Scenario of Television Production Houses in Nepal

TV Program Production Houses in Nepal

Introduction:-

Television became an effective medium for delivering Communication in this

scenario. After its establishment from 1940s TV became as a basic needs from 1980s
onwards. Not only in the developed country but even in third world countries the
growing pace of TV is going on, Even in Nepal 17 TV channels are broadcasting from
with its effect in national arena. With the development of numbers of channels and new
innovation of technology even the subject, content analysis and beat are differ of TV
program are increased. Due to limited source and effort Television Channel itself
couldn’t maintain the quality in its content.

Television Program production House are established to provide the enriched content
and quality program with maintaining the technical and grammatical content of
Television. In this scenario Production House of Nepal are mainly focused on the
theme of entertainment, education , health sports , even in agriculture and so on.

New concept, style and holistic development of program is possible. According to

TEPAN (Television Production Houses Association Nepal) there are around 70 TV
Program Production Houses are existing in Kathmandu Valley. To our great surprise
there isn’t any Act or law for production House. None of the department of Nepal
Government has got accurate data with the quantity and quality of production Houses.
All Production House are registered under Company registered Act. Production houses
book or buy the time with the Television channels and on – air the program according
to their theme. Only few production houses use the resources of TV Station where as
rest of all have their separate resurces.

The A television program (usually television program in the United Kingdom), also
called television show, is a segment of content intended for broadcast on television. It
may be a one-time production or part of a periodically recurring series. A single
program in a series is called an episode. A television series that is intended to comprise
a limited number of episodes is usually called a miniseries or serial. Series without a
fixed length are usually divided into seasons or series, yearly or biannual installments
of new episodes. While there is no defined length, US industry practice tends to favor
longer seasons than those of some other countries.

A one-time broadcast may be called a "special", or particularly in the UK a "special

episode". A television movie ("made-for-TV movie" or television film), is a film that is

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initially broadcast on television rather than released in cinemas or direct-to-video,
although many successful TV movies are later released on DVD.A program can be
either recorded—as on video tape or other various electronic media forms—or
considered live television.

Financial Status of TV Program Production Houses:-

In the present scenario, Production houses are focused on service motive business.
They prepare certain report, video clips or documentary and on air on the television
where as the concern client provide advertisement to their program as barter system. In
most of the cases related with the documentary, it has got detail information about the
issues and concern client provide certain amount to complete that task. To maintain the
sound economical status, most of the production houses carry out the job of
advertisement agencies. Production houses book the time in TV stations as their theme
or nature of program in morning or evening time. They prepare or compile the program
and give to the stations. Basically the time from 7:00 p.m to 10:00 p.m is regarded as
prime time of TV station. Prime time is the duration of earning with the high rate of
advertisement. Most of the production house couldn’t afford the charge of prime time.
TV stations broadcast news and current affairs program in this time.
With the nature of program and time the rates are different. Approximately 10,000
( Ten thousand ) is charged for weekly program and around 5000 ( five thousand ) for
daily program in private TV stations where as it is quite expensive in Nepal Television
and NTV plus . One of the prominent production house of Nepal MEDIA HUB pays
2.5 lakhs to 3 lakhs for half an hour slot in prime time of Nepal Television . Different
Television stations have their separate rates according to their popularity, coverage and
TRP ( Television Rating Point) and time period . The business of production house are
seasonal. Though the market of TV stations aren’t high in each and every corner of
Nepal but still number of production house are running in positive manner.
Production Houses provide their own rate of advertisement to their client and
generate the income from it. According to the nature of program, production House
spends around 20,000 to 50,000 to prepare a half an hour program. Regarding the
matter of profile and documentary , these are the program with the high budgets. The
salary scale of Staffs working in the production house isn’t greatly varies with the
journalist of TV stations. Still there is demand of expert reporter, camera Person,
editor, PR officers, program officer and producer in this field. Copying the theme of
program is the major epidemic of this sector. The market is inconstant and the problem
of revenue collection is the major problem. None of the department or unit monitor
about the activities of the production houses. Though production house are service
motive , they have to pay 13% tax as like other business houses. Even in the financial

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crisis , production house are doing their business. These scenario is the green signal for
the broadcast media.
PROGRAMME PRODUCTION STAGES
Television Program production is the most expensive task with comparing to other
media content. Basically most of the television house couldn’t give equal emphasis to
each and every content so, to maintain the standard they depend on production houses.
In a similar manner as above, we will first arrange everything required for the program
production under the foundation or theme. In the second stage you will actually carry
on the production process, and thirdly you will polish the product for the final
presentation on television.
Thus, we can divide the entire production process into three major stages
Pre-Production
This stage includes everything which we do before entering to the studio or reaching
the shooting location or in field. It involves idea generation, research, scripting,
discussions with all the crew members and talents (actors), arranging equipment, video
/audiotapes, properties, costumes, sets designing or location hunting and booking of
editing shifts. The first thing to know about any and every production is what we want
the program to look like, just like you need to know what you we want to make. This is
the pre production stage. You need a clear idea of what you want to make. Only will
you be able to make a good program, understandable by the audience. Once the idea is
clear, the next stage is how to get from the idea to the television image. To translate an
idea on screen effectively you need a good and detailed script.
In all it involves planning everything in advance. This is very essential to get desired
results. Similarly, if you have worked well in this stage of program the other two
stages become easy and workable with positive results.
Pre-production stage –
This is the stage when we do certain task in the studio or on location and are ready to
shoot or are actually shooting. It includes managing all the facilities, handling of talent
and crew members, controlling the crowd, shooting without hurdles and solving any
problem related on the spot at that time.
Post-Production
This is the third or final stage of program production. It is the stage when we get the
final shape of the program, It includes editing of the recorded audio visuals into
appropriate length, arranging the visuals in a proper sequence, use of desired effects for
the visuals or text / captions, commentary recording, music/song recording, and final
assembly of the entire program.

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TELEVISION PRODUCTION PROCESS
Let us now discuss the equipments required for the production process.

Machinery and Equipment required for Production

We can list out the basic production elements as follows:
Camera
The most basic equipment in any and every production is the camera. In our lives also,
many of us or our friends must have used the camera for capturing various events. If
you carefully look at any camera, you will see a lens in it. This lens selects a part of the
visible environment and produces a small optical image. The camera is principally
designed to convert the optical image, as projected by the lens, into an electrical signal,
often called the video signal.
Lights
Light is essential for camera to capture the visuals. There comes the role of lights in
television production. Lighting any object or individual has three main purposes:
1. To provide the television camera with adequate illumination for technically
acceptable pictures.
2. To show the viewers what the objects shown on screen actually look like, say, for
instance, if there was no light in the room, we would not have been able to see how the
chair, table or anything else for that matter would look like. Lights also help us know
when the event is taking place, in terms of the season and the time of the day.
3. To establish the general mood of the event.

Microphone
Microphone converts sound waves into electrical energy or the audio signals. But the
sounds that we produce are very feeble in nature and, therefore, cannot be sent to larger
distances. Therefore it is amplified and sent to the loudspeaker which reconverts them
into audible sound.
Sound Recorder
Television is the means compelling visuals with the personal immediacy of the radio.
This audio visual character gives it great power in conveying realism in a convincing
way. Television /audio not only communicates information, but also contributes

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greatly to the mood and atmosphere of the visuals that come along with the audio on
screen. The sound recorder essentially records the sound picked up by the microphone.

Video Tape recorder

Television is an audio-visual medium, we need to record both audio and visual
components. While the sound i.e. audio is recorded on sound recorders, visuals are
recorded on video tape in a videotape recorder. Most of the television program that we
see are recorded on videotape or computer disk before they are actually telecast.

Post production Editing Machine:

Before we actually telecast a program on television, we need to do the post
production. In the post production stage, we select from the recorded material, those
visuals which seem to be most relevant and copy them onto another videotape in a
specific order which is called editing. The post production editing equipment/
computer helps to edit the program after it is recorded. While many of the elaborate
editing systems may help you to obtain the desired results, most of them cannot make
the creative decisions for you, therefore important for you to know the desired result
and shoot accordingly.
Again, the better the pre production and production stages of the program are, the more
easier becomes the post production stage. Television production is a team effort. The
team consists of creative talent as core members and there are other support staff also.
The members may be required to perform more than one role and that depends on the
type of organization or a production house, and the type and scale of the production.
Regardless of the specific job functions of the various members, they all have to
interact as a team. Just like you know in every sport, say like cricket, each member of
the team is very important; similarly in television production also, every member plays
a crucial role.
Human Resource in Production House
Producer
In television programme production, the head of the production who is called a
producer is in charge of the entire production. The producer manages the budget and
coordinates with the advertising agencies, actors and writers. The producer is also
responsible for all the people working on the production front and for coordinating
technical and non technical production elements.

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Director
In a television production, the Director is in-charge of directing the actors and
technical operations as per the mission of program. The Director is ultimately
responsible for transforming a script into effective audio and video messages. Where
the camera will be placed, what type of visuals need to be taken, where the actors will
stand, all these are controlled by the director.
Production Assistant
The Production Assistant facilitates all that is required for the smooth execution of the
television production. Both the producer and director are assisted by the production
assistant to manage the task in an effective manner.
Script Writer
One of the basic requirements of television production is the script. The script gives all
the details of the program such as the dialogues, the list of actors, details of the
costumes, the mood required to be created for each scene and their respective
locations. A script writer is the person who writes the script for the program. In smaller
productions, this task is generally done by the director and script writers are hired, if
required.
Actors
Actors are the personnel who perform different roles according to the requirement
of the script.
Anchor
An anchor is a person who presents a program formally on television. They help to
mediate the issues in different manner.
Cameraperson
Camerapersons operate the cameras. They often do the lighting also for smaller
productions. They are also called videographers.

Sound Recordist
A Sound recordist records the complete sound track (dialogue and sound effects) of the
program. The sound recordist is also responsible for background music involved
throughout the program.
Art Director
The Art Director is the incharge of the creative design aspects, which includes set
design, location and graphics of the show.
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Property Manager
The property manager maintains and manages the use of various set and properties. It
is found in large productions only, otherwise the props are managed by the floor
manager only.
Floor Manager
A Floor Manager is in charge of all the activities on the studio floor. He coordinates
talents, conveys the director’s instructions and supervises floor personnel.
He is also called floor director or stage manager.
Costume Designer
The costume designer designs and sometimes even constructs various costumes
for dramas, dance numbers and children’s shows.

