundations. The need to prepare for a role-play increases motivation to master the lecture material.

Role-playing and business games are a multifunctional type of training aimed at mastering theoretical material, as well as developing improvisation, communication, reaction, teamwork, etc.

Practical classes in groups contain theoretical material and its testing in practice.

Homework gives you the opportunity to independently master the material and receive an objective assessment from the teacher

Handouts provide information in a concise form

Television journalist curriculum

Name of sections and disciplines	Total hours	Lectures	Practice	Teachers
General professional disciplines
Modern television production Lecture on stream The structure of a broadcasting television company and work with the air. (+ handouts) Theor-practical The composition of the television crew and the production base of the television company (in editing and sound control rooms and at the control panel)
Legal norms in journalism – read by a journalist. Copyright is read by a lawyer
Computer literacy
Special disciplines
The skill of a journalist for TV and Internet channels Lecture on stream Successful strategies in journalism of TV and Internet channels Lecture Opportunities for a journalist to work on the Internet
Creating and editing text (style, vocabulary, speech errors).
TV presenter skills On-air work, teleprompter
				Pakina E.P.
Basics of Cinematography				Kharitonov
Director's skill(clip maker)
Workshop
Protection thesis
Total:				Legal norms in television journalism. The lecturer will tell you which organization and which documents can be used to clarify legal norms in each specific case. Regulatory acts and legislative framework for producing TV projects. Law on Mass Media. Legal procedure for conducting interviews (with a child, etc.) (style, vocabulary, speech errors). Normative-linguistic: Spelling, punctuation, lexical-semantic, grammatical, phraseological. Typos as a cause of semantic error. Standard-style errors: intra-style and inter-style. Regulatory and aesthetic errors. Dysphonia. Re-decomposition. A culture of speech. Mastery of on-air performance on radio and television. Sight reading and teleprompter. Grouping words. Quick analysis of phrase structure. Ways to spice up teleprompter reading. Orthoepy is the correct pronunciation of words. Working with a dictionary. Logic of speech: actual division of sentences, logical stress and logical center, basic laws, punctuation marks, pauses. Main and secondary, composition, perspective, subtext of speech (text). Composition. Introduction, main part, climax, conclusion. Laws of logic: identities, contradictions, excluded middle. Kinds public speaking. Emotion, atmosphere, tempo, rhythm. Ability to speak to music. Correct pronunciation of poetic text. Standard pronunciation, stress, destruction of set phrases, jargon. Methods of presenting material. The use of aids in the work of a television journalist (dictionaries, reference books, etc.). Speech errors in the language of the media. Difficult cases of forming words. Difficult cases of stress. Difficult uses of words. Regulatory recommendations. Speech technique. Training and strengthening the speech apparatus Diction. Work to correct deficiencies and improve ease of speech. Staging the speech voice: breathing, articulation, resonance, development of range, flexibility of the voice. Orthoepy (correct speech): literary norm of pronunciation, work with a dictionary, “Voice figures” of punctuation marks. Expressive reading with elements of acting: Different styles of television texts. Inaudible breathing, soft timbre, clear diction. Subton. Correct articulation. Correction of speech. Voice-over and radio programs – the ability to be visible. Preparing for transfer The peculiarity of working live is improvisation. Optimal creative state. Stanislavsky's system in practical application. Methods of M. Chekhov, biomechanics of Meyerhold. Theater of experience and conventional theater. Setting a task for an actor is a process and a result. Action in different genres. Acting skills in the light of modern psychology. Elements of psychotraining. Play and improvisation. Performance. Actor in a television series. Promotional videos and mastery of a highlight episode. The teacher offers effective proprietary methods. Systematized patterns of using means of verbal and nonverbal communication: in the form of rules for effective communication, algorithms of human behavior and the expression of feelings and thoughts in life and on stage. Features of the use of facial expressions and gestures in modern theater and on the screen. The unity of mental and physical processes is the life of spirit and body. Voluntary and involuntary attention. Managing emotions through imagination. The topic is partially formulated in the form of handouts - brief summaries of broad topics: “7 types of pauses and their functions”, “10 head movements and their meaning in the speech process”, “13 types of reactions (acting assessments)”, and so on. Acting is a skill that is needed in all creative professions - it is knowledge about a person. On-air work, teleprompter Work as a presenter in different television standards. Master class by Yulianna Shakhova Compliance of the presenter's image with the style of the program or plot. Training of plastic freedom, flexibility, balance, orientation in space. Fixing the mise-en-scène. Contact improvisation. Fundamentals of the camera profession. Light and color Physical nature of light. Spectral composition. Colorful temperature. White color. Basic light quantities. Light flow. The power of light. Illumination. Brightness. Light output. Elements of color separation. Color, hue. Saturation. Primary and secondary colors. Light characteristics of the material. Reflection, absorption. Light transmission, coefficients. Spectral characteristics of the reflection of white facial skin. Sources of light. Artificial light sources. Spectral composition of natural light. Modern lenses. Main characteristics. Focal length. Vision angle. Image scale. Camera equipment TV technology and the creative process. Work on information programs. Features of working on sports, mass and music programs. Montage shooting and its features. Tempo-rhythm of the plot. In-frame editing. Photography. The principles of operation of a modern camera, the best shooting modes and parameters recommended to achieve the best results. Simple algorithms for obtaining high-quality images. Creating effects in the frame Directing skills(clip maker). Specifics of the subject of editing editing. TV genres. Director's explication. Storyboard. Frame (laws of composition). Statement of the director's task. Conditions for implementing the director's task. Ways to implement the director's task Montage as an art form The basis for constructing the editing concept of a screen work. Phraseology of montage. Clip editing (short and large frames, energetic actions, details and transitions are cut out). Poetic montage. Rhythmic montage. Sound-visual installation. The role of the director in creating television programs. Techniques psychological impact on the viewer (presence effect, Feedback). On-site shooting. The process of audiovisual communication with the viewer. Screen work. Basic concepts of editing, their relationship with the technological process of creating a screen work. Rules for constructing installation transitions and conditions for their implementation. Director's motivation for choosing an editing solution. Audiovisual image. Features of editing linked to the sound of the image. Tempo-rhythmic construction of a screen work. Genre features of the installation structure of a screen work. Types of installation. Communicative unit of audiovisual language. Types of installation.

Introduction

Many contemporaries no longer remember when television appeared - it was so long ago...

However, understanding its role and features as a spectacle and a mechanism of perception still attracts the attention of researchers and critics. Many interesting observations and generalizations have been made. True, many of the concepts put forward are somewhat categorical and do not so much remove the questions raised by the practice of television as raise new ones and evoke a desire to continue discussions. Thus, attempts to contrast television with other media channels as a means supposedly capable of replacing all others over time gave rise to studies that showed “that in reality television not only does not threaten the existence of the press, radio, and the arts, but, on the contrary, contributes to their development . The assertions that with the advent of television a new, previously unknown art was also born were also controversial.”

Television as a special, specific means of information, propaganda and entertainment requires comprehension. The area of ​​television such as journalism also requires research. While offering food for thought, the creative practice of television and its journalism cannot yet “offer the necessary material for defining strict norms and standards.” Having a great impact due to the inherent influencing and shaping properties of television on the nature of the development of society and its members, on their political, moral and aesthetic criteria, television journalism becomes a significant factor in social management. The need to analyze its strengths and weaknesses, realized and unrealized opportunities, is dictated by its role in modern society.

The relevance of this work is due to the fact that television is one of those important phenomena of modern society that significantly affects the development public relations within each country and between countries and peoples.

The modern world is complex, diverse, dynamic, permeated with opposing trends. It is contradictory, but interdependent, and in many ways integral. The development of social relations is accompanied by a deepening of communication relations and the ramification of connections between person and person, people with people, society with society, that is, the development of social communication processes. The scientific and technological revolution, the emergence and expansion of the influence of general democratic movements, the intensification of international cooperation and other important factors increase the importance of television programs.

The nature of the presentation of television information, when television is woven into the fabric of modern society, into its economy, politics and culture, covers international, intergroup and interpersonal relations, has great problems both in philosophical, social, creative and other meanings, since the ongoing evolutionary transformation of television has an increasing impact both on material and production, and on socio-political, cultural, ideological and other areas of life of all humanity and each individual person.

