Television And Radio Announcing Pdf Download
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Full text of 'L. M1m'm ^^^^^^^ISil^^^^^^^^l^^^^E'i^^^^^^^^^^ln Wm. ■Mfflm.p^/^Awl31 / /7about immediate reaction from those to whom it is directed.Television and Radio Announcing 109Obviously, there are no practice exercises for ttiis type ofbroadcast, but three definite points which should be borne inmind are:1. Make certain that all information relayed to you forbroadcast is authentic!2. Be sure that any feeling of hysteria, excitement, or fear,vi^hich you may have, does not show in your voice.(Many announcers find this to be the most difficultproblem of broadcasting an emergency.)3. Give your full cooperation to the proper authorities incharge of the situation so that the radio may be usedfor the greatest good of the people.AD LIB BROADCASTS: Although the emergency broad-cast is definitely an ad lib release, it differs from what isusually known as the general ad lib special event.
In thelatter the announcer is gv^^^g more than actual fact; he is add-ing color and enthusiasm to create a program of entertainment.Wendell Niles, Bob Hope's famous announcer and a spe-cialist in ad libbing, has this to say about special events,'Ad lib broadcasts of any kind are a wonderful trainingground for the announcer and enable him to become facile inhandling all other types of copy.' The ad lib section of special events covers such functionsas parades. Serial dilution scheme. Army and Navy maneuvers, sports, or anything ofpublic interest that is to some extent unusual or impossibleto broadcast from the studio itself.On any special event of this type, get all the informationpossible regarding the subject of your broadcast. Be familiarwith the history of the occasion if the event has a traditionalbackground. Be familiar, also, with names of the people andplaces involved, the organizations or individuals in charge ofthe event, and, above all, be prepared to speak fluently and110 Television and Radio Announcingunfalteringly concerning the minor details that may presentthemselves. Human interest is an important adornment of thistype of reporting.
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When these incidents occur, describe themimmediately as they lend variety and break the monotony ofthe more factual information.The exercise in the chapter on 'Narration,' in which youare asked to describe a picture on the wall, is probably thebest example of the type of rehearsal necessary for an ad libspecial event.More than on any other assignment, the announcer is 'outon his own' in this type of program. He, alone, must makethe broadcast good. Finding himself writer, narrator, and co-ordinator, all at the same time, he must be extremely alert forthis job. He does not know what will come up, but his radiostation and the public are depending upon him to create aninteresting and comprehensive program.THE WRITTEN SPECIAL EVENT: As mentioned earlier,the special events department finds it advantageous to writeand rehearse some special events prior to the actual broadcasttime. Almost without exception, the written special event ispresented as an educational feature, in which the public isacquainted by means of the announcer's narration with thedetails and interesting facts concerning the subject of thebroadcast.The material for these programs is usually prepared bywriters or announcers who are sent out in advance of the pro-gram to make a study of the anticipated broadcast.