BPP_CHAPTER-1-cs.pdf

BROADCASTING PRINCIPLES AND PRACTICES: Brief History of Philippine Broadcasting CHAPTER 1 BRIEF HISTORY OF BROADCASTING IN THE PHILIPPINES Below is the detailed outline of the chronological history of broadcasting in the Philippines: Pre-Spanish Period Ancient Times-1521 An Indi...

BROADCASTING PRINCIPLES AND PRACTICES: Brief History of Philippine Broadcasting CHAPTER 1 BRIEF HISTORY OF BROADCASTING IN THE PHILIPPINES Below is the detailed outline of the chronological history of broadcasting in the Philippines: Pre-Spanish Period Ancient Times-1521 An Indigenous form of communication was already in existence evidenced by writings on barks and bamboos. News was also announced by an umalokohan or the town crier. Literature was already developing forms included sabi, (maxim), bugtong (riddle), darangan (epic poetry), kumintang (war songs), and hudhud (wedding song). Spanish Period 1521 - 1900 Folk media cenaculo, pastores, pasyon, awit corrido, balagtasan, and balitao) flourished (1521-1898) In 1889, La Solidaridad, with articles authored by national hero Dr. Jose Rizal was first published in Spain. El Ilocano, the first genuinely native newspaper was also published at this time, and it lasted until 1896. American Period 1898 - 1940 This was the age of Modern Media characterized by the Introduction of new newspapers in 1898, film in 1904, and radio broadcasting in 1922. Folk Media in the form of zarzuela and the use of talinghaga or symbolism also marked the era. In 1904, the first movies appeared; two silent movies were about Jose Rizal. Philippine Free Press was founded by Judge W.A. Kincaid in 1906. It was to become at the time the most influential English-language weekly in the history of Philippine journalism. (Please link to picture of Philippine Free Press) In 1919, the University of the Philippines offered formal degree in journalism/communication courses in country and Asia. 1924: The first radio station, KZKZ (now DZRH), is established, marking the beginning of broadcasting in the Philippines. Japanese Period 1941 - 1944 Underground Press flourished All radio stations were shut down except KZRH which was renamed PIAM, which the Japanese used as a mouthpiece. Manila Tribune, Taliba and La Vanguardia were allowed to publish under regular censorship by the Japanese Imperial Army. Although radio came in 1922 during the American period, it was the 1945 liberation from the Japanese which ushered in the real birth of broadcasting in the Philippines. Post War Period 1946 - 1969 1946 - 1950 KZFM, The first radio stations to reopen after the war. The U.S. government turned it over to the Philippine Government. The broadcast call letter "KZ" was replaced by "DZ" for Manila, "DW" for Luzon, "DY" for the Visayas, and "DX" for Mindanao. In 1947, Philippine radio stations were required to change the first call letter from K to D with DZ standing for Luzon stations, DY for Visayas and Palawan stations, and DX for Mindanao and Sulu stations. (Link to radio 50's) In the 1950s, television came to the Philippines In 1950, Republic Broadcasting System was incorporated. DZBB-RBS (now GMA-7) goes on air. DZBB introduced political satire. The first commercial television station, DZAQ-TV (now ABS-CBN), is launched in Manila by Alto Broadcasting System owned by Antonio Quirino (brother of then President Elpidio Quirino) By 1957, Chronicle Broadcasting Network, owned by the Lopez family, operated two TV stations - DZAQ and DZXL-TV Channel 9. By 1966, the number of privately owned TV channels was 18; ABS-CBN was the biggest network by the time Martial Law was declared. In 1966, Silliman University in Dumaguete City was the first school of journalism outside Metro Manila. In 1968, the first provincial television stations were established in Cebu, Bacolod, and Dagupan. Martial Law Period 1972 – 1985 1972: Martial law is declared, resulting in the control and censorship of media, including broadcasting. The Martial law period can be described as the Era of Guided Media and the Rise of the Alternative Press. It was a time of Marcos media vs. Mosquito Press or the alternative press. The 1980s saw the Emergence of the Alternative Press. The assassination in 1983 of Senator Benigno Aquino released the floodgates of press freedom in the Philippines. There was the pre-eminence of radio as instrument of change: Radio Veritas and Radyo Bandido. Campus publications took an activist stand on social issues. The Philippine Daily Inquirer founded on December 9, 1985 became the leading newspaper after the EDSA Revolution in 1986. Edsa Period 1986 1986: The People Power Revolution brings about significant changes, including the reopening of ABS- CBN and the emergence of new broadcasting players. Alternative media enjoyed greater credilbility than pro- Marcos "establishment media." People