In this regard, the purpose of this work is to highlight and study the creative experience of television journalism and trends in its development in order to have an idea of modern capabilities and prospects for presenting television information to identify untapped reserves and increase the professional skills of television journalists.

Chapter 1. Historical foundations of modern television journalism

1 The formation of television journalism

The first attempts at journalistic television reporting were made in 1952-1953. Broadcasts from the Central House of Artists and from industrial exhibitions, then launched in the Central Park of Culture and Leisure in Moscow, can be considered the beginning of television’s assimilation of the achievements of reportage radio broadcasting and cinema. “Reporting on the silver screen was already a well-defined genre at that time; in particular, it was clear that the narrator's text-commentary should form a single whole with the image - not duplicate it, but complement and enrich it. Based on this, television literary workers began to prepare the text of the commentary, which was read off-screen by the announcer during the program. Of course, the fact that a text written in advance was being read could not but affect the television report. If for a movie screen with its carefully selected edited image, a departure from colloquialism, “orality” in a commentary is not at all a vice, then for a television screen showing an event at the moment of its occurrence, living speech is necessary, a word created improvisationally is necessary.”

Life urgently required new forms and genres of broadcasting: the television audience was growing rapidly, becoming more and more massive.

March 1951 By resolution of the Council of Ministers of the USSR, the Central Television Studio was created, which later turned into the Central Television of the USSR.

In 1954, Central Television established an editorial office for literary and dramatic broadcasting, an editorial office for music broadcasting, an editorial office for children's broadcasting, and a socio-political editorial office.

For the first time in television practice, journalists came to work at the new editorial offices. They brought the experience of the press and radio broadcasting to television. It was possible to solve the problem of turning television into a mass media only by relying on the principles and traditions of journalism.

“The process of the formation of television journalism was expressed in attempts to create, using specific television means, information, journalistic and artistic works in the genres of press and radio broadcasting (primarily reportage and interviews, and then commentary, correspondence, essays) in forms tested by the press and radio broadcasting (magazine, review, issue news, etc.)".

Before 1954, there was no well-thought-out plan for journalistic programs; they were included in programs from time to time. No attempts were even made to divide journalistic programs according to genre; each of them was vaguely called a thematic program.

The organizational framework common to radio broadcasting made it possible to spread on television, although initially limited, information tasks that had long been solved by radio journalism.

“In November 1954, an essay by the famous journalist E. Ryabchikov was broadcast on capital television. He talked about the construction of a cascade of power plants on the Angara that had just begun. The program was a montage of film footage, layouts, diagrams, the display of which was combined with the presenter’s performance in front of the camera and his voice-over commentary.” Thus, for the first time, an author - a journalist - entered the television frame.

At the beginning of 1957, on the eve of the VI World Festival of Youth and Students, new editorial offices were created: the Main Editorial Office of CT Youth Programs and the Editorial Office of Latest News (now the Information Television Agency - ITA); as well as film production.

“The history of journalism is largely the history of the formation and improvement of the reporting genre. At the end of the 50s, television began to increasingly use reportage not only as a genre, but also as a method of reflecting reality, allowing for the fullest use of the specific qualities of the language of the television screen, the language of moving images combined with sound.” However, the reports, in most cases, were conducted in the form of newsreels.”

Subsequently, it became clear that, without resorting to the form of oral messages, it is impossible to provide the television viewer with sufficiently complete and at the same time necessary information about the most important events.

In the 60s, the material and technical base of television information received further improvement: editorial offices were equipped with teletypes, a network of its own correspondents grew, and film production received new equipment. The television news service began to successfully compete with newsreels. The verbal form of messages began to be used when the event could not be recorded on film. However, later, as television developed, weak sides this form of information transfer. In addition, “the process of developing operational television information was not smooth. This was reflected in the lack of regularity of television news releases and the instability of reporting forms. TV information lacked the quality of the ensemble, which is created by the distinct purposefulness of the content and the harmonious combination of genres and styles, which is characteristic of a well-produced newspaper or magazine.” The “Time” program (began broadcast in January 1968) to some extent eliminated these shortcomings and won over the viewer, thanks to both regularity and content deepening and increasing the cognitive value of the television material.

Many subsequent television programs began to learn from and imitate the “Time” program.

2 Development of “talk” genres on television

The emergence and development of conversational genres of television journalism required the introduction of an author into the frame, especially in journalistic programs, giving rise to their special form - a personal (author's) program. Its difference from others was that the author-performer spoke to the audience as the center and basis of the program (S. Smirnov, I. Andronikov, V. Zorin, etc.).

“Television games, which are one of the dialogized forms of personalized messages, were fully revealed by the mid-60s (“KVN”, “Come on girls”, “Hello, we are looking for talents”, etc.) ... The possibilities of disclosure on the television screen the personalities included in the improvised actions were used in other programs.”

Among the fundamentally new forms of broadcasting in the 60s, one can note the artistic and journalistic program “Blue Light”. However, since television is directly dependent on politics, after the events in Czechoslovakia in 1968, these and other important programs ceased to exist for a long time. In the 70s, conversational genres were further developed in the form of the use of video recordings after careful editing.

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TV news

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TV editor

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Engineering and media technology

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1.2 Functions of television journalism

Knowledge of the functions of television and its potential capabilities is necessary for any journalist in order to more accurately determine the purpose of his work, the purpose of each appearance on the screen. In the list of professional qualities of a journalist, regardless of specialization or screen role, the most important place is occupied by social responsibility, a clear understanding and prediction of the results of television influence on the masses of people.

Information function

The media are called so because their first and main quality - the reason for which they were created and are being created - is the ability to satisfy the information needs of the individual, society, and state. Television disseminates information faster, more completely, more authentically and more emotionally than its predecessors. From general theoretical courses in journalism, we know a variety of interpretations of the concept “information”. Here we use it in the narrowest and most specific sense: informing people about events in the region, country and in the world, showing news. Only in this sense can we single out the information function of television, since in a broad sense, information can be considered both the television broadcast of a theatrical performance and the very fact of the operation of a television transmitter (McLuhan's paradox). When placed in the context of a television program, any program acquires additional informational coloring due to its relationship with other elements of the program and events of the day. For example, the broadcast of “Swan Lake” on August 19, 1991 has not yet been forgotten.

Regular receipt of information has become a necessary condition for full participation in modern life. News releases, consisting of reports and oral communications, form the anchor points of the daily broadcast schedule. All other television programs are located in the intervals between news broadcasts. The shift of news releases from the traditional place and time on air is an extraordinary event.

Cultural and educational function

It is worth recognizing that for many people, television is the only opportunity to get acquainted with the works of classics and the works of modern masters. Every television program has something to do with culture (or the lack thereof). But there are also television programs and channels that are specially created to introduce the audience to the achievements of science and culture. In cultural and educational television programs, one way or another there is an element of moral teaching and edification. It is important to make it unobtrusive and delicate.

Integrative function

All means of mass communication, primarily television, by their nature are capable of supporting normal functioning the society over which their influence extends. The very fact of watching one program different people already indicates a certain commonality, but the broadcaster must consciously work to strengthen this sense of belonging of each to all. The dominant feature of broadcasting is identifying common values ​​for the audience, discussing ways to solve common problems and counteracting destructive trends that are dangerous to society.

Social and pedagogical function

Otherwise defined as a management function. It assumes the direct involvement of television in the system of administrative influence on the population, in the promotion of a certain way of life with a corresponding set of political, spiritual and moral values. The dependence of this involvement and the degree of influence depend on the nature of the state. Obviously borders on integrative and informative functions.

Organizing function

It should be distinguished from management, where the formation of opinions and incentives to action come from the government and (or) other administrative structures and are carried out regularly. In contrast to such influence, television sometimes itself becomes the initiator of one or another social action, organizing joint actions of masses of people. Often television plays the role of an organizer, raising any questions before the authorities, prompting them to act.

Educational function

Does not directly relate to the field of journalism, suggesting regular cycles of didactic material to help people receiving education. Educational programs are broadcast, as a rule, on special television channels.

Recreational function

Recreation (from Latin Recreatio - restoration) - rest, restoration of human strength expended in the process of labor. Most recreational television programs are essentially outside the realm of journalism. But still, let us note the fictional television series that border on documentary, allowing the audience to learn about the life of various strata of society, about the everyday concerns of ordinary people. Purely entertainment products (video clips, comedy films, shows) are created, as a rule, by specialized television companies.