Special Characteristics of Television

Television is consider to be the main source of news and information for most
people and as the main channel of communication between politicians and
citizen. It is a widersperead mass media in terms of reach and popularity.
McQuail summarizes some of the characteristics of Television which are
discussed below-

a) Large output range or reach

There are huge number of audience for Television medium. Different programs
are targeted o heterogeneous audience. Television audience may not be limited
within the broader.
b) Complex technology and organization
television is run with complex technologies. So the technological knowledge is
very much necessary. Television station have their organizational structure.
Broad members are appointed for making plan and policies. Staffs are reqited
for the media work.
c) High operating cost
Television use complex technology, which is very expensive. Different workers
are appointed, so the organization has to pay salary to them. Thus, it has high
operating cost.
d) Direct public paricipaton
Public can directly participate in the television program. They can send feedback
according to the program and content.
e) Fastest medium

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 Live telecasting is possible in television. Immidiate inccident can be captured
and broadcast througn television.
f) Close intimate, personally attached nature
Heterogeneous audience watching same program may feel intimate relation with
the character of television. They feel as if the character is the part of their own
life.
g) Diverse content and format
Television programs are designed to fulfill the demand of the audience.
Different audience have different choice. So televion program carry diverse
content and format to attract the audiences.
h) More influensive
Television creats direct effect to the audiences. Audiences believes much on
television. It has more influensive power.
i) Strong distacting factors
Televion audience needs much attension while watching television. Outer force
may distract the audience from the particular program.
j) Extensive regulation
Television institution is the social organization. They have to follow laws, rules
and regulation of the society and nation. They have made their own ethical
guidence. Their major concerns is the resposibilities towards the society.

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 नेपाली टेलिभिजनमा समाचार बुलेटिन, समाचारमूलक कार्यक्रम, टक शो तथा ब्रेकिङ् र फ्ल्यास न्युज
पृष्ठभूमि
नेपाली श्रव्यदृश्य संचारमाध्यममा समाचार र समाचारमूलक कार्यक्रमहरु प्रमुखतम प्रसारण सामाग्री हुन् । नेपालबाट संचालित सबै टेलिभिजन च्यानलहरुमा
समाचारलाई प्राथमिकताका साथ प्रसारण गरेको पाइन्छ । सरकारीस्तरबाट संचालित टेलिभिजन होस्, वा निजी क्षेत्रबाट संचालित नाफामूखी वा स्थानीय
स्तरमा खुलेका क्षेत्रीय टेलिभिजन होस्, समाचार र समाचारमूलक सामाग्रीहरु सबैका लागि दर्शक आकर्षण गर्ने प्रमुख माध्यम भएका छन् । त्यतिमात्र होइन,
टेलिभिजनको आम्दानीसमेत धेरैजसो समाचार र समाचारमूलक कार्यक्रमकै कारण हुने गरेको तथ्य टेलिभिजन स्टेशनहरु स्वीकार्छन् ।

नेपालमा सरकारीस्तरबाट स्थापित नेपाल टेलिभिजन पहिलो टेलिभिजन हो । यहि टेलिभिजनले पहिलोपटक समाचार बुलेटिन प्रसारण थालेको हो । नेपाल
टेलिभिजनबाट पहिलोपटक २०४२ साल पुस १४ मा पहिलो समाचार बुलेटिन प्रसारण भएको थियो। पहिलो समाचार बुलेटिन जम्मा ५ मिनेटको थियो ।
निजीस्तरबाट टेलिभिजन सुरु नभएको अवस्थामा समाचारमूलक अन्य कार्यक्रम पनि नेपाल टेलिभिजनले नै सुरु गर्यो । २०६० मा निजीस्तरबाट कान्तिपुर
टेलिभिजन र इमेज टेलिभिजन सुरु भएपछि समाचार र समाचारमूलक कार्यक्रमले थप विस्तार हुने मौका पायो भने प्रतिस्पर्धाका कारण थप परिस्कृ त र
लोकप्रीय हुँदै गएको देखिन्छ । त्यस्तै समाचार नै मात्र प्रसारण गर्ने च्यानलका रुपमा २०६५ मा दुई च्यानलहरु आएपनि समाचार र समाचारमूलक
कार्यक्रमहरु दिने प्रतिस्पर्धा नै चलेको देखिन्छ नेपाली टेलिभिजनहरुमा ।

नेपाली टेलिभिजनहरुमा प्रसारण हुने समाचारमूलक प्रस्तुतिहरु सामान्यतया निम्न प्रकारका देखिन्छन् ।

१ बुलेटिन
नेपाल टेलिभिजनले सुरु गरेजस्तै देश र विदेशका मुख्य समाचारहरुलाई समेटेर स्टुडियोमा प्रस्तोताले वाचन गरी सुनाउने र सँगसँगै समाचारका दृश्यहरु
देखाउने शैलीलाई नै पछ्याउँदै टेलिभिजनहरुमा समाचार बुलेटिनहरु दिइएको पाइन्छ।समाचार बुलेटिन भन्नाले नियमित रुपमा प्रसारण गरिने विभिन्न
समाचारहरुको संगठित संग्रह हो । यसरी प्रसारित समाचार बुलेटिनमा राजनीति, विकासनिर्माण, अपराध, दुर्घटना, स्वास्थ्य, शिक्षा, खेलकू द, आदि विषयले
प्राथमिता पाउँछन् भने बुलेटिनभित्र रिपोर्टरले ती विषयमा तयार पारेकाप्याके जहरु(रिपोर्ट, फिचर, भक्सपप, आदि) पनि समावेश गरिन्छ । हाल संचालनमा
रहेका अधिकांस टेलिभिजनमा ५ मिनेटदेखि १ घण्टा अवधिसम्मका बुलेटिनहरु हरेक घण्टा प्रसारण गरेको पाइन्छ भने रातको समयमा के हिले यस्ता
बुलेटिनहरु रेकर्ड गरेर प्रसारण गरेको पनि पाइन्छ । नेपाली च्यानलहरुमा प्रसारण गरिने समाचार बुलेटिनहरुमा खासै भिन्नता भने देखिंदैन ।

२ अन्तर्वार्ता
नेपाली टेलिभिजनहरुमा समाचारमूलक कार्यक्रमका रुपमा धेरैजसो प्रसारण गरिने कार्यक्रमको ढाँचा अन्तर्वार्ताका रुपमा प्रस्तुत गरिन्छन् । नेपाली टिभीहरुमा
यस्ता टेलिभिजन टक शोका रुपमा प्रसारण गरिने यस्ता अन्तर्वार्ताहरु संख्यात्मक रुपमा धेरै भएपनि लोकप्रीयता र स्तरीयताको दृष्टिले भने थोरै मात्र राम्रा
पाइन्छन् । दर्शक सर्वेक्षण र यस्ता कार्यक्रमहरुबारे गरिएका अध्ययनहरुले पनि यहि देखाउँछ । के हि लोकप्रीय टक शोहरुमा कान्तिपुर टिभीको दिशानिर्देश र
फायरसाइड, न्युज 24 को टफ टक, इमेज च्यालनको इमेज कु राकानी, आदि हुन् । कान्तिपुर टिभीबाटै प्रसारण हुने सार्वजनिक सुनुवाई र प्यानल डिसकसन
शैलीको बिबिसिको साझा सवाल भने निर्माण, दर्शकको सहभागिता, लगानि, विषयवस्तु, आदिका कारण राम्रो टक शोका रुपमा लिइन्छ।

यस्ता अन्तर्वार्ताहरु प्रायगरि स्टुडियोमै अतिथि निम्त्याएर प्रत्यक्ष वा रेकर्ड गरेर प्रसारण हुन्छन् भने स्थलगत रुपमा गरिएका अन्तर्वार्ताहरु कमैमात्र प्रसारण
गरेको पाइन्छ ।

३ टेलिम्यागेजीन
समाचार बुलेटिनकै शैलीमा दिनको एकपटक कु नै समयमा वा साप्ताहिक रुपमा कु नै एउटा विषयमा मात्र समाचारहरु समेटेर कार्यक्रमहरु प्रसारण गरेको पनि
पाइन्छ । खेलकु द, शिक्षा, स्वास्थ्य वा अन्य विषयमा यस्ता साप्ताहिक समाचार बुलेटिनहरु प्रसारण गरेको पाइन्छ । यस्ता कार्यक्रमलाई टेलि म्यागेजिन
बनाउन खोजेको पनि देखिन्छ । उदाहरणका लागि कान्तिपुर टेलिभिजनको स्कोरबोर्ड, कान्तिपुर आज, एभेन्युज टेलिभिजनको खबरभित्रको खबर, सगरमाथा
टेलिभिजनको खोजखबर, आदि । यी कार्यक्रमहरुमा एउटै वा विविध घटना वा सन्दर्भबारे तयार पारिएका सीनोप्सीस, लामा रिपोर्टहरु, कहिलेकाहीं छोटा
अन्तर्वार्ताहरु र कहिलेकाहीं वृत्तचित्रको ढाँचाका सामग्रीहरु पनि समेटेको पाइन्छ ।

४ ब्रेकिङ् न्युज/फ्ल्यास न्युज

9
टेलिभिजनमा प्रसारण भइरहेको नियमित कार्यक्रम रोके र नितान्त नयाँ कु नै घटनाकाबारेमा तत्काल जानकारी दिनुलाई न्युज ब्रेक वा ब्रेकिङ् न्युज भनेर
बुझिन्छ । अनि जारी कु नै घटनाबारे तारन्तार अपडेट गराउँदै जानुलाई फ्ल्यास न्युज भनेर बुझिन्छ । नेपाली टिभीहरुमा यदाकदा यसरी समाचार प्रस्तुत गरेको
देखिन्छ । तर यस्तै समाचारलाई प्रस्तोता उपस्थित नभई ग्राफिक्सको प्रयोग गरी सम्प्रेषण गर्ने चलन भने नेपाली टिभीहरुमा प्रचलित छ । तर ब्रेकिङ् न्युज वा
फ्ल्यास न्युजको मर्म अनुरुप सूचना प्रवाह गरेको भने कमै पाइन्छ । हरेक समाचारलाई ब्रेकिङ् वा फ्ल्यास न्युजका रुपमा प्रसारण गर्ने परिपाटी देखिन्छ ।