opted for xerox journalism. These were news clippings mostly from foreign newspaper and magazines and smuggled into the country by friends and relatives. So-called alternative media nurtured the democratic and freedom-loving spirit of the silent majority and prepared them for the EDSA Revolution. Church-owned Radio Veritas mobilized people power to support the rebel soldiers against Marcos military power. Millions of Filipinos followed the historic event from the clandestine Radyo Bandido anchored by broadcaster June Keithley. Post Edsa Period 1989 In 1989, the Advertising Foundation of the Philippines was organized as the "social development" arm of the industry through development advertising. The period saw media personalities invading politics. There was the liberalization and deregulation of the telecom sector and the emergence of mass-based Information Technologies (PCs, cellular technology). 1990s: The broadcasting industry experiences further expansion and diversification, with the establishment of more radio and TV stations. Timeline of Significant Events in Philippine Cyberage The Internet boom came late for the Filipino people, but even if they initially “lagged” behind in the global pacing they made up for it in less than 10 years, becoming avid users of Internet and shortly after, wireless communications. As the Filipino culture discovered the ability to harness the uses of the Internet, they became addicted to it. Thus began the Cyberage of the Filipino. 1994 - 1999 The collaborative work of Computer Network Systems Corporation (ComNet), the Department of Science and Technology (DOST) and major Universities of the Philippines connected their wide area network (PhilNet/PhNet) to the United States via a leased line. The Philippines had officially entered the world of the Global Internet. Mosaic Communications, Inc. (MosCom) becomes the first commercial Internet Service Provider (ISP). De La Salle University becomes the first educational institution to put up a Web site. The Public Telecommunications Act of the Philippines is signed into law, which among other things removed the need for value-added service (VAS) providers to secure a franchise. Globe Telecom launches G-Net Internet service. US company Sequel Concepts, Inc. sets up Infocom Technologies, Inc. Ticketworld offers online ticketing. Businessworld Internet Edition, the country’s first newspaper to go online, launches. ABS-CBN becomes first local TV network to put up a Web site, through ABS-CBN Interactive. Bankard announces plan to offer home shopping and electronic payment transactions online via Bankard Online.  Satellite communications in the country Satellite technology now links Metro Manila government stations to all regions of the country. The Mabuhay Philippines Satellite Corporation launched the first Philippine satellite, the Agila II San Miguel Beer Online, the first local site to accept online payments, is launched. Philmusic.com grabs the Web Site of the Year award. Yehey hosts Web site of Bb. Pilipinas pageant. 2000s: Digital broadcasting technology is introduced, leading to the transition from analog to digital broadcasting. 2010: The Philippines adopts the ISDB-T (Integrated Services Digital Broadcasting – Terrestrial) standard for digital television broadcasting. Present: Broadcasting in the Philippines is a dynamic and diverse industry, with numerous radio and TV stations catering to a wide range of audiences. Here are some examples of popular radio and TV stations in the Philippines: Radio Stations: 1. DZRH - One of the oldest and most prominent AM radio stations in the country, known for news, public affairs, and entertainment programming. 2. Love Radio - A popular FM radio station that primarily plays contemporary and classic love songs. 3. Barangay LS 97.1 - A top FM radio station that features a mix of music, entertainment, and interactive segments. TV Stations: 1. ABS-CBN - One of the largest and most influential television networks in the Philippines, offering a wide range of programming including news, dramas, variety shows, and game shows. 2. GMA Network - Another major television network known for its news and entertainment content, including dramas, reality shows, and variety programs. 