1.3 Genres of information television journalism

Any content fits into certain forms; these two concepts are in an inextricable dialectical unity. Form is an expression of the internal connection and method of organizing elements and processes, both among themselves and with external factors. It is on this basis that we can consider the most formalized signs of journalistic creativity. Typically, journalistic activity is divided into three main types - information, analytics, journalism. Each of them is divided into subtypes, which are considered to be genres of journalism.

A genre is a historically determined type of reflection of reality, which has a set of relatively stable characteristics. The concept of this or that genre was formed over many years, life changed, some of its phenomena disappeared, became part of history, new ones arose, however, each new phenomenon, being fundamentally different in content, retained its previous form. The same applies to genre forms, based on the common functions of each of them, regardless of the specific content. Television has largely adopted the functions, methods and forms of its predecessors in mass communication - print and radio. And just like print and radio, television in all the richness and diversity of its products can be classified according to a number of established formal characteristics, divided according to belonging to one genre or another. “The theory of genres is constantly in development, changing, new genres are becoming, developing and dying out, however, this does not mean that the genre division of a television journalist’s work is meaningless theorizing.” An adequate understanding of the nature of a particular genre contains the potential for creative development. Understanding is inextricably linked with knowledge.

Genre is a socio-historical category. Therefore, for example, in a situation of restriction of freedom of speech and the press, there is a surge in the development of analytical and even didactic genres; on the contrary, the expansion of information freedoms entails the development of information genres; the consumer of information no longer needs edification, but strives to evaluate and analyze the facts himself. With all the dynamics and dialecticism of the concept of genre, there is, nevertheless, a number of fairly well-established forms, in the development of which essential features are preserved over a long period of time.

Thus, the genres of information journalism include reportage, note (plot), speech, interview; to analytical genres - conversation, commentary, review; to the genres of artistic journalism - sketch, essay, essay.

Note (video)

A genre of information journalism, which is a short message that sets out a fact. This is a general journalistic genre used in print, radio, and television. A note is often called a chronicle message. On television, this genre includes an oral message and a video note (Out Of Voice). The note is the most common information genre, the main element of news releases.

The thematic basis of the report is, as a rule, an official event of significant social, often national, significance. This explains the need for “protocol” recording, detailed and lengthy display. The report may be broadcast without journalistic comments. This is done in cases where it is necessary to demonstrate impartiality in covering an event.

Performance

Any appeal by a person to a mass audience using a television screen, when this person himself is the main object of the display, is a performance in the frame. The performance may be accompanied by a screening of film footage, photographs, graphic materials, documents; if the performance takes place outside the studio, a display of the environment and landscape can be used, but the main content of the performance is always the monologue of a person who seeks to convey to television viewers not only information, but also his attitude towards it.

Interview

From English interview – meeting, conversation. A genre in which the basic features of the process of interpersonal communication are most concentrated. In its original meaning, an interview is a conversation between a journalist (reporter, presenter) and famous person, scientist, specialist, “experienced person”, etc. During this conversation, the journalist-interviewer asks questions, suggests topics that it is desirable to touch upon in the conversation, “directs” the conversation, reacts to the interlocutor’s statements, which further develops the conversation.

Reportage

Reporting is an immanent (intrinsic), natural property of television. Accordingly, reportage is the most widespread, effective, and leading genre of television journalism.

The word "report" comes from the French. Reportage and English Report, which means to report. The common root of these words is Latin: reporto (to convey).

Reporting is a genre of journalism that promptly reports for the press, radio, and television about any event in which the correspondent is an eyewitness or participant. In a report, the personal perception of an event, phenomenon, and the selection of facts by the author of the report come to the fore, which does not contradict the objectivity of this genre. The TV report reflects life in the forms of life itself, and is as close to reality as possible. Based on the broadcast method, a distinction is made between live and fixed. Reports can be event-based, thematic and staged.

Information about the work “The use of artistic elements in information television journalism, using the example of plots of the Vesti - Southern Urals" and "News - Southern Urals, Events of the week""

Transcript

1 1 V. L. Tsvik TELEVISION JOURNALISM History Theory Practice 1 Moscow

2 2 UDC 070.4: (470) BBK (2Ros) Ts 28 Reviewers: Doctor of Historical Sciences, Professor V.V. Egorov; Doctor of Philology, Professor of the International Law Institute G. F. Voronenkova Ts 28 Tsvik Valery Leonidovich Television journalism: History, theory, practice: Textbook / V. L. Tsvik. M.: Aspect Press, p. ISBN The proposed educational publication is the first experience of such a detailed and comprehensive story about the current state and practical problems of television broadcasting in the new socio-political conditions of democratic Russia. This is both a professionally oriented guide for those who dream of working on TV, a reference publication for practicing television journalists, and an interesting book with a detailed description of the current situation on Russian TV. UDC 070.4: (470) BBK (2Ros) ISBN ZAO Publishing House "Aspect Press", All textbooks of the publishing house "Aspect Press" on the website 2 2

3 3 Electronic table of contents Electronic table of contents...3 Instead of a preface...7 Section I. INTRODUCTION TO THE PROFESSION WHAT IS JOURNALISM?...9 Scheme A dog bit a man...9 Scheme Questions and tasks A BRIEF EXCURSION INTO THE HISTORY OF JOURNALISM... 11 Close-up...15 Close-up...16 Questions and tasks KINDS, TYPES AND GENRES OF JOURNALISM...18 You can write in a newspaper:...19 Questions and tasks JOURNALIST PROFESSIONS...21 Close-up...23 By type of journalism, the differentiation of professions is obvious:...25 By type of journalism,...25 Questions and tasks ORGANIZATION OF MEDIA WORK...28 For many years, Vyacheslav Mikhailovich Molotov was the Minister of Foreign Affairs of the USSR...31 Phil Donahue was once asked:. ..32 Questions and assignments...34 Section II. RECENT HISTORY OF DOMESTIC TELEVISION FORMATION OF A UNIFIED INFORMATION AND PROPAGANDA SYSTEM OF TV BROADCASTING IN THE USSR (years)...36 In 1959, TV viewers in Kharkov...37 Diagram 3. Telecommunication in the USSR...38 Chronicle of events...41 Questions and tasks TELEVISION SPOTLIGHT OF PERESTROIKA (years)...41 Events in the mirror of the press...46 Events in the mirror of the press...47 Events in the mirror of the press...49 Events in the mirror of the press...49 Questions and tasks TELEVISION OF THE TRANSITION PERIOD ( gg.)...52 Close-up...54 Episode V. “Marathon TV”...62 Episode VI. “Master TV”...63 Episode VII. “Video International”...63 By broadcast method:...64 By educational principle:...64 By audience reach (distribution area):...64 By TV signal distribution method:...64 By program specialization:.. .64 By financing:...64 By form of ownership:...64 Episode VIII Table 1. Private capital shares in the joint-stock television company ORT...67 Questions and assignments...70 Table 2. History of domestic television...71 Section III. CURRENT STATE OF RUSSIAN TELEVISION CHARACTERISTICS OF FEDERAL TV CHANNELS...73 “Russia”...73 Channel One...76 Events in the mirror of the press...77 Events in the mirror of the press...78 NTV...79 Events in the mirror of the press. ..79 Questions and tasks REGIONAL TELEVISION. SEARCH FOR THE OPTIMAL MODEL...83 Scheme