५ स्क्रोल न्युज
टेलिभिजन स्क्रीनको पींधमा देखिनेगरी मुख्य समाचारका मुख्य अंशहरु अक्षरमा स्क्रोल गरी जे देखाइन्छ, त्यसलाई स्क्रोल न्युज भनेर बुझिन्छ । नेपालका
सबै टिभीहरुमा समाचार बुलेटिन जत्तिकै स्क्रोल न्युजलाई पनि नभई नहुने सामाग्रीका रुपमा लिइन्छ ।

अवस्था विश्लेषण

श्रव्य र दृश्य एकै पटक प्रवाहित हुने भएकाले छापा र रेडियोभन्दा टेलिभिजनलाई सशक्त माध्यमका रुपमा लिइन्छ । अझ यसले तत्काल पार्ने असर र
उब्जाउने प्रतिक्रियाले पनि टेलिभिजनलाई शक्तिशाली संचारमाध्यमका रुपमा लिइन्छ । नेपालमा २०६२-६३ को जनआन्दोलनलाई उचाईमा पुर्याउने कार्यमा
नेपाली टेलिभिजनहरुले खेलेको भूमिकालाई आम जनताले पनि सह्रानीय रुपमा लिएका छन् । तर त्यसो भन्दैमा नेपाली टिभीहरु सबै हिसाबमा सबल छन्
भन्ने होइन ।

१ विषयवस्तु
टेलिभिजनमा प्रसारण हुने समाचार बुलेटिन होस् वा अन्य समाचारमूलक कार्यक्रम र टक शो, यीनमा राजनीतिक विषयहरुले प्रधानता पाएको देखिन्छ । एक
अध्ययनअनुसार नेपाली टिभीहरुमा प्रसारण हुने अन्तर्वार्ताका ७१ प्रतिशतभन्दा बढि कार्यक्रमहरुमा राजनीतिक विषयले स्थान पाएका छन् भने स्वास्थ्य,
शिक्षा, विकास, आदि विषयले २९ प्रतिशतभन्दा पनि कम स्थान पाएका छन् । टेलिभिजनहरुको प्राइम टाइम बुलेटिनको समाचार नियमित हेर्दा पनि लगभग
यहि किसिमको आँकडा निस्किन्छ । यसर्थमा टेलिभिजनमा प्रसारण हुने समाचारमूलक भनिएका कार्यक्रमहरुमा उठाउनुपर्ने अन्य थुप्रै गैरराजनीतिक मुद्दाहरु
ओझेल परेका छन् ।

तर राजनीतिक विषय नै प्रधान भए पनि विषयको गहिराईसम्म पुग्ने कु रामा भने टेलिभिजनहरु चुके का छन् । संचार अनुसन्धाता देवराज हुमागाईंको
भनाईमा,"थोरैले राम्रै विषयवस्तु उजागर गरेका भए पनि धेरैजसोले पहाड फोर्न खोजेजस्तो गर्ने तर अन्तमा मुसा देखाउने गरेका छन्। " हुन पनि पर्याप्त
अध्ययन र अनुसन्धानविना नै कार्यक्रमहरु तयार पार्ने वा अन्तर्वार्ता गर्नुले टिभी च्यानल नै मूर्ख देखिएका उदाहरण हामीसँग प्रशस्त छन् ।

हालै मलेसियामा ६ जना नेपालीको हत्या भएको भनेर प्रायजसो संचारमाध्यमले प्रसारण गरेको समाचार गतिलो उदाहरण हो। सुरुमा मलेसियामा ६ जना
नेपालीहरुको हत्या भयो भनेर समाचार प्रसारण गरेका टेलिभिजनहरुले पछि त्यो समाचार गलत र सत्य होइन भन्ने जानकारी पाएपछि घटनाबारे मौन रहे ।
आजसम्म पनि यथार्थ घटना के हो भन्नेबारे कु नै संचारमाध्यमले प्रष्ट समाचार दिएका छैनन् ।

यस्तै टेलिभिजन टक शोहरुमा आलाकाँचा अन्तर्वार्ताकारका अपरिपक्व प्रश्नहरु, अन्तर्वार्ता दिने व्यक्तिको पृष्ठभूमिबारे नै पर्याप्त जानकारी अन्तर्वार्ताकारसँग
नहुनु, कार्यक्रमहरुमा फिचर गरिएका विषय र घटनामाथि प्रस्तोताहरुको सतही विश्लेषण र आक्रामक प्रस्तुती, आदिले पनि विषयवस्तुमाथि समाचारमा
काम गर्नेहरुको अध्ययन अनुसन्धान अपूरो छ भन्ने प्रष्ट हुन्छ ।चर्चित टेलिभिजन टक शो दिशानिर्देशका संचालक विजय कु मार पाण्डे भन्छन्,"टेलिभिजन
टक शो भनेको दुईजना मान्छे बिचमा टेबुल राखेर गफ गर्नु मात्र होइन । टक शो चलाउनु भनेको अथाह सूचना र विचारहरुलाई कलात्मक तवरले
खुट्याउनु र दर्शकसम्म सहि र उपयोगी कु राहरु स्पष्टसँग पुर्याउनु हो ।"

समाचार प्रस्तुत गर्ने क्रममा पनि सूचना र स्रोतको पुनपरिक्षणमा टेलिभिजनहरु बारम्बार चुकिरहेका छन् । ब्रेकिङ् न्युज भनेर दिइने समाचारहरुमा एउटै
टिभीमा फरक समयमा फरक आँकडा देखिनु र अन्य टिभीमा अर्कै खालको आँकडा नदेखिनुले टेलिभिजनहरुमा राम्रो गेट किपिङ् र स्रोत परिक्षण हुँदैन
भन्ने देखाउँछ ।

२ जनशक्ति

अनुसन्धाता हुमागाईंकै शब्दमासंचारमाध्यमको अन्तरवस्तु स्तरीय हुनका लागि त्यहाँ पर्याप्त मात्रामा दक्ष जनशक्ति हुन आवश्यक छ। पत्रकारितामै स्नातक
वा स्नातकोत्तर उत्तीर्ण गरेका जनशक्तिको उपलब्धता बढ्दो छ । तर विडम्बना, संचारमाध्यममा खुला प्रतिस्पर्धाद्वारा नभई अझै पनि चिनजान र व्यक्तिगत
सम्पर्क कै आधारमा जनशक्ति भर्ना गरिन्छ । उपकरण र प्रविधिका लागि लाखौं करोडौं रुपैया खर्च गर्न तयार हुने लगानीकर्ताहरु आफ्नो जनशक्तिलाई
आवश्यक तालिम तथा सीप विकासमा लगानी गर्दैनन् ।

10
टेलिभिजनहरुले आफ्नै खर्चमा आफ्ना कामदारहरुका लागि सीप वृध्दिका लागि तालिम र अनुशिक्षण चलाएको देखिएको सुनिएको छैन । जसले गर्दा
टेलिभिजन पत्रकारिता र प्रविधिबारे अधिकांस पत्रकारहरु अपडेड हुन सके का छैनन् ।

अर्कोतर्फ भएकै जनशक्ति परिचालनका लागि टेलिभिजन च्यानलहरुले पर्याप्त तलब सुविधा नदिनु, त्यो पनिसमयमा नदिनु, जस्ता कारणले स्तरीय प्रसारण
सामाग्री उत्पादन हुन सके को देखिंदैन, भइहाले पनि त्यो लामो समय टिक्दैन । संचारमाध्यममा काम गर्ने धेरै पत्रकारहरु विदेशी गैरसरकारी संस्थाहरुतर्फ
आकर्षित हुनु र वैदेशिक रोजगारीका लागि हिंड्नुले पनि यो कु रा पुष्टि गर्छ ।

संख्यात्मक रुपमा पनि सबै टिभी च्यानलहरुले ७५ जिल्लामै संवाददाता राख्न सके का छैनन् । भएपनि संवाददाताहरु शहर र सदरमुकामहरुमा के न्द्रीत छन्
। टेलिभिजनमा दुर्गम र दूरदराजका समाचारहरु कमै देखिनुको कारण पनि यहि हो ।

३ विविधता

काठमाण्डौंके न्द्रित भएर धेरै संख्यामा टेलिभिजन च्यानलहरु खुल्दै गर्दा उनीहरुले पस्किने सामाग्रीहरुमा विविधता र नविनता नहुनु समस्याको कु रा हो ।
समाचार बुलेटिनहरु र तीनको प्रस्तुतीकरण शैलीमा तात्विक भिन्नता देखिंदैन । टक शोको अवस्था पनि त्यहि छ, विषय, सन्दर्भ र टक शोमा निम्त्याइने
व्यक्ति र उनीहरुलाई सोधिने प्रश्नको ढाँचा पनि करिब करिब उहि नै हुन्छ । खोजमूलक सामाग्री समेटिने समाचारमूलक के हि कार्यक्रमहरु छोडेर धेरैको
अवस्था उत्साहजनक छैन । विषय र प्रसँगलाई सनसनीपूर्ण र आकर्षक बनाउने नाममा ति कार्यक्रमहरु उडन्ते बनेको देखिन्छ ।

पुराना टेलिभिजन कार्यक्रम निर्माता ब्रजेश खनालले नेपाली च्यानलहरुले भारतीय के हि च्यानलको नक्कल गरेकोप्रति आलोचना गर्दै नेपाली च्यानलका
समाचार प्रस्तुतिहरु जिम्मेवारी र समाचार सम्प्रेषणको गहनताभन्दा बढी आक्रामक र क्षणिक आवेगका कु रालाई समातेर दर्शकका भावनालाई निचोर्ने
काममाके न्द्रित देखिन थालेको विश्लेषण गरेका छन् । जसले टेलिभिजनले क्षणिक लाभ र दर्शकको ध्यान खिंच्न त सक्छ तर दीर्घकालीन रुपमा त्यस्ता
प्रस्तुती र च्यानलको साख उठ्न कठिनै पर्छ ।