3. TV5 - A network that offers a diverse range of programming, including sports events, news, dramas, and reality shows. These are just a few examples, and there are many more radio and TV stations in the Philippines catering to different genres and target audiences. BROADCASTING DURING MARTIAL LAW Martial law, which was declared in the Philippines in 1972 by President Ferdinand Marcos, had a profound impact on broadcasting. It resulted in the control and censorship of media, including broadcasting. During this period, the government took over major media outlets, including radio and television stations, and imposed strict regulations on content. News and information were heavily censored, and critical voices were suppressed. This led to a significant limitation of press freedom and the stifling of independent journalism. The media landscape during martial law was largely controlled by the government, and alternative viewpoints were suppressed. It was only after the People Power Revolution in 1986 that media freedom began to be restored. The long-term effects of martial law on broadcasting in the Philippines were significant. Some of the key impacts include: 1. Media Consolidation: During martial law, the government took control of major media outlets, leading to a concentration of media ownership. This consolidation had lasting effects on the diversity and independence of the broadcasting industry. 2. Censorship and Self-Censorship: The strict censorship imposed during martial law created a culture of fear and self-censorship among journalists and broadcasters. This had a lasting impact on the willingness to report on sensitive or critical issues even after martial law ended. 3. Suppression of Independent Voices: Martial law suppressed independent voices in broadcasting, leading to the marginalization of alternative viewpoints. It took time for media outlets to regain their independence and for diverse perspectives to be represented. 4. Legacy of Media Control: The legacy of media control during martial law has had lasting effects on the relationship between the government and the media in the Philippines. It has shaped the ongoing debates and discussions around press freedom, media ownership, and the role of the media in society. While the effects of martial law on broadcasting were significant, the subsequent restoration of media freedom and the emergence of new players in the industry have contributed to a more diverse and dynamic broadcasting landscape in the Philippines today. THE RECOVERY OF BROADCAST INDUSTRY AFTER MARTIAL LAW After martial law in the Philippines, the broadcasting industry went through a process of recovery and rebuilding. Here are some key factors that contributed to its recovery: 1. Reopening of Media Outlets: Following the People Power Revolution in 1986, media outlets that were closed or controlled during martial law, including ABS-CBN, were reopened. This allowed for the reestablishment of independent broadcasting entities. 2. Emergence of New Players: The post-martial law era saw the emergence of new broadcasting players, introducing competition and diversifying the industry. This led to the establishment of new radio and television stations, expanding the choices available to audiences. 3. Liberalization of Media Ownership: Policies were implemented to promote a more open and competitive media environment. This included the liberalization of media ownership rules, allowing for more players to enter the broadcasting industry. 4. Technological Advancements: The advancement of technology, particularly the transition from analog to digital broadcasting, played a role in the recovery BROADCAST INDUSTRY IN MODERN TIME In modern times, the broadcast industry in the Philippines is dynamic and diverse. Here are some key aspects of the current condition of the industry: 1. Television: There are several major television networks in the Philippines, including ABS-CBN, GMA Network, and TV5. These networks offer a wide range of programming, including news, dramas, variety shows, reality shows, and sports events. Digital television broadcasting has become the norm, with the adoption of the ISDB-T standard. 2. Radio: The radio industry remains vibrant, with numerous AM and FM stations catering to different genres and target audiences. Radio stations offer a variety of content, including news, music, talk shows, and entertainment programs. 3. Digital Transformation: The industry has embraced digital transformation, with broadcasters expanding their presence online and through streaming platforms. Many radio and TV stations now offer live streaming, on-demand content, and interactive features to engage with their audiences. 4. Media Ownership: Media ownership remains a topic of discussion and debate in the Philippines. There are ongoing efforts to promote diversity and prevent monopolistic control in the industry. 5. Challenges and Opportunities: The industry faces challenges such as competition from online platforms, evolving audience preferences, and the need to adapt to rapidly changing technologies. However, there are also opportunities for innovation, content creation, and reaching wider audiences through digital platforms. Overall, the modern broadcast industry in the Philippines is a dynamic and evolving landscape, with a wide range of content and platforms available to audiences. REFERENCE: http://commmedia.aijc.com.ph/comm_media/index.html