4 4 Episode I...85 Episode II Close-up...91 Close-up...92 Table Questions and tasks...98 Section IV. THEORY OF TV JOURNALISM SOCIAL FUNCTIONS OF THE MEDIA...99 I remember that in the 80s television and radio reported (information function) Questions and tasks RELATIONSHIP OF NATIONAL AND INTERNATIONAL IN DOMESTIC TV PROGRAMS In an atmosphere of national euphoria, Questions and tasks CONTENT AND FORM OF JOURNALISTIC WORKS IN PR ACTIVE TIPS Scheme 5. Printed, radio and television work Theme (gr. thema the position that is discussed) Idea (gr. idea concept, representation) Composition (lat. compositio composition, composition, connection, connection) Plot (fr. sujet subject) Dramaturgy Imagine that you are talking about the assassination attempt in Grozny on General Romanov, Plastic (gr. plastice sculpture) Imagine that two reporters went to film a leftist rally on Kaluga Square, In-frame editing Questions and assignments Television script Sophomore year student at the Faculty of Journalism of Moscow State University E. Meshcheryakova THE SECRET OF THE OLD HOUSE Questions and tasks SPECIFICS OF TELEVISION Questions and tasks Section V. GENRES OF TELEVISION PUBLISHING INFORMATION GENRES OF TELEVISION Information message (video story) Long-standing memory Report Speech (monologue on camera) Live broadcasts From mid-1998, training took place for a year and a half new system, Interview Close-up “What do you expect from the coming New Year?” During the initial period of perestroika Close-up Reporting Once in Tallinn, during a seminar on reporting, such an experiment was carried out During his journalistic youth, the author had the opportunity to film for the program “Time” Special report Sports report Questions and tasks ANALYTICAL GENRES OF TELEVISION Commentary Review Conversation Talk show Close-up Press conference Briefing Questions and tasks ART GENRES OF TELEVISION Essay Close-up Feuilleton and other satirical genres In those distant times, when everything was done on television for the first time, Composite script forms: TV magazine, program, channel Chronicle of events Questions and tasks Section VI. TYPES OF BROADCASTING

5 5 18. TV NEWS PROGRAMS Close-up Events in the mirror of the press Work in the news service Providers of news information at the federal level, To sources of local news Planning and preparation of news information Design of news reports Close-up Use simple colloquial language RTR will not broadcast even the most important message, until official confirmation of the information is received. There is a known case when, during the Yugoslav conflict, an RTR reporter took a grenade pin as a souvenir as a souvenir. BASIC RULES FOR CORRESPONDENTS Layout of news releases Table Day off in August Ranking Questions and tasks YOUTH TV PROGRAMS Table 5. Interest in television programs in various youth groups, % Episode I “The First Russian Entertainment Television” STS Sports programs Pseudo-youth project “Behind the Glass” Episode II Questions and tasks MUSIC TV Muz-TV music channel Socio-cultural phenomenon MTV Close-up Questions and tasks ECOLOGICAL TOPICS ON TV SCREEN Questions and assignments Section VII. ADVERTISING AS A KIND OF JOURNALISM Journalist in the advertising business COMMERCIAL TV ADVERTISING Topic 1. Organization of work in the media and advertising agencies Topic 2. Journalistic professions in the media. Journalist in television production. Journalist in the advertising business Topic 3. Genre structure of journalistic materials and related professional differentiation Topic 4. Specifics of the advertising product and related professional differentiation. General and specific features of the professional duties of journalists in the media, advertising business and PR Topic 5. Profession of a writer of advertising texts Topic 6. Profession of a designer of advertising texts. Art editor Topic 7. Features of a screenwriter’s work on TV and in the advertising business Topic 8. Author of voice-over text, monologues and dialogues Topic 9. Director of an advertising video Topic 10. Producer on television and in an advertising agency Topic 11. Advertising material in print, on radio and television. General and special. Traditions and innovation Topic 12. Stages of the creative and production cycles of preparing advertising materials POLITICAL ADVERTISING Topic 13. Advertising campaign. Features of political advertising. Advertising campaign and election technologies Topic 14. Features of social advertising. Specifics of its preparation Section VIII. LEGAL AND ETHICAL STANDARDS OF JOURNALISM RUSSIAN LEGISLATION ON JOURNALISM ETHICAL CODES OF JOURNALISM Questions and tasks APPENDICES HISTORY OF THEORY, OR WHAT SHOULD A TV JOURNALIST READ? INTERNATIONAL CODE OF PROFESSIONAL ETHICS OF THE SOCIETY OF PROFESSIONAL JOURNALISTS CODE OF PROFESSIONAL ETHICS OF THE RUSSIAN JOURNALIST Recommended reading

6 6 CONTENTS

7 7 Instead of a preface This book introduces you to the world of television journalism, helps you master the professional language, learn the features of searching, creating, storing and distributing information. It will help you: become familiar with various media (press, radio, central and local television) and journalistic professions (correspondent, editor, columnist, commentator, screenwriter, showman, etc.); gain a primary understanding of the methodology and methods of studying journalism, its conceptual apparatus, feel the practical meaning of the theory of journalism; get acquainted with various types of journalistic activity and genres of journalistic works; learn about the historical roots, creation and development of journalism as a type of human activity, a means of reflecting public life and forming public consciousness; Of course, we will talk in more detail about the formation and development of television broadcasting; get acquainted with the basics of modern legislation in the field of media and the ethical standards of the journalistic profession. “Television Journalism: History, Theory, Practice” can simultaneously perform educational, educational, reference functions in combination with a popular and entertaining presentation of both theoretical material and specific practical advice on the preparation of television programs of various types and genres of television broadcasting. The structure of the book and the sequence of presentation almost entirely correspond to the curriculum of specialization disciplines in the courses “Fundamentals of TV Journalism” and “Methodology of TV Journalism” taught at the Faculty of Journalism of M.V. Lomonosov Moscow State University, and the content of sections and chapters corresponds to the state standard of the second generation of university education future journalists. Thus, this book may be of unconditional interest for students of faculties, schools and colleges of television journalism in Russia and other countries where there is Russian-language education or broadcasting, as well as for practical television journalists and all readers interested in the problems of modern domestic TV. This book is not a textbook in the generally accepted sense, although it may well be used as a teaching aid; and not a reference publication, although it contains a significant amount of reference material of absolutely scientific accuracy; and not the usual popular publication with superficial judgment on complex issues. In terms of genre, most likely this is a course of lectures, literary processed texts of very real master classes, which the author conducts or conducted at different times in a number of universities, the Youth News Service, the Muz-TV School, the training center in Ostankino, for practical journalists in Russia and the CIS countries . Another comparison of the proposed work with similar ones in the West: in US universities, annually students are given so-called desk-books and the necessary materials and assignments collected under one cover for the entire academic year. In “Television Journalism” such materials cover the entire period of university study in the disciplines of specialization “Television Journalism” plus what may be of interest and need in the process of postgraduate practical work. Since this is also a textbook, as is customary in books of this kind, each chapter or section ends with test questions or questions for discussion, as well as practical assignments. will help you to understand the material presented. Thus, it is not at all necessary to read this book from beginning to end, it is enough to select a topic of interest in the table of contents. It seems that education is not always a thorough knowledge of the question, but a solid knowledge of where you can find the answer to the question of interest. Therefore, the final section provides a very extensive list of literature on all the issues raised. Thanks to these works, you will be able to expand your knowledge. In conclusion, it should be said that individual fragments of some sections contain partially borrowed materials, which is completely natural when implementing such a voluminous plan. In the end, every scientist is a specialist in his own field; We know one area thoroughly; when turning to others, we have to resort to the help of other specialists. That is why I want to express my sincere gratitude to my colleagues and students S. 7

8 8 A. Muratov (appendix to section IV), R. A. Boretsky (section V), N. V. Golubkova (chap. 18, 19), L. V. Sizova (chap. 20), whose work turned out to be useful for the author. 4 8