भिन्न स्वादको कु रा गर्दा माउन्टेन टेलिभिजनले लोक भाकामा दिनभरिका समाचारहरु प्रस्तुत गर्ने कार्यक्रम सुरु गरेको थियो । कार्यक्रमले के हि चर्चा
बटुल्यो पनि । तर त्यो खाली भिन्न स्वादमा मात्र सिमित भयो ।

विशुध्द फिल्मी च्यानलका रुपमा सुरु भएको टिभी फिल्मीले प्रसारण गर्ने फिल्मी खबर भने टेलिभिजनहरुको भिडमा फिल्मी समाचार दिने फरक खालको
बुलेटिन झैं देखिन्छ । यद्यपि अन्य टिभीमा चलचित्र सम्बन्धी अरु कार्यक्रम नभएको भने होइन ।

४ प्रतिस्पर्धा र व्यवसायिकता

निजी स्तरबाट खुलेका च्यानलहरुमध्येको अग्रणी कान्तिपुर टेलिभिजनका समाचार प्रमुख तीर्थ कोइराला भन्छन्, "निजी क्षेत्रका टेलिभिजनहरु राज्य,
समाज र जनताप्रति उत्तरदायित्व वहन गर्ने सन्दर्भमा पूर्ण रुपमा सचेत भएको पाइंदैन ।" प्रतिस्पर्धा र छिटो समाचार दिने नाममा गलत, त्रुटिपूर्ण, भ्रामक र
तथ्यहिन समाचारहरु टेलिभिजनबाट पटकपटक प्रसारण भएको देखिन्छ । छापाको तुलनामा विद्युतीय संचारमाध्यममा गलत समाचारको खण्डन गर्ने प्रचलन
पनि कम छ।

वरिष्ठ पत्रकार ध्रुवहरि अधिकारी भन्छन्,"समाचारको प्रस्तुतिमा अज्ञान र हेलचेक्र्याइँको प्रदर्शन दिन-प्रतिदिन बढिरहेको छ । खोजेर ल्याउनुपर्ने खबरको
त कु रै छोडौं, तयारी अवस्थाका आधिकारिक सूचनालाई पनि ढङ्गसित लेखेर समाचारको रूप दिने काममा लापरबाही भैरहेको दृश्य हरेक दिन
हेर्नुपरिरहेको छ ।"

२०६८ असोज ८ मा भएको बुध्द एयरको विमान दुर्घटनाको समाचार प्रसारण गर्ने क्रममा टेलिभिजनहरुले सम्पादन नगरिएका दृश्य भन्दै घटनामा मृत्यु
भएका यात्रुका डढेका लासहरुको विभत्स दृश्य पटक पटक प्रसारण गरेको कु रा यहाँ सान्दर्भिक हुन आउँछ । घटनामा टेलिभिजन च्यानलहरुको प्रसारण
जनउत्तरदायी त देखिएन नै, पत्रकार आचारसंहिताकै समेत गम्भीर उल्लंघन थियो । यसबारेमा प्रेस काउन्सीलमा उजुरीसमेत परेको थियो र काउन्सीलले
यसबारेमा संचारमाध्यमहरुको ध्यानाकर्षणसमेत गराएको थियो । यो त एउटा उदाहरण मात्रै हो, अरुभन्दा अगाडि देखिने होडमा टेलिभिजनहरुले
आधिकारिक पुष्टि नभएका खबरहरु, आधारहिन तथ्याङ्कहरु, आदि प्रसारण गरेको देखिन्छ जसबाट मिडियाहरु आलोचित हुनुपरेको छ ।

व्यवसायिकताको अर्को प्रसँगमा इमेज च्यानलका तत्कालीन समाचार प्रमुख शरच्चन्द्र वस्तीको भनाई पनि उल्लेखनीय छ । टेलिभिजन संचालकहरु नै के
प्रयोजनका लागि संस्था खोलेको र त्यसको नीति के हुने भन्नेमा स्पष्ट छैनन्। जसले टेलिभिजन खोल्छ, उसैलाई म के गर्दैछु भन्ने कु रा स्पष्ट नभएपछि बिंड
(कामदार) तातेर के नै हुन्छ र ? त्यसैले संचालकहरुले नै मेरो टेलिभिजनलाई कसरी व्यवसायिक बनाउने भन्ने स्पष्ट खाका र योजना बनाउनु जरुरी छ ।
ताप्के नताती बिँड तात्नुको अर्थ छैन ।यहि भनाईलाई आधार मान्ने हो भने पनि व्यवसायिकताको सुरुवात संचारमाध्यम चलाउनेहरुबाटै सुरु हुनुपर्छ । तर यो
व्यवसायिकता मिडिया संचालकमात्र होइन, पत्रकारहरुमा पनि कमै देखिन्छ ।
11
६ निस्पक्षता

तुलनात्मक रुपमा हेर्ने हो भने अन्य माध्यमभन्दा टेलिभिजनमा प्रसारित समाचार र सन्दर्भ सन्तुलित पाइएको छ । २०६५ सालमा भएको संविधानसभाको
चुनाव अवधिमा प्रेस काउन्सिलले गरेको अनुगमनमा पनि छापाको तुलनामा टेलिभिजनले सन्तुलित समाचार प्रवाह गरेको देखियो ।

यस्तै वर्ल्ड भ्यु नेपालले गरेको एक अध्ययनले पनि छापामा ५६.७ प्रतिशत र टेलिभिजनमा ७६.८ प्रतिशत समाचार सन्तुलित देखिए । यसले पनि
सन्तुलनको सवालमा टेलिभिजन अगाडि देखिन्छ ।

तर यसो भन्दैमा पूर्ण रुपमा निस्पक्ष समाचार र सन्दर्भहरु प्रसारण भइरहेका छन् भन्ने चाहिं होइन । अहिले पनि के हि नेपाली टेलिभिजनहरुको नाम राजनीतिक
पार्टीहरुको नामसँग जोडिएर आउने गरेको तथ्य जगजाहेरै छ ।

७ तीव्र सूचना सम्प्रेषण र प्रभावकारिता

टेलिभिजन च्यानलहरुको सकारात्मक पाटो औंल्याउँदा नेपाली टिभीहरु अन्य संचारमाध्यमभन्दा छिटो र प्रभावकारी देखिन्छन् । हरसमय प्रसारणमा रहनु र
प्रविधिमा मारेको फड्को, त्यसमाथि पनि टेलिभिजनका समाचार विभागले चौबिसै घण्टा स्क्रोल न्युज, फ्यास न्युज र ब्रेकिङ् न्युजका रुपमा समाचार प्रवाह
गर्नुले यो सम्भव भएको हो ।

संविधानसभा निर्वाचनताका टेलिभिजन समाचारको प्रभावकारिताबारे कान्तिपुर टेलिभिजनका तत्कालीन समाचार उपप्रमुख सोहन श्रेष्ठको अनुभवले पनि यहि
बताउँछ । एफएम रेडियोले छिटो समाचार प्रवाह गरेर टेलिभिजनलाई चुनौति दिन्छन् कि भन्ने लागेको थियो तर देशका विभिन्न भागबाट गरिएको लाइभ
प्रसारण, ब्रेकिङ् न्युज,स्क्रोल, टेलिफोन वार्ता, ग्राफिक्सको प्रयोग, आदिमार्फ त प्रसारित निर्वाचन परिणामको समाचारका कारण नेपाली टेलिभिजन बढि
प्रभावकारी र सफल भए ।

विज्ञापन एजेन्सीहरुले विज्ञापन र सूचनाका लागि समाचार र समाचारमूलक कार्यक्रमको प्रधानता भएको टेलिभिजन च्यानलहरुलाई नै रोज्नुले पनि यो कु रा
प्रमाणित गर्छ ।

निस्कर्ष

सूचना र समाचारका लागि टेलिभिजन छिटो र प्रभावकारी माध्यम हो । नेपाली टेलिभिजन च्यानलहरु आफ्नो प्रभावकारिता कायम गर्नका लागि आफ्नो
तर्फ बाट लागि नै रहेका छन् । टेलिभिजनका समाचार बुलेटिनहरु, समाचारमूलक कार्यक्रम र टक शोहरु तथा समाचारमूलक अन्य प्रसारण सामाग्रीहरु
निर्माणमा टेलिभिजनहरुको तदारुकता उत्साहजनक छ । तर यो क्रममा पत्रकारिताका मूल्य र मान्यता, व्यवसायिक धर्म तथा दर्शकको रुचि अनि समाज र
राष्ट्रको आवश्यकताको पहिचान गर्दै विश्वसनीयताको प्रवर्ध्दन गर्न उनीहरुले थप मिहिनेत गर्नुपर्ने देखिन्छ । मिडिया संचालकहरुले पनि संचारमाध्यमको
व्यवसायिक लक्ष्य पहिचान गर्नु र स्वस्थ प्रतिस्पर्धालाई प्रोत्साहित गर्नु आवश्यक छ ।

P]ltxfl;s cj:yf -;g\ !(#% klxnf_

 ;g\ !**) df Scientific American gfdsf] klqsfdf 6]lnlehgsf] ;Defjgfaf/]

klxnf]k6s n]v 5flkPsf] lyof] .
 ;g\ !()) df 6]lnlehgnfO{ hgfpg] u/L television zAbsf] klxnf] k6s k]l/; k|
bz{gLdf k|of]u ul/Psf] lyof] .

 6]lnlehgsf] cfljisf/ w]/} j}1flgssf] vf]h cg';Gwfgn] ;Dej ePsf] xf] . To;df
klg kpn lgKsf], af]l/; /]l+;ª, cf]l/lsg, Pn]S;h]08/zgnufotsf JolQmsf] 7'nf]
e'ldsf 5 .

12
 ;g\ !(!! b]lv !(@% ;Dd b[Zo k|;f/0f;Fu ;DalGwt sfd a9L ePsf] kfOG5 .
To;a]nf o;nfO{ hl6n dflgPsf] lyof] .