9 9 5 Section I. INTRODUCTION TO THE PROFESSION 1. WHAT IS JOURNALISM? Journalism (from the French journal diary, jour day; goes back to the Latin diurna daily) is one of the most important social phenomena of modern life, a type of mass information activity that ensures uninterrupted interaction between an individual, a group of people and society as a whole, as well as between various public spheres and even between generations. The process of journalistic activity consists of collecting, processing, storing and periodically disseminating relevant socially significant information. The modern extensive media system ensures full interaction between the journalist and the audience of readers, listeners, and viewers. It is no coincidence that the phrases “mass communication media” (MSC) and “mass media” (Mass Media) are perceived as synonyms for the word “journalism”. Indeed, the work of a journalist is an act of indirect communication with readers, radio listeners, and television viewers. This is a communicative (from the Latin communicatio I make common, I connect, I communicate) act, which in itself in simple form consists of three components: Scheme 1 In order to understand the essence of a particular means of mass communication, it is necessary to answer at least the following questions: who? to whom? how? What? transmits. And to complete the picture, it would be good to know how effective a given communicative act is. Let us reveal the meaning of each component that is part of the most frequently used term “mass media”. Depending on the means (channel) of information transmission, the number of its consumers changes. Thus, in a large state, for a national radio and television program this means millions of radio listeners and television viewers, and for reputable newspapers or magazines, tens and hundreds of thousands of readers. It is obvious that in these cases the dissemination of information is not of an individual (as a rule, personal) nature (compared to telephone or mail), but 6 is a public, social act, designed for a mass of people (no matter how quantitatively this “mass” changes). The term “information” (from the Latin informatio, explanation, presentation) has many interpretations. On the one hand, this is a general philosophical concept that characterizes the ability of living and dead nature to reflect (“reflection theory”). On the other hand, after the creation of information theory by N. Wiener, this term began to be used in cybernetics and in the age of universal computerization it has its own, very extensive field of application. For journalists, in turn, information is the object of their activity: they collect, process, and disseminate information of public interest regarding active events. Journalistic information has its own distinctive features. Firstly, this is usually news. The search for new things in all spheres of public life in politics, economics, science, culture, and sports is the main thing for a journalist. At the same time, giving preference to social topics, the journalist goes beyond it, covering the boundless spiritual and material world that surrounds us. He will record and inform his audience about the many surprises that nature presents every hour (little-studied phenomena of the macro- and microworld). Secondly, journalistic information must be original. When print, radio or television repeats the same thing day after day, the audience loses interest in both the information and its source. Third, journalistic information must be useful. Unfortunately, media workers often forget about this in pursuit of sensationalism. A dog bit a man A dog bit a man is not a sensation; sensation if a person bites a dog. However at 9

10 10 second part of this paradox we're talking about about a clinical case of interest only to psychiatrists; society as a whole is unlikely to derive any useful information from such a message. Of course, the press has a right to entertaining information, but this is marginal* news. It is no coincidence that materials of this kind usually appear in print under the headings “At the end of the issue”, “Notes in the margins”, “A funny mixture”, etc. Thus, the subject of journalistic activity is the facts and phenomena of reality in all its diversity. The journalist acts as the subject of comprehension and processing of the received information in order to create socially significant information, and the mass audience becomes the object towards which the journalist’s activity is directed (or, if you like, the consumer of this information). It is clear that we are not talking about direct * Marginal news news that is located aside from the main content, on the sidelines, literally in the margins of a printed publication. 7 natural, but about the indirect impact. The audience is influenced by various journalistic works, notes, reports, radio and television programs, films, which are the end result of journalistic work. These works are disseminated through various information channels: print media, radio and television broadcasting. Each of these channels uses quite complex technical equipment: publishing houses and printing houses, radio and television centers and stations, sophisticated electronic equipment from computers to communication satellites. Of course, each media outlet serves a large team, requiring special organization of work and skillful management and leadership. Let us conventionally call the actually existing complex mechanism for organizing the activities and management of the media the term “publisher”, which is common in the theory of journalism. In this case, a graphical diagram of the work of a journalist in the media system will look like this: Diagram 2 As we can see, the journalist draws information from reality, which is equally accessible to both his management (publisher) and the audience (consumer of information), and turns it into journalistic work. The content of such a work meets the opinion of the audience and the publisher about the same facts and phenomena and is easily verifiable on their part. In addition, the journalist experiences the influence of the audience, creating his works with a different contingent of readers, listeners, and spectators in mind. Unlike a writer, who can work “on the table” in the hope that posterity will understand, a journalist must bring his work to the attention of the audience, otherwise it is dead, as if it does not exist. Although the opinion of the publisher, and especially the audience, is fundamentally important for a journalist, no one and nothing limits the freedom of journalistic creativity, and this is clearly visible in our diagram, where a journalistic work “depends” only on the journalist himself. However, the concept of “freedom of journalistic creativity” requires a separate discussion. 8 A work created by a journalist, transmitted to the media and brought to the audience through the appropriate channel, becomes a communicative act. Just as the media loses its meaning without the work of journalists (say, microphones and video cameras, studio pavilions and director’s consoles, television towers and communication satellites are meaningless if they have nothing to broadcast), so the work of a journalist is unthinkable without a communication channel and a mass audience. This is, in general terms, the mechanism of a journalist’s work in the media. Consequently, journalism is an organic component of the culture of modern society, an important component of the social system. It reveals itself to us in a whole series of interconnected aspects and manifestations that have specific characteristics. Let us name the six most important aspects of journalism as an integral phenomenon: the system * of the corresponding ideological institutions of the editorial offices of newspapers and magazines, television and radio companies, news agencies, press services of ministries and departments and others 10

11 11 departments necessary for the functioning of the media (from advertising agencies to press distribution departments, publishing houses, radio stations and television centers, repeaters, radio relay lines, etc.); a system of activities for collecting, processing and storing information, creating and periodically distributing journalistic works; a set of professions required to ensure the full functioning of the media system (editors and correspondents, essayists and screenwriters, interviewers and showmen); a system of works created for the media, published on the pages of newspapers and magazines, included in radio and television programs. These are the same notes and articles, reports and essays, radio magazines and television reviews, entertainment shows and problematic videos, etc., which were the result of the work of journalists, a kind of “chronicle of modernity”, documents of the era, a reflection of the time. This also includes the non-verbal results of journalistic work: layouts of newspaper pages, broadcast networks, television and radio program schedules; * System (gr. systema whole, made up of parts; connection) 1) a set of elements naturally connected with each other, representing a certain integral formation, unity; 2) order due to systematic, correct location parts in a certain connection, a strict sequence of actions; 3) form, method of design, organization of something; 4) a set of institutions united into a single whole, etc. 9 a set of channels for disseminating information: print, radio, television (methods and means of delivering information to a mass audience); totality academic disciplines, studied by future journalists, as well as sections of philological, historical and political sciences that study various types of practical journalism. Now we can offer another definition of the diverse and complex subject we are talking about. Journalism is a type of creative human activity, where the basis of the profession is the comprehension of life, objective coverage of any aspects of reality, comprehension of the diversity of human existence, as well as a specific form of extrapersonal communication. Journalism reflects and shapes public consciousness, serves society and at the same time is an instrument of social management. Being a complex dialectical phenomenon of modern life, journalism is one of the most important tools of social progress, because without its comprehensive development the development of society and human civilization is impossible. Questions and tasks 1. Clearly formulate what attracts you to the profession of a journalist? 2. What does the word “journalism” mean? Recall all six aspects of the interpretation of this concept given at the end of this chapter. 3. What is communication? How do the concepts of “communication” and “journalism” relate to each other? 4. What definitions of the word “information” do you know? Name the main features of journalistic information. 5. Graphically depict a communicative act in journalism. 6. Try to supplement (improve) the diagram of relationships in the media system (Scheme 1). Explain why, given the dependence of its elements on each other, a journalistic work is the result of the creative freedom (independence) of the journalist. 7. Give an example (from the latest TV news or a recent newspaper, or come up with it yourself) for each aspect of the definition of “journalistic information.” A BRIEF EXCURSION INTO THE HISTORY OF JOURNALISM The primary processes of information exchange between people have their roots in ancient times. In essence, communication and exchange of information have turned the human community into a society. We have the right to consider various methods of transmitting relevant information, used in ancient times, as pro-journalistic (preceding professional journalism) phenomena. Apparently, journalism is metaphorically called the second oldest profession also in chronological terms. eleven

12 12 When the Indians, with the alarming sounds of tom-toms, and the Incas, with the flames of bonfires lit in the extreme zone of visibility from one another, reported over considerable distances about the approach of the enemy, was this not a communicative act? In addition, in this way, it was precisely relevant, extremely important (socially significant) information for the tribe that was transmitted. Information in these cases was communicated using conditioned signals. This is how the simplest sign system arose. But initially the most important carrier (and keeper) of information was the word, human speech. Therefore, the art of oratory, which arose and reached perfection in Ancient Greece and the Roman Empire, can also be classified as a proto-journalistic phenomenon. The names of Demosthenes (Greece, 3rd century BC) and Cicero (Rome, 1st century BC) became household names. And these brilliant political speakers improved their skills due to the fact that they had someone (the audience was quite massive by the standards of that time), what (socially significant information) to say and, as history shows, to say with very significant results. In a word, we see here all the components of a standard communicative act, which also underlies journalistic activity. In the Middle Ages, this type of proto-journalistic activity was preserved. History has not preserved the names of those who spoke at the Novgorod veche, the talk houses of the Suzdalians and Muscovites, but it is unlikely that Alexander Nevsky or Vasily Buslaev could have carried the Russians along with them if they had fought only with the sword and did not speak. In Europe, political information at this time was disseminated by heralds, heralds, couriers and messengers, who no longer spoke on their own behalf, but carried them to cities and villages and read out royal and royal decrees, reports and rescripts. In modern journalism, the names of newspapers and magazines contain an echo of these phenomena: “UNESCO Courier”, “Daily Herald” (herald), “Moskovsky Vestnik”, “Washington Post” (mail), “Chicago Tribune” (tribune where speeches are made ), “Forum” (a square in Rome where public meetings were held), etc. However, oral speech, which quite successfully fulfills its tasks in the process of creating information at different historical stages, is imperfect for its mass dissemination, much less storage (although folklore has demonstrated its durability, it preserves predominantly works of folk art. The only example of the lightning-fast spreading modern oral creativity anecdotes, and even then they are more often conveyed via the Internet). Humanity is looking for and constantly improving ways to store information, and the history of the development of civilization is directly related to success in this field. The oldest examples of writing were preserved on stone tablets, but is it possible to talk about the speed of dissemination of information if a lot of time was required just to knock out just one letter, sign, hieroglyph? Rather, it is a message to eternity (which has partially fulfilled its function). To fix the text faster, clay and waxed tablets were first used, on which they wrote with a sharp stick (the stylus, from which the literary and journalistic concept of “style” arose). In the first case, the mark applied to wet clay, after hardening, was suitable for long-term storage. In the second, what was written was easily erased, which opened up the possibility of reusing wax tablets. IN Ancient Rome at the direction of Emperor Julius Caesar (1st century BC), plaster boards were hung in prominent places with messages about the decisions of the Senate “Acta Senatus”, about the decisions of the people’s assembly “Acta diurna populi Romani”. These original predecessors of newspapers existed until the 4th century. AD In Japan, a clay “newspaper” from 1615 has been preserved under the name “Yomiuri Kawarabata”. It is not without interest that the name translated means “Read and pass on to another”; it is obvious that the creators of such a “newspaper” sought to achieve mass popularity, if not by the number of copies of their “publication”, then at least by an attempt to increase the number of consumers of information. IN Ancient Egypt wrote on papyrus scrolls. In the II century. BC. In Asia Minor, they learned to make parchment (named after the city of Pergamon): tanned animal skin, an almost eternal material for writing. In Ancient Rus', messages were sent on birch bark, on the contrary, a very short-lived material (nevertheless preserved to this day in the archaeological layers of the Novgorod land). 12 One of the very important inventions of mankind, without which the development of mass information activities would have been impossible, was the invention of paper. Apparently, this happened in the 1st and 2nd centuries. AD in China, at least from there through Japan and Arab countries in the 10th century. paper 12

13 13 got to Europe. The Italian word bambagia cotton conveys the essence of the production of this writing material, which was first made from rags, hemp, and then from wood. Cyril and Methodius, who gave the Slavs writing, are canonized. Johannes Gutenberg, who invented in the middle of the 15th century, had no less merit to humanity. printing press. The spread of paper and the Gutenberg method of printing revolutionized the dissemination and preservation of the living human word for centuries. These are the most important prerequisites for the emergence of journalism. True, the first newspapers were handwritten “News Letters” in England, “Courants”, “Vesti”, “Columns” in Ancient Rus'. Socio-economic progress, the emergence of capitalist relations, and the development of international trade led to the creation of the first real newspapers. The word newspaper comes from the name of the small Venetian coin gazzetta, which was exactly the price of printed sheets reporting the arrival of foreign ships at the port and the goods they brought. Thus, the content of the first newspaper was limited, as they would say today, to information of an economic nature. But already in the French Gassetta, the printed publication of Cardinal Richelieu, political messages appeared. English bourgeois revolution of the 17th century. introduced regular publications of “pamphlets”, brochures with current political content, which can be considered a prototype of magazines. In the second half of the 17th century. Magazines and daily newspapers appear in Europe. It is no coincidence that the first achievements of a new type of social activity, political journalism, which at that time became synonymous with journalism, are associated with turning points in human history. In this sense, it is enough to recall the era of the Great French Revolution, which gave birth to the brilliant pamphlets of Mirabeau, the famous newspapers “Defender of the Constitution” by Robespierre and “Friend of the People” by Marat. In Russia, the first printed newspaper “Vedomosti” was published on January 13, 1703. The decree on its creation was signed by Peter the Great on December 16, 1702. Recently, January 13 in Russia is celebrated as Free Press Day (in Soviet times, Press Day was celebrated on May 5 this is the date of publication of the first issue of Lenin’s Pravda in 1912. It seems quite fair to begin counting the history of Russian journalism two centuries earlier from the time of the greatest reformer, who was not only a commander and a shipbuilder, a bombardier and an emperor, but also the first Russian journalist). 13 The dialectics of social progress is characterized by discrete (intermittent), spasmodic development. Certain phenomena sometimes freeze for a long time (a process of quantitative or qualitative accumulation occurs), and at some moments they begin to grow rapidly, change, and acquire new features. For many years, during the times of Pushkin and Gogol, Belinsky and Dobrolyubov, Nekrasov and Turgenev, Pisarev and Tolstoy, the rulers of the minds of the enlightened Russian public were literary and artistic magazines (the format of which we today define with the peculiar term “thick magazines”). Only in the 19th century. (in Europe in the first half of the century, in Russia in the second) newspapers and periodicals came to the forefront. Just at this time, significant technical progress was noted in the field of printing, one of the means of transmitting and reproducing verbal information (print, press). The invention of the telegraph speeded up the delivery of operational information from different, sometimes very distant, points in the editorial office. The engraving technique for illustrating and then reproducing photographic images (zincographic printing) reached perfection. A Linotype line casting machine and a rotary machine were invented, making it possible to quickly reproduce any publication in an almost unlimited number of copies. At the turn of the 19th and 20th centuries. Revolutionary technical discoveries were made that laid the foundation for radio and television as new means of communication and broadcasting at a distance. These events were prepared gradually, with the entire course of scientific progress, and the search process was excitingly interesting. (The invention of television, for example, is the subject of M. Wilson’s wonderful novel “My Brother, My Enemy.”) So, in the middle of the 19th century. in Ireland, the royal astronomer Sir W. Hamilton created a two-volume mathematical work, two symbols from which in 1867 Cambridge professor D. Maxwell used to characterize the relationship between electric and magnetic fields. In essence, the entire theory of electricity and 13