 ;g\ !(@^ df afo8{ gfdsf cGj]ifsn] n08gdf 6]lnlehg b[ionfO{ Ps7fpFaf6

csf]{7fpF k7fpg clwsf/ kfPsf lyP . @ jif{;Ddsf] k|of;kl5 pgn] n08gaf6
Go'of]s{;Dd b[ionfO{ k7fpg ;kmn eP .

!(#% b]lv !($!

 ;g\ !(#% dfr{df hd{gLn] klxnf]k6s 6]lnlehg k|;f/0f ;]jf z'? u¥of] . o;sf]
‘l/hf]n'zg’ sd;n lyof] eg] bz{s klg guGo lyP .
 ;g\ !(#^ df aLaL;Lsf] z'?jft eof] . o;nfO{ ljZjs} klxnf] ;fj{hlgs, lgoldt
k|;f/0f x'g] / ‘xfO l8lkmg]zg’ 6]lnlehg :6]zg dflgG5 .

 6]lnlehg ljsf; qmddf dxTjk'0f{ of]ubfg lbg]df Enflbld/ cf]l/lsg / lkmnf]

kmG;{cf]y{ lyP . #) sf] bzsdf 6]lnlehgsf] b[Zo sd;n lyof] eg] k|fljlws kIf
klg sdhf]/ lyof] . o;df ;'wf/ Nofpg logLx?n] dxTjk'0f{ e"ldsf v]n] .
cf]l/lsgn] :yfkgf u/]sf] ‘cf/;LP’ ;:yfn] ;g\ !(#( df cd]l/sfdf ‘PgaL;L’ gfdsf]
Joj;flos 6]lnlehg k|;f/0f z'? u¥of] .

 ;g\ !(#& df a]nfotdf hh{ 5}6f}sf] /fHoflez]s / ljDAn]8g 6]lg; k|

ltof]lutfnfO{ 6]lnlehgaf6 b]vfOPsf] lyof] . o;a]nf;Dd ( xhf/ cf]6f
6]lnlehg ;]6 ljqmL ePsf lyP . kmfG;n] klg Okm]n 6fj/df zlQmzfnL
6«fG;ld6/ /fv]/ 6]lnlehg ;~rfng ug]{ of]hgf agfof] . To;a]nf;Dd cd]l/sfdf !
* cf]6f k|of]ufTds kl/If0f 6]lnlehg :6]zg ;~rfngdf cfO;s]sf lyP .

 ;g\ !(#* df cf/;LPn] 6]lnlehgsf] k|fljlws kIfdf cem ;'wf/ ug{ ;kmn eof] .

 ;g\ !(#( clk|n @) df Go'of]s{ jN8{ d]nfdf ‘cfjfh ;lxtsf] b[io ’ b]vfpg]
3f]if0ff ul/of] . !) lbgkl5 tTsflng /fi6«klt km]8]l/s l8Nofgf] ?
ha]N6nfO{ klxnf]k6s 6]lnlehgaf6 b]vfOof] . To;kl5 6]lnlehg ;]6sf]
ljqmL a9\of] . a]nfotdf eg] To;a]nf;Dd @) xhf/ ;]6 ljqmL eO;]s]sf lyP .
bf];|f] ljZjo'4sf] z'?jft;Fu} ;]S6]Da/ !, !(#( sf lbg j]nfotdf 6]lnlehg
6«fG;ld;g aGb ul/of] .

;g\ !($! Dff

13
 cd]l/sfsf] Pkm;L;L -km]8]/n sDo'lgs]zg sldzg_ n]
6]lnlehg :6]zgnfO{ Joj;flos lj1fkg k|;fzg ug{ cg'dlt lbof] . o;nfO{ cd]l/sL
6]lnlehg k|;f/0fsf] klxnf] lbg klg elgG5 . lsgls of] eGbf klxnf k|;fl/t s'/f
kl/If0fsf] ?kdf dfq lnOGYof] . PgaL;L klxnf] Joj;flos ?kdf k|fof]hg
ul/Psf] sfo{qmd k|;f/0f ug]{ 6]lnlehg aGof] .

!($@ b]lv $% ;Dd

Joj;flos pb]Zon] pTkfbg ul/Psf ;a} k|sf/sf 6]lnlehg ;fdu|LnfO{ bf];|f] ljZj
o'4 hf/L /x'Gh]n;Dd lgif]w ul/of] .

;g\ !($^

cd]l/sfn] o'4kl5 6]lnlehg ;]6 pTkfbg z'? u¥of] . 6]lnlehg ;]6nfO{ ljleGg k|
sf/ / ;fOhdf pTkfbg ug{ yflnof] . o;/L pTkfbg ug]{ sDkgLx?dWo]
cf/;LP ;aeGbf cuf8L lyof] . /lª\ug 6]lnlehg lgdf{0f sfo{ z'?jft ul/of] . z'?df
o;n] ;kmntf xfl;n gu/]tf klg bz{snfO{ cfslif{t ug{df eg] ;kmn eof] .

bf];|f] ljZj o'4kl5 6]lnlehgn] :yfloTj kfof] . o'4df dflg;sf] j:t÷;fdfgsf] pkef]u
ug]{ afgL df ;+s'rg cfPsf] lyof] . To;n] art a9\g k'Uof] . To;}n]
o'4sf] ;dfKtL;Fu} 3/, sf/, 6]lnlehgh:tf ljnfl;ttfsf ;fdfg vl/bsf] qmdn] ult lng
k'Uof] . 6]lnlehg klg t'?Gt w]/}n] vl/b ug]{ ;fdfgdf kg{ ;kmn eof] . o;n]
cd]l/sf / a]nfotdf 6]lnlehgsf] ljqmL a9\g yfNof] .
6]lnlehgsf] :j0f{ o'u M !(%) sf] bzs

 o'4sf] ;dfKtLn] ljqmL dfq a9fPg 6]lnlehg k|ljlwn] ljsf; x'g] df}sf klg
kfof] . 6]lnlehgsf] :qmLgsf] ;fOh a9fOof] . sfo{qmd pTkfbgdf klg
j[l4 x'g yfNof] .

 !($% df cd]l/sfe/ * cf]6f 6]lnlehg :6]zg / * xhf/ 3/df dfq l6eL lyof] .

 !(%% df ;o 6]lnlehg :6]zg / # s/f]8 %) nfv 3/df l6eL k'Uof] . of]

tTsflng hg;ª\Vofsf] ^& k|ltzt lyof] .

 6]lnlehgsf] clws ;kmntfn] ubf{ Pkm;L;Ln] sfg'g agfP/ gofF

6]lnlehg :6]zg :yfkgfnfO{ /f]Sg' k/]sf] lyof] .

14
  !(%) df cd]l/sfdf ;LaLP;, PgaL;L, PaL;L / 8'–df]06 u/L $ cf]6f k|d'v
6]lnlehg g]6js{ . oLgdf klg ;LaLP; / PgaL;L cuf8L lyP .

 o;a]nf 6]lnlehgsf] k|fOd 6fOddf k|;f/0f x'g] sfo{qmdx? lj1fkg

Ph]G;Laf6 lgdf{0f ul/Psf x'Gy] . pgLx? zlQmzfnL ePs}n]
lj1fkgsf] :yfg / ;do ;d]t lgwf{/0f ug]{ Ifdtf /fVy] .

 !(%^df PDk]S; skf]{/]zgn] lel8of] 6]ksf] ljsf; u¥of] . o;n] 6]lnlehg

sfo{qmdnfO{ :6f]/ ug{ ;lhnf] agfof] .

 !(%( b]lv SjLh zf] k|;f/0f x'g yfNof] . of] :jtGq lgdf{0f sDkgLn]
pTkfbg ug]{ x'bfF lj1fkg Ph]G;Lsf] 6]lnlehg dflysf] lgoGq0f lj:tf/}
36\g k'Uof] .

 %) s} bzsdf /lª\ug 6]lnlehg k|;f/0fdf cfof] . /lª\ug 6]lnlehgsf] ljsf;df

cf/;LP gfds sDkgLsf] k|d'v e'ldsf /x]sf] 5 . oxL sDkgLsf] PgaL;L
6]lnlehg g]6js{n] o;sf] klxnf] k|of]u u¥of] . ;g\ !(^) ;Dd @ b]lv #
306f dfq b}lgs ?kdf /lª\ug 6]lnlehg k|;f/0f x'GYof] .

 %) sf] bzssf] k'jf{wdf 6]lnlehg g]6js{af6 k|;f/0f ul/g] sfo{qmdx? u]d

zf], :kf]6{ Oe]06, cGtjf{tf, sd]8L / 8«fdf lyP . o;} ;dodf lkmr/ lkmNd
/ 6s zf] km/Dof6 klg ylkP .

 o; bzsdf b]vfOg] zf]x? clws nf]slk|o eP . To:tf zf]x?df toast of the

town, Texaco star theatre, studio one nufot lyP . gofF ljwfsf] ?kdf
adult western sf] ljsf; x'g k'Uof] . h;df gunfight b]vfOGYof] .
lel8of]6]ksf] nf]slk|otfn] sfo{qmdnfO{ k|ToIf b]vfpg] qmd 36\of] .

 ;g\ !(%( ;]S6]Da/ !% af6 ef/tdf kl/If0fsf] ?kdf 6]lnlehgsf] z'?jft eof] .
cn Ol08of /]l8of]sf] sfof{no;Fu} o;sf] z'?jft ul/of] . z'?jftdf xKtfsf]
b'O{ k6s b'O{ Ps 306fsf] sfo{qmd k|;f/0f ul/GYof] . To;a]nf z}lIfs
sfo{qmd a9L b]vfOGYof] . ;g\ !(&^ df 6]lnlehgsf] gfd …b'/bz{gÚ
/flvof] / 5'6\6} sfof{no ejg lgdf{0f ul/of] . !(*@ af6 o;n] e"–pku|xsf]
dfWodaf6 b]ze/ cfkm\gf] ;]jf k'¥ofpg ;kmn eof] . () sf] bzskl5 eg]
ef/tdf lghL 6]lnlehgsf] cfudg z'? eof] .
!(^) sf] bzs M 6]lnlehg ;a}sf] nflu ;fdfGo

15
 6]lnlehg s;}sf] nflu klg cgf}6 ljifo /x]g . cme}m klg
6]lnlehg :6]zgsf] ;ª\Vofdf eg] lg/Gt/ j[l4 eO/x]sf] lyof] . o; bzssf]
cGTo;Dddf cd]l/sfsf] (% k|ltzt 3/df 6]lnlehg k'lu;s]sf] lyof] .

 oxL bzsaf6 6]lnlehg kqsfl/tfn] cem a9L k|fyldstf kfpFg z'? u¥of] .
PgaL;L / ;LaLP; 6]lnlehg g]6js{n] News k|;f/0f ;donfO{ j[l4 u/] . ;g\ !
(^# ;Dddf pgLx?n] !% ldg]6 k|;f/0f ub}{ cfPsf] ;dfrf/ cjwLnfO{ cfwf
306fsf] agfP .

 ;g\ !(^) d} cd]l/sL /fi6«kltsf pDd]b\jf/ l/r8{ lgS;g / hf]g Pkm s]g]8LaLr
lgjf{rgclw ePsf ax;nfO{ k|;f/0f ul/of] . To:t} !(^# df /fi6«klt hf]g Pkm
s]g]8Lsf] xTof, bfx;+:sf/ / To;} a]nf p7]sf] l;len /fO6 df]ed]06sf] se/]h
6]lnlehgx?n] u/] . o;n] l6eLsf] nf]slk|otf / ljZj;lgotf a9fpgsf] nflu 7'nf]
e"ldsf v]Nof] .

 To;df klg ;g\ !(^( df 6]lnlehgsf] rrf{ / nf]slk|otf ;kmntfsf] r'r'/f]df

k'Uof] . lsgls of] jif{ lgn cfd{i6ǻn] rGb|dfdf lx8]sf] b]vfOof] .
;g\ !(&) sf] bzs – cfdgful/sdf a9\bf] rf;f]

 6]lnlehg sfo{qmdn] kfg]{ k|efjaf/] cfdgful/sdf rf;f] a9\g yfNof] . lx+;f /

åGå b]vfOg] sfo{qmdaf/] cWoog z'? ul/of] .

 cg';Gwfgstf{n] u/]sf o:tf cWoogn] To:tf sfo{qmdn] o'jf / jfnaflnsfnfO{

cfqmds agfpg] glthf b]vfof] . To;kl5 eg] afnaflnsfsf] nflu sfo{qmd
lgdf{0f ubf{ Wofg lbg'kg]{ s'/f hf]8bf/ ?kdf p7\g z'? eof] .
6]lnlehg;DaGwL gLlt lgod agfpg] 7fpFdf cfd gful/ssf] cfjfh / k|
ltlgwLnfO{ klg :yfg lbg yflnof] .

 oxL bzsdf s]jnsf] ljsf; x'g k'Uof] . o;n] …Po/ a|f]8sf:6/ 6]lnlehgÚ
nfO{ k|efj kfg{ z'? u¥of] .

 &) sf] bzssf] k'jf{wdf 6]lnlehg sfo{qmddf b]lvPsf] ;a}eGbf k|efjsf/L

…6«]08Ú gLlt lgod;Fu ;DalGwt sfo{qmd clws k|;f/0f x'g k'Uof] .
To:tf sfo{qmdx?df The FBI, charlie's Angels, mannix nufot lyP . bzssf]
pQ/fw{;Dd cfOk'Ubf eg] comedis, shows, soap opera nufotsf
sfo{qmd prime time hit x'g k'u] . To:tf s]xL sfo{qmdx?df All in the
family, Sanford and son, Dallas, Dynasty nufot lyP .
16
 !(*) / () sf] bzs M 6]lnlehg :6]zgaLr k|lt:kwf{

 oL bzsdf 6]lnlehg :6]zgx?aLr b]lvPsf] d"Vo 6«]08 k|lt:kwf{ xf] .

k'/fgf 6]lnlehg g]6js{df Audience sf] ;ª\Vof 36\g] / s]jn Rofgndf j[l4
x'g] qmd b]lvof] . &) sf] bzssf ;a}eGbf 7'nf 6]lnlehg g]6js{ CBS, NBC /
ABC lyP . k|fOd 6fOddf logLx?sf] sfo{qmd () k|ltzt dflg;n] x]g]{ uy]
{ . t/, !(() df cfOk'Ubf of] ^) k|ltztdf emg{ k'Uof] .

 ;g\ !(*& df ldl8of …6fOs'gÚ ?k6{ d8{sn] News corporation z'? u/] .
To:t} !(() b]lv United paramount network / warner broadcasting
network klg k|;f/0f z'? u¥of] . logLx?n] cfsif{s sfo{qmd k|:t't u/]/
cem} 6]lnlehgnfO{ nf]slk|o agfpb} nu] .

 *) sf] bzsdf ljsf; ePsf] VCR (video cassettes Recorder) n] 6]lnlehg

pBf]usf] ljsf;df dxTk"0f{ ;xof]u k'¥ofof] . o;n] lkmNdnfO{ ef8fdf
lbP/ sdfO ug]{ Joj;fosf] ?kdf km:6fpg k'Uof] . o:tf] Joj;fo s/f]8f}
8/ndf eof] . VCR n] ubf{ dflg;n] cfkm\gf] lgoGq0fdf
6]lnlehgnfO{ x]g{ ;Sg] ;xh agfof] . kmn:j?k nf]slk|otf sdfpb} uof] .

 !(($ df b'O{ sDkgL direct TV / united states satellites broadcasting n]

satellite af6 k|ToIf k|zf/0f x'g] sfd ;Dej agfP . o; k|ljlwsf] ljsf;n] 3/df
Ps}rf]6L w]/} Rofgn x]g{ ;Dej agfof] .

 *) sf] bzsdf kl/jf/ s]lGb|t sd]8L (family oriented comedies) nf]slk|o eP

. To:tf sd]8Lx?df the cosby show, family ties nufot 5g .

 () sf] k'jf{wdf k|fOd 6fOddf 60 minutes, 20 by 20, Datelines NBC h:tf

News magazine rlr{t x'g k'u] .

;g\ @))) kl5

 6]lnlehg k|;f/0f z}nLdf lg/Gt/ kl/jt{0f b]lvG5 . pgLx?n] a]a;fO6dfkm{t

cfkm\gf content nfO{ pknAw u/fpg yfn]sf 5g . ;+;f/s} ;a}eGbf 7'nf $
k|;f/0f g]6js{ ABC, CBS, NBC / Fox n] gofF k|ljlwnfO{ k5\ofO/x]sf 5g .
pgLx?n] Itunes, Cellphone / PDF format df ;d]t content nfO{ pknAw
u/fpg yfn]sf 5g . pbfx/0fsf] nflu Ness corporation n] @))% df Myspace
vl/b u¥of] / cfkm\gf sfo{qmd o;df pknAw u/fpg z'? u¥of] .
17
 sfo{qmd k|;f/0fsf] lx;fan] @))& ;Dd klg scripted program eGbf Reality
show a9L nf]slk|o 5g . To:tf show x?df American Idol, survivor, Dancing
with the stars, Deal or no deal /x]sf 5g .

…l8hL6nÚ o'udf k|j]z

 ;g\ @))( February !& b]lv cd]l/sfn] 6]lnlehg ljlwjt ?kn] digital o'udf k|
j]z u/]sf] wf]if0ff u¥of] . o; ldltdf cd]l/sfsf] dflyNnf] ;bg s+u|];n]
analogue broadcasting sf] cGTo / digital broadcasting z'? ePsf] sfg'g
kfl/t u/]sf] 5 .

 ;g\ @)!& ;Dddf k"0f{?kn] l8lh6n k|0ffnLdf hfg'kg]{ If]lqo /

cGt//fli6«o 6]lnlehg ;+:yfx?sf] cleofg 5 . g]kfnL 6]lnlehgx?n] klg o;df
k|ltj4tf JoQm u/]sf 5g . t/, l8lh6n k|ljlwdf hfgsf] nflu cfjZos ;|f]t h'6fpg
t];|f] ljZjsf b]znfO{ sl7g 5 .
g]kfndf 6]lnlehg
lj; @)@* ;fndf tTsflng >L % sf] ;/sf/n] hf/L u/]sf] …/fli6«o ;~rf/ ;]jf of]hgf’
df klxnf]k6s …6]lnlehgÚ zAbsf] k|of]u ePsf] lyof] . o; of]hgfdf ‘eljiosf nflu
cfjZos 6]lnlehg Joj:yfsf lgldQ rflxFbf] ;j]{If0f ug{ ;r]i6 /xg] ’ pNn]v ul/Psf]
lyof] .
lj; @)#& ;fndf kqsfl/tf hutsf] Jojl:yt kl/rfngsf] nflu ;jf]{Rr cbfntsf cltl/Qm
Gofoflw; lqnf]s k|tfk /f0ffsf] cWoIftfdf kmfu'0f !! ut] /fhf lj/]Gb|af6 zfxL
k|]; cfof]u u7g u/]
@)#* ;fndf o; cfof]un] 6]lnlehg :yfkgf ug]{ ;DaGwdf ;DefJotf cWoog u/L
of]hgfa4 ?kdf sfo{;~rfng ug{ l;kmfl;/ u/]sf] lyof] .
@)#* d} /fhf lj/]Gb|n] /fli6«o k~rfotnfO{ ;Daf]wg ub{}{ g]kfndf
6]lnlehgsf] ;DefJotf cWoog ug{ ;/sf/nfO{ lgb]{zg lbPsf lyP . To; a]nf
/fli6«o k~rfotleq o;sf] kIf / ljkIfdf ;d]t ;3g ax; ePsf] lyof] .
lj; @)$! Cufl8 ljleGg JolQm / ;+:yfn] 6]lnlehg k|;f/0fsf] ;DefJotf cWoog
u/]sf lyP . ltgLx?df xl/z/0f >]i7, jN8{Eo" O06/Gof;gn, cd]l/sL 6]lnlehg k|
ljlwlj1 l6df]yL a|]j/nufot 5g .

18
To; ;dodf ef/tdf 6]lnlehgsf] nf]slk|otf a9\bf] lyof] . o;n] sf7df08f}+sf s]xL
pRr ju{sf dflg;x? ef/tsf] b"/bZf{g x]g{ yfln;s]ssf lyP . To;}n] ef/lto ;+:s[lt
efiff / hLjgz}nLsf] k|efj kg{ uO{ ;f:s[lts clts|d0f x'g ;Sg] ;Defjgf ePsf sf/0f
klg g]kfndf l6eLsf] cfjZostf cem a9L dx;'; ug{ yflnof] .
csf{] tkm{ oxL ;dodf g]kfnL ahf/df ;lhn} pknAw x'g yfn]sf] lel;cf/n]
ubf{ pRr au{n] 3/d} a;]/ lab]zL l;g]df x]g{ yfn]sf lyP . TotL dfq
geO{ sf7df08f}sf dvg OGb|rf]sh:tf 7fpx?df n'lsl5lk lab]zL l;g]df / clZnn
lel8of] b]vfpg] s|d lta| ePsf] lyof] . o:tf] cj:yfnfO{ /f]Sg ;/sf/ ;Ifd lyPg . csf]
{lt/ of] /f]lsg] ;Defjgf klg lyPg . To;}n] :jYo dgf]/Ghgsf] Joa:yf ug{'
ckl/xfo{ ePsf] lyof] . @)$! ;fn df3 !& ut]] 6]lnlehg k|;f/0fsf] tof/Lsf nflu
g]kfn 6]lnlehg kl/of]hgf :yfkgf ul/of] .
lj; @)$@ g]kfn 6]lnlehg kl/of]hgf4f/f nflhDkf6l:yt sfof{Nfoaf6 ;fpg @( ut]
klxnf] ;kmn 6]lnlehg k/LIf0f k|;f/0f ;DkGg . t/ To;a]nf g]kfndf bIf hgzlQm /
k|lalw lyPg . t/, /fli6«o cv08tf, ;f:s[lts ;Dkbfsf] ;+/If0fsf] ;jfn eg]
dxTjk"0f{ aGb} uPsf] lyof] . o:tf] cj:yfdf 6]lnlehgsf] z'?jft ul/g' 7"n}
pknlAw dflgof] .
@)$@ k'if !@ ut] ;/sf/n] g]kfn 6]lnlehg kl/of]hgfnfO{ g]kfn 6]lnlehg ;
+:yfgdf kl/0ft u/L ;+:yfg P]gcGt{ut lalwat :yfkgf u¥of] .
@)$@ k'if !$ b]lv g]kfn 6]lnlehgn] lgoldt k|;f/0f z'? u¥of] . k|;f/0f ;do ;fFem
& b]lv ( ah];Dd lyof] .
z'?df sf7df08f}sf s]xL efudf dfq o;sf] k|;f/0f ul/of] . l;x+b/af/sf] k'tnL
au}rfdf /x]sf] Pp6f ;fgf] sf]7fnfO{ o:n] cfkmgf] :6'l8of]sf] ?kdf k|of]u u/L
k|;f/0f u/]sf] lyof] . o;sf] s]lx ;dokl5 dfq pkTosfJofkL eof] .
lj; @)$# ;fndf ef/tsf] a}+unf]/df ePsf] bf];|f] ;fs{ lzv/ ;Dd]ngsf] g]kfn
6]lnlehgn] k|ToIf k|;f/0f u¥of] . of] g} cGt//fli6«o If]qaf6 k|ToIf k|;f/0f
ul/Psf] klxnf] k6s ;kmntf ldNof] .
k|f/Dedf ;fdfGo 3/df k|of]u ul/g] pks/0faf6 k|;f/0f ;]jf ;'? eP/ s|lds ?kdf
Joa;flos pks/0fsf] k|of]u x'g yfNof]
lj; @)$& kl5

19
@)$^ ;fnsf] hgcfGbf]ngkl5 ag]sf]] @)$& sf] ;+lawfgn] hgtfsf] df}lns xssf] ?
kdf jfs tyf k|sfzg :jtGqtfsf ;fy;fy} ;'rgf dfUg kfpg] xssf] Uof/]l06 u¥of] . t/ k|
hftGq axfnL kZrft klg of] xs clwsf/ Aojxf/df nfu" gePsf] eGg] cfjfh laleGg
kIf / :jo+ kqsfl/tf hutaf6 p7]sf]n] ;/sf/n] lghL If]qnfO{klg ;+rf/If]qdf ;xefuL
u/fpg] lglt Nofpg afWo eof] .
/fli6«o ;+rf/ gLlt @)$( n] ;"rgf / ;+rf/sf ;Dk"0f{ dfWodx?nfO{ ljZj;lgo, k|
efjsf/L Pj+ ;'b[9 agfpg'kg{] cfjZostf ePsf]n] ;"rgf / ;+rf/sf If]qdf pknAw
cfw'lgstd k|lalw / k|lsofsf] k|of]u u/L cfjZos / pko'Qm dfWodx?sf lglDt lghL
If]qsf] ;d]t ;xefuLtf a9fpb} hfg' kg{]df hf]8 lbof] . o;n] aiff}b]vL ;+rfngdf
cfPsf ;/sf/L ;+rf/ dfWodx?sf] PsflwkTo tf]8\g] sfd u¥of]
/fli6«o k|;f/0f P]g, @)$( / /fli6«o k|;f/0f lgodfjnL @)%@ n] lghL
If]qnfO{ klg 6]lnlehg k|;f/0fsf] af6f] v'Nnf ul/lbof] . o;}sf] kmn:j?k @)%&
c;f]h !@ ut] lgodfjnLsf] lgod # adf]lhd klxnf] k6s /fOlh8 g]kfndf ;"rgf k|
sflzt u/L lghL If]qaf6 ;+rfng ug{ k|:tfj cfAxfg ul/of] . o:fdf ;u/dfyf 6]lnlehg,
Od]h Rofgn, k|fOd a|f]8sfl:68, :k]z 6fOd g]6js{ k|f ln, lxdfnog l6 eL,
sflGtk"/ 6]lnlehg g]6js{, cGgk"0f{ ldl8of 6«fG;ld;g, k|f]km];gn a|f]8sfl:68
k|flnnufot ;+3;+:yfx?n] cfj]bg lbP .
@)%* df Rofgn g]kfnn] yfONof08sf] a}s+saf6 e"pku|xdfkm{t 6]lnlehg
k|;f/0f z'? u¥of] . of] Rofgn e"pku|xdfkm{t k|;f/0f z'? ug]{ klxnf] 6]lnlehg
x'g ;kmn . -o; Rofgnn] eg] gLltsf] d:of}bf x'b}ubf{ g} dlGqkl/ifbsf]
lg0f{oaf6 k|;f/0fsf] nflu cg'dlt k|fKt u/]sf lyof] ._
lj; @)^) c;f/ @( ut]af6 lghL If]qsf] ?kdf Od]h Rofgn / sflGtk"/ 6]lnlehgn]
k|;f/0f z'? u/] .
@)^) d} g]kfn 6]lnlehgsf] bf];|f] Rofgnsf ?kdf Pgl6eL Kn; -tTsflng d]6«f]
Rofgn_ sf] k|;f/0f z'? .
lj; @)^# g]zgn 6]lnlehg
lj; @)^$ PleGo'h, ;u/dfyf 6]lnlehg, t/fO{ 6]lnlehg,
lj; @)^% PaL;L 6]lnleh, l6lelkmNdL, dfp06]g 6]lnlehg, lj; @)^^ lxdfnog
6]lnlehg
lj; @)^& Go'h 6\jf06L kmf]/, O 6\jf06L kmf]/
20
xfn 8]9 bh{g 6]lnlehg Rofgnx? Kf|;f/0fdf /x]sf 5g eg] plQs} ;+Vofdf k|;f/0f
cg'dlt kfPsf 5g . s]xL 6]lnlehg eg] aGb x'g] qmd klg z'? ePsf] 5 . g]kfnL
efiffdf otL w]/} Rofgnx?sf] ;+rfng ePsf] ePtfklg s]xL afx]s afsL :6]zgx?sf]
d'Vo k|;f/0f If]q eg]sf] sf7df08f} pkTosf g} xf] .
dxTj

 Pp6}dfq g]kfnL Rofgn x]g{ afWo g]kfnLn] 6]lnlehg Rofgnsf] j[l4;u}

cfkmgf ?rLcg';f/sf laifoa:t' 5gf}6 ug{] cj;/ kfPsf 5g\ .
 lghL If]qsf] cfudgn] aiff}] ;Ddsf] ;/sf/L dfWodsf] PsflwkTo tf]8]sf]
dfq 5}g, o:fnfO{ ;'wf/ ug{ afWo agfpb} nu]sf] 5 .
 blnt plTkl8t tyf l;dfGts[t ;d'xsf] cfjfh d'nwf/df cfpg yfn]sf] 5 . ;dfhsf ;j}
au{sf] k|ltlglwTj x'g] vfnsf sfo{qmdsf] lgdf0f{ x'g yfn]sf 5g .
 o; If]qdf 7"nf] ;ª\Vofdf /f]huf/Lsf] l;h{gf ePsf] 5 . 5gf]6sf] cj;/ k|fKt
ePsf] 5 .
 bz{sn] cfkm\g} efiffdf k|z:t laifoa:t' 5gf]6 ug{ kfPsf 5g . hgr]tgfdf
cfPsf] a[l4n] lasf;sf cjwf/0ffnfO{ hg:t/;Dd k'¥ofpg 6]lnlehgn] e'ldsf
v]Ng ;S5g .
ljz]ifLs[t 6]lnlehg sfo{qmdx?
k[i7e"ld
6]lnlehg h;\nfO{ 5f]6s/Ldf l6le jf 6]ln klg elgG5 . of] >Jo b[Zo kbf{ ePsf]
Ps pks/0f xf] . g]kfnL efiffdf o;nfO{ b'/bk{0f / b[iojflxgL elgG5, t/ oL
zAbx? ;fdfGo k|rngdf 5}gg\, / ;fdfGotof l6le elgG5 .
6]nLlehg k|ljlwsf] cljisf/sf w]/} j}1flgssf] gfd hf]l8Psf] 5 . ;g\ !**$df hd{gsf
lgKsf] eGg] j}1flgsn] Sofy8{ /] eGg] Ps lsl;dsf] l:qmgsf] cfljisf/ u/]sf lyP .
o;df tf/4f/f ls/0fx? ;lxt lrq k7fpg ;lsGYof] . o;}af6 6]lnlehgsf] ;'? x'g] ;ªs]t
ldn]sf] lyof] . ;g\ !(@# df Enflbld/ hf]/lsgn] cf/sf]gf]:sf]k 6\o"asf] cfljisf/
u/]kl5 pgL4f/f g} t:aL/sf] cfljisf/ eof] . ?l; j}1flgs sG:6\ofLG6g
k]:SoL{n] ;g\ !()) df ;j{k|yd 6]lnlehg zAbsf] k|of]u u/]sf lyP . /]l8of] cflj:sf/
u/]sf dfsf]{gLn] /]l8of] k|ljlwjf6 6]lnlehgsf] ;d]t clj:sf/ ug{ ;lsg] atfPsf lyP .
t/ pgn] Tof] cjwf/0ffnfO{ oyfy{df kl/0ft ug{ eg] ;s]gg\ .
;g\ !(@^ df h]Pn j]o8{sf] g]t[Tjdf /x]sf] Pp6f ;d'xn] /]l8of] k|ljlwsf] ;xfotf
lnP/ dxf/fgL Plnhfj]ysf] tl:a/ clªst a]nfotL l;SsfnfO{ k|;f/0f u/]sf lyP . o;\
21
nfO{ g} 6]lnlehgsf] klxnf] k|;f/0fsf ?kdf ;d]t lrlgG5 . a]nfot;Fu} cd]l/sfn] klg
6]lnlehg k|;f/0fdf sfd cuf8L a9fPsf] lyof] . cd]/Lls 6]lnlehg k|0ffnLnfO{ ljsf;
ug{df rf/ j}1flgsx? lkmnf] 6L= kmfg{:jTy{, Pn]g aL=, 8'dG6, rfN;{ h]lGsG;
/ Enflbld/ hf]l/sgsf] of]ubfg /x]sf] 5 .
!(@& df Go'of]s{ / jfl;+6gjLr a]n 6]lnkmf]g k|of]uzfnfnn] k/LIf0fsf ?kdf
6]lnlehg sfo{qmd k|;f/0f u¥of] eg] !(#) sf] bzsaf6 o;sf] ljsf;n] tLj|tf kfof] .
6]lnlehg k|zf/0fsf] lgoldt / cf}krfl/s k|;f/0fsf] s'/f ug]{ xf] eg] ;g\ !(#^ df
j]nfotsf] ljlj;L;Dd k'Ug' kg]{ x'G5 . To;}ul/ cd]l/sfdf klg !(#( af6 l6le k|;f/0f
z'? ePsf] Oltxf; kfOG5 . !($) / %) sf] jLrdf ePsf] bf]>f] ljZjo'4sf sf/0f oL
d'n'sx? jfx]s cGo d'n'sdf eg] !(%) sf] bzskl5 dfq 6]lnlehg k|zf/0fn] ult lnPsf]
b]lvG5 . o;af6 s] b]lvG5 eg] 6]lnlehgsf] z'?jft lglh k|of;af6} ePsf]] xf] t/ o;sf]
k|efjsfl/tf b]lvg yfn]kl5 o;nfO{ ;/sf/L lgoGq0fdf /flvof] t/ k|ljlwsf] ljsf;;+u}
o;n] lghL If]qn] klg o;nfO{ Aoj;flos ?kdf lng yfNof] . o;/L ljsf;sf] ultdf cl3
j9]sf] l6eL ;g\ !(&) ;Dddf ljZjsf ^) eGbf j9L d'n'sx?df k'lu;s]sf] lyof] . clxn] t
ljZjdf To:tf] 7fpF g} e]6\g uf¥xf] kg]{ l:ylt 5 hxfF 6]lnlehgsf] kx'Fr gk'u]sf]
xf];\ . o;sf] dtjn ljZjel/ g} clxn] 6]lnlehg ;+rf/sf] ;j}eGbf k|efjsf/L / nf]slk|o
dfWod jg]sf] 5 . h; dWo] lglh If]qdf ;+rflnt 6]lnlehgx? ;/sf/L 6]lnlehgx?sf]
bfFhf]df w]/} 5g\ .
Aoj;flos lglh 6]lnlehgsf] Oltxf;sf] s'/f ubf{ jLjL;Ln] cfkm\gf] k|zf/0f z'? ug'{
eGbf cufl8 g} ;g\ !(#) df Charles Jenkins n] cd]l/sfdf o;sf] k|of; u/]sf] tYo
e]l6G5 . !(#) sf] bzsdf cd]l/sf / j]nfotdf 6]lnlehg ;+rfngsf] nflu w]/} AolQm
jf ;+:yfx?n] lglh :t/af6 klg k|of; gu/]sf xf]Ogg\ t/ bf]>f] ljZj o'4sf] z'?jft;+u}
tL k|of;x? cf]em]n kg{ k'u] . bf]>f] ljZj o'4sf] cGTo;+u} cd]l/sf, j]nfot /
Sofg8f nufotsf d'n'sx?df lglh :t/af6 6]lnlehg k|zf/0fsf] k|of; ePsf] kfOG5 . !
($^ df cfP/ cd]l/sfsf] Go'of]s{b]lv / jfl;+6g l8l; ;Dd ljZjd} klxnf] k6s s]jn
dfkm{t 6]lnlehg k|;f/0f k'¥ofOPsf] lyof] eg] !(%) b]lv cd]l/sfdf s]jn 6]lnlehg
cf}krfl/s ?kdf z'? ePsf] dflgG5 .
6]lnlehg sfo{qmd
6]lnlehg sfo{qmdnfO{ 6]lnlehg ;f] klg eg]/ lrlgG5 . 6]lnlehgaf6 k|;f/0f x'g]
sfo{qmdx?nfO{ d'Votof b'O{ efudf afFl8Psf] 5 . klxnf] l:qmk6]8 sfo{qmd
bf];|f] ljgf l:qmK6sf sfo{qmdx? . l:qmK6]8 sfo{qmdx?df ;dfrf/, 6]lnlkmNd,
gf6s, lkmNd, ;fOG; lkmS;g nufotsf sfo{qmdx? kb{5g eg] ljgf l:qmK6sf
sfo{qmddf nfO{e sfo{qmdx?, cjf8{, 6Ns ;f], cGtjf{tf{, v]ns'bsf sfo{qmd,
22
l/oflnl6 ;f] nufotsf kb{5g . kl5Nnf] ;dodf l/oflnl6 ;f], cjf8{ h:tf sfo{qmdx?df
klg klxnf g} l:qmK6 tof/ kfg]{ rng ;d]t z'? ePsf] kfOG5 .
klxnf klxnf 6]lnlehgsf sfo{qmdx? Ps} vfnsf x'g] ub{y] . 6]lnlehgsf]
cjl:sf/kl5 6]lnlehg sfo{qmdx? klg /]l8of] sfo{qmd h:t} x'g] ub{y] . /]l8of]
k|;f/0fdf /fd|f] Voflt sdfPsf sfo{qmd ;~rfnsx?n] g} 6]lnlehg sfo{qmd ;~rfng
ug]{ uy]{ . h;sf/ sf/0f 6]lnlehgsf sfo{qmdx? klg /]l8of] sfo{qmd;Fu
ldNbf]h'Nbf] x'g] ub{Yof] .
;g\ !(#^ df lalal;n] klxnf] k|;f/0f z'? u/]klg p;\n] lgoldt ?kdf s]xL 306fdfq
sfo{qmdx? b]vfpg] uYof]{ . ;f]xL jif{ hd{gLn] cf]nlDks v]ns'bsf s]xL
b[Zox?nfO{ 6]lnlehgdfkm{t k|;f/0f u/]sf] lyof] . of] sfo{qmdn] 6]lnlehgdf
v]ns'b sfo{qmdnfO{ k|fyldstf lbPsf] a'lemG5 . t/ of] eGbf klg klxnf …b
lSjG; d];]Gh/Ú gfds klxnf] 6]lngf6snfO{ cd]l/sL 6]lnlehgdf ;g\ !(@* df
k|;f/0f u/LPsf] lyof] . ;g\ !(#( df cd]l/sfdf cf}krf/Ls ?kdf lgoldt 6]lnlehg z'?
ubf{ tTsflng cd]/LsL /fi6«klt k|mfª\slng ?hj]N6sf] efif0f / Go'of]s{sf]
d]nfnfO{ k|;f/0f u/LPsf] lyof] . of] ;do;Dd 6]lnlehg lj:tf/ x'g ;s]sf] lyPg . cem
;f]xL ;dodf bf];|f] ljZjo'4 z'? ePkl5 t 6]lnlehgsf] ljsf;df cj/f]w g} ;[hgf eof] .
bf];|f] ljZJo'4kZrft dfq 6]lnlehgn] lj:tf/ x'g] df}sf kfPsf] xf] . 6]lnlehgsf] lj:tf/
/ ljsf;;Fu} bf];|f] ljZjo'4kl5 g} sfo{qmdx?df klg lj:tf/ / ljsf; x'Fb} uPsf]
kfOG5 . ;g\ !(%) sf] bzsb]lv 6]lnlehgsf] lj:tf/ / ljsf;n] ltj| ult lng yfn]sfn]
pQm ;donfO{ 6]lnlehgsf] uf]N8]g Ph klg elgG5 .
;g\ !(%^ df PDk]S; sDklgn] lel8of] /]sl8{ª 6]ksf] ljsf; u/]kZrft 6]lnlehg
sfo{qmd pTkfbg tyf k|;f/0fdf Jofks kl/jt{g cfPsf] lyof] . of] 6]ksf] cflj:sf/
cl3;Dd ;a} 6]lnlehg sfo