14 14 magnetism. In 1888, the German scientist G. Hertz, whose name would later be used to name the frequency unit electric current , experimentally confirmed Maxwell's discovery, but argued with deep conviction that magnetic radiation could never be used in practice. Neither Hamilton, nor Maxwell, nor Hertz lived to see the day when the radio, brilliantly predicted (although not understood) by them (from the Latin radio I emit rays) began its victorious march across the planet. In 1895, the teacher of the Kronstadt mine classes A.S. Popov demonstrated a device, called by the author a lightning detector, 14 in fact, a prototype of the future radio receiver. However, Popov, when submitting an application to the patent service, indicated only the possibility of registering electromagnetic discharges during a lightning flash. The State Patent Service of Russia did not see this as a discovery. Two years later, regardless of the Russian discovery, the Italian G. Marconi became the inventor of radio, and was subsequently awarded the Nobel Prize for this. As a result, the whole world considers the Italian to be the “father of radio,” although in our patronymic the priority of A. S. Popov has always been defended. However, the inventor himself, apparently, accepted Marconi’s fame quite calmly. The latter, already crowned with worldwide fame, came to Russia and met with Popov. The two engineers talked for a long time and with interest*. After meeting with Marconi, Popov was even more enthusiastic about improving his apparatus. In 1900, the Russian battleship General Apraksin landed on the rocks of Gogland Island. On March 3, Popov transmitted a message about this via wireless telegraph, demonstrating for the first time in Russia the practical capabilities of the invention. The radio wave initially carried the squeak of Morse code, but not much time will pass and human voices, the world of sounds and music will fill the ether, and first imperfect detector receivers will come into use in our everyday life, followed by bulky structures of tube radio devices, and then more and more convenient portable transistor receivers. miniature and increasingly impeccable in acoustic characteristics. But, as popular wisdom says, it is better to see once than to hear a hundred times. People have always dreamed of the opportunity to see distant lands (just remember the fairy tale “About the Sleeping Princess and the Seven Knights”: “A pouring apple rolls on a saucer and you can already see what is happening beyond the seas and oceans, in a distant land...”). The prehistory of television is connected with the greatest invention of the French L. and O. Lumières, who gave the world cinema in 1895. By an amazing coincidence, the muses of cinema and radio were born in the same year. In essence, the combination of the capabilities of cinema and radio led to the emergence of television. Scientists began to think about the possibility of transmitting images over a distance long before the invention of cinema. They came to the conclusion that for this, the “picture” must be decomposed into its component parts, differently illuminated points, which together, like smalt pebbles in a mosaic panel, paint this or that picture for us. Actually, the idea of ​​sequential transmission of images - * In a bad feature film, shot on Stalin’s personal instructions, this scene looks like a farce: Popov enters Marconi and, as they say, immediately accuses him of creative plagiarism, doing this in the most brutal terms. 15 battles in parts belong to the Russian biologist (!), son of a serf peasant P. I. Bakhmetyev and were expressed by him in 1880, long before the creation of radio. In 1884, P. Nipkow, an Austrian engineer of Hungarian origin, patented the process of “scanning” an image using a rotating disk with holes arranged in a spiral. This discovery received practical application only in the 20s of the 20th century. V brief history so-called mechanical television. In Russian professor A.G. Stoletov discovers the phenomenon of the external photoelectric effect, on the basis of which the teacher of the St. Petersburg Institute of Technology B.L. Rosing in 1907 creates a cathode cathode ray tube, the prototype of the current kinescope. Unlike Popov, Rosing immediately patented his invention, and today he is recognized throughout the world as the founder of modern electronic television. Much less indisputable is the contribution to the development of television of the talented self-taught scientist, the son of the exiled Ukrainian revolutionary democrat, laboratory assistant at the Central Asian University B.P. Grabovsky, who in 1928 in Tashkent for the first time demonstrated a moving image using a cathode ray tube. On the advice of Rosing, this improvement was patented under the name telephot, but for a number of reasons it did not receive due fame. 14

15 15 Overseas, in the USA, at the same time there was a persistent search in the same direction. Americans consider V.K. Zvorykin to be one of the inventors of television, who began working in the USA in 1919, having emigrated from Russia in 1918, and whom one of his colleagues called “a gift to the American continent.” Close-up Vladimir Kozmich Zvorykin was born on July 30, 1889 in the ancient city of Murom. Two brothers of his father Kozma Alekseevich, the owner of the shipping company, became scientists. Nikolai Alekseevich Zvorykin (), a student of A. G. Stoletov, who died early, was a master of mathematics and physics. The name of Konstantin Alekseevich Zvorykin (), professor of Kievsky, became widely known Polytechnic Institute, author of fundamental works on the theory of metal cutting and mechanical engineering technology. After graduating from a real school, Vladimir went to St. Petersburg and in 1906 entered the university, but at the insistence of his father he soon transferred to the Technological Institute. Here fate brings him together with Professor B. L. Rosing. Soon Zworykin became Rosing's constant assistant in experimental work. In 1914, a graduate of the Technological Institute was drafted into the active army. Zvorykin serves at a military radio station, in 16 Petrograd he meets the February Revolution. As a delegate from his unit, Zvorykin goes to a front-line meeting. Returning back on the train, he sees officers being arrested and disarmed in the neighboring carriages. Without waiting for a soldier's patrol to approach him, Zvorykin jumps out of the window as he walks and safely slides down a slope into dense bushes. Shots in pursuit do not harm him. Zworykin decides to leave Russia. Departure from Moscow in 1918 was similar to escape; a familiar employee of the commissariat secretly reported that an arrest warrant had already been issued for the former radio service officer. That same day, without even going home after work, Zvorykin leaves by train for Nizhny Novgorod. The goal was to get to Omsk, where he was offered a job equipping a powerful radio station with a business trip to the USA. Only on the eve of 1919 did Vladimir Kozmich reach the United States. This, however, is not the end of the road, since he feels bound by obligations to Kolchak's Siberian government. In January 1919, Zworykin, as it were, completed his trip around the world, returning to Omsk to report on the fulfillment of previous assignments and receive a lot of new ones. That same year he went to America again. This time it's forever. It would be naive to believe that America was waiting with open arms for an emigrant from Russia who had no recommendations and, moreover, practically no knowledge of English language. After a long wait, one of the letters finally received a positive response: Westinghouse offered me a job in its research laboratory. The new employee was not immediately allowed to work in television. Only in 1923 did Zvorykin get the opportunity to begin implementing the long-nurtured ideas of electronic television. After several months of hard work, he managed to produce a sample of a completely electronic television system. The inventor gave his brainchild the sonorous name “iconoscope” (from the Greek words meaning “image” and “see”). On general director Davis's company, however, was not impressed by the demonstration of the installation. Quite a long time passed until the inventor had a happy meeting with the president of the Radio Corporation, D. A. Sarnov, a specialist in the field of radio electronics, who had no doubt about the future of electronic television. Sarnov, by an amazing coincidence, also turned out to be an emigrant from Russia. By the time of the meeting with his compatriot (his parents took him to the United States at the age of nine), he went through the American radio industry from a simple operator to the president of a major company. Business acumen, extensive connections in the American market of radio-electronic products, and great financial opportunities became a kind of locomotive that ensured the advancement of Zvorykin’s brainchild. to production and commercial success. In 1931, Zworykin created the final design of the electronic television system. After practical tests, a 2.5 kW television transmitting station was installed on the tallest building in New York, the Empire State Building. Experimental television broadcasting began in 1932. RCA factories are mastering the production of televisions with a picture tube designed by Zvorykin. Residents of New York and surrounding areas within a radius of up to 100 km are becoming the first subscribers to electronic television. Now Zvorykin’s experience, advice, and ideas are of great interest to everyone interested in the development of television. Of the many proposals, he first chooses to visit the USSR and already in August 1933 speaks to scientists and engineers in Leningrad and Moscow. Later, the Russian American was shown the developments of Soviet specialists in the field of television. High level of results obtained by inventors S. I. Kataev, A. P. 15

16 16 Konstantinov, B.V. Krusser and others, turned out to be a surprise for Zvorykin, especially since the technical equipment of the laboratories was incomparably worse than those in which American and Western European scientists worked. It was a joyful meeting with my sisters and brother Nikolai. With all the poignancy, Zvorykin felt that his soul still remained in this country. A year later he goes to Russia again. A family council meets in the house of his sister Anna, in which Vladimir Kozmich’s closest relatives take part. There is only one question: how does the family feel about his intention to return to his homeland? Joyful tears appeared in the sisters' eyes. But then Anna’s husband, professor at the Leningrad Mining Institute Dmitry Vasilyevich Nalivkin, spoke up: “Yes, Vladimir, you are accepted into the USSR with great honor. You are valuable as a scientist, you need to be treated delicately, since you have an American passport in your pocket. Now imagine that you exchanged this passport for a “red-skinned passport”. For someone you will be a respected person who managed to invent something very important. For many others, you will remain, firstly, the son of a merchant of the first guild, secondly, a former white officer, and thirdly, in the recent past, an American citizen who had close ties with the world of the bourgeoisie. In an unfavorable set of circumstances, even one of these points will be enough to put you far from the laboratories and apartment promised to you. Remember the process of the Industrial Party and believe me, the matter will not be limited to this process.” This is what the future academician of the USSR Academy of Sciences, a classic of Russian geology, said (his son, corresponding member of the RAS V.D. Nalivkin, V.Ts., preserved memories of this). The arguments looked quite convincing. Zvorykin decided to stay in the USA. He loved to come to the USSR, meet with his sisters and nephews, and generously shower them, as befits an American uncle, with various gifts. Life very soon confirmed that Nalivkin was right. Among those who had to experience the undeserved blows of fate was Vladimir Kozmich’s brother Nikolai. The campaign, which took place under the sign of “exacerbation of the class struggle,” continued to gain momentum. However, trips to Soviet Russia in the 30s of the last century, they enriched not only our specialists, but also Zvorykin himself in scientific and technical terms. 18 In 1954, upon reaching the age of 65, Zworykin retired from his position as director of the RCA electronics laboratory. His merits are so great that he is given the position of honorary vice president of RCA. A conference is being held in his honor at McCosh Hall at Princeton University, in which scientists from various US universities and firms take part. In his closing speech, RCA President D. A. Sarnov notes Zvorykin’s outstanding contribution to transforming the company over a quarter of a century from a small firm to a leader in a rapidly developing industry. “The concept of resignation has nothing to do with Vladimir Zvorykin,” Sarnov said. A scientist like Zvorykin never resigns. His talent never fades. The imagination and creative instinct of a true scientist lead him along to even more extensive knowledge.” Zvorykin owns over 120 scientific patents. His name is listed in the American National Gallery of Fame for Inventors, he has been awarded more than thirty awards, including the US National Medal of Science, the Pioneer Award of the American Association of Manufacturers, the Order of the Legion of Honor of France, the Order of Honor of the Italian government, etc. Truly, the introduction into the life of mankind of the most international of means media was made possible thanks to the work of a team of scientists, engineers and technicians from different countries(V. Crooks, K. Swinton, L. Baird (England), F. Fransworth (USA), A. M. Polumordvinov, S. I. Kitev, P. V. Shmakov, O. A. Adamyan (Russia)) . The date of birth of “mechanical” television in Russia was May 1, 1931. Mechanical, or low-line, television used a rotating Nipkow disk in front of the transmitting camera and kinescope of the television receiver and was broadcast on long and medium radio waves, occupying a significant part of their range when scanning the image at 6, 12, maximum 24 lines. Therefore, the screen of the first televisions was the size of a matchbox, and visibility was almost zero. This was a dead end in the development of television. Although who knows what the fate of this technical direction would have been if the amazing inventor L. S. Termen had continued to work on it. Close-up On December 16, 1925, Rabochaya Gazeta reported that at the V Congress of Physicists, Lev Sergeevich Termen made a report “Far-distance vision” and showed an image of a “moving living hand.” By 1926, at the Leningrad Institute of Physics and Technology, with the assistance of Academician A.F. Ioffe, the young engineer Termen created three “electrical foresight” installations, first with 6 scanning lines, and then with 32 and 64 (!), which was significantly ahead of the then American achievements engineers. True, this work is crap

17 17 was already classified in connection with plans to use it in the border troops. In the summer of 1927, a television receiver was installed in the office of the People's Commissar of Military Affairs K.E. Voroshilov, and a transmitter was installed in the courtyard of the People's Commissariat. Later, Marshal S. M. Budyonny recalled that, looking at the screen, he and Voroshilov almost unmistakably recognized the officers moving in the field of view of the television camera. However, L. S. Theremin’s work in the field of “far-sighting” was unexpectedly interrupted: he was sent to the USA... as a resident of Soviet intelligence. A talented person is talented in everything. The inventor copes well with this task. But intelligence activities alone are not enough for him. Lev Sergeevich invents the world's first electro-musical instrument, which he calls the “theremin” (“Theremin’s voice”). Outwardly, everything looked simple: a metal rod (a kind of antenna) distributed electromagnetic waves; approaching or moving away the hand, clenched or spread fingers changed the resistance of the field, changed its characteristics; a tube apparatus, similar to a radio receiver, converted electromagnetic vibrations into sound waves; in skillful hands, the “theremin” sometimes sounded like an organ, sometimes like an entire orchestra. However, with the current spread of electronic music, there is no need to explain the general admiration for Theremin’s discovery. Lev Sergeevich goes on tour around the United States (which facilitates the implementation of “spy” missions), he is admired by C. Chaplin, A. Duncan and other celebrities. He organizes the first workshop in the United States for the production of electric musical instruments. The project turns out to be extremely successful financially, and Theremin becomes a millionaire. At the beginning of the Patriotic War, an intelligence officer is called to Moscow, taken to Lubyanka, but not in order to reward him for successful work in America... The basements of the famous building on Lubyanka Square know how to keep their secrets. What did Termen confess to during interrogations? What was he convicted for (“ten years without the right to correspondence”)? Why were the instruments he created (including the most advanced theremins) mercilessly destroyed? The Soviet Motherland “knew” how to honor its heroes. Camps, work for barbed wire together with S.P. Korolev and A.N. Tupolev (in the “sharashka” you can read about this in A.I. Solzhenitsyn’s novel “In the First Circle”). Rehabilitation did not restore his damaged health. Long years of poverty and obscurity (almost in a laboratory position). With what enchanting brilliance began the career of this amazing man, who became one of the millions of victims of Stalin’s repressions! In 1939, regular broadcasting on modern television began in Moscow and Leningrad. electronic circuit. After World War II, the reconstructed television centers switched to image scanning of 625 lines, corresponding to the current standards of domestic televisions. (For more information about this period of formation and development of domestic television (TV), see Chapter 6). In the 1990s, the country witnessed a rapid process of approval of local television. Program II appears, the harbinger of television multi-programming. Mastering the technology of color television. The use of artificial Earth satellites opened the era of satellite TV with its literally limitless possibilities (a television signal from space easily overcomes any state, national, territorial and other borders). Cable TV has changed the broadcast nature of television. The combination of the capabilities of a television screen with computer memory and telephone communications (Internet) has produced a genuine revolution in information technology. The brainchild of television, the so-called virtual reality, is a new art with possibilities that have not yet been fully realized. The Russian media system today is represented by a gigantic industry of news, analysis of modern social development, entertainment and organization of leisure time for fellow citizens. Hundreds (and perhaps even thousands, given the rapid growth in the last decade) of television and radio programs are aired. They are served by three hundred news agencies. The annual circulation of newspapers amounts to billions of copies. The record holder is the weekly “Arguments and Facts”, which has millions of subscribers. However, in 1990, when subscription limits were eliminated in the USSR and the cost of publications remained quite low, AiF was published with a circulation of 33.2 million copies, for which they were rightfully included in the Guinness Book of Records. Large circulations are now at " Komsomolskaya Pravda" and the newspaper "Trud", the circulation of the newspaper "Izvestia" is approaching its millionth. Regional newspapers, unlike all-Russian newspapers, not only did not have a drop in circulation, but even increased. The growing interest of the audience in regional publications of the printed and electronic press is a characteristic trend of our time. 17

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In general, the levels of language proficiency are presented in the following table: Table 1 Elementary proficiency Independent proficiency Fluent proficiency A1 A2 B1 B2 C1 I understand and can use familiar words in speech

Goals and objectives: Cover student and school news and problems. Organize work with freelance authors, cooperate with the Students' Union and the Teaching Council. Train children in basic professional

History of the development of radio electronics The human dream of transmitting messages over long distances arose a long time ago. According to ancient Greek legend, the news that the commander Miltiades won

V.P. Semin HISTORY OF RUSSIA Lecture notes Textbook KNORUS MOSCOW 2015 UDC 94(47)(075.8) BBK 63.3(2)ya73 C30 Reviewers: S.D. Polovetsky, Dr. History. Sciences, prof., S30 Semin V.P. Russian history. Abstract

All professions are needed, all professions are important! For several hundred students of our university, the busy time is coming to pass state exams and defend their final qualifying papers. In 3 months

"Russian History" is a leading national scientific journal publishing materials on history, historiography and methods of historical research. Published since March 1957 and published six times a year. Magazine

PROGRAM OF PRODUCTION PRE-DIPLOMM PRACTICE 1. The goals of pre-diploma practice for bachelors of the direction “Television”: targeted work on journalistic or research materials, depending

Passport of additional general education program Name Educational institution, locality Name of the program Focus of the program At what age of children the program is designed: Duration

1. GOALS AND OBJECTIVES OF ENTRANCE TESTS Entrance test in the field of study “Journalism” is carried out with the aim of determining the intellectual, educational and creative potential of the applicant,

Lecture 1 Introduction to the discipline. Main stages of information development of society Lecture content: 1. Stages of development of technical means and information resources. 2. Computer science as a science 3. The role of information

Completed by a student of class 10 “A” of secondary school 120 of the Kirov district of the city of Ufa, Republic of Belarus. Project goal: To repeat the basic terms of information technology: information society, information culture; Remember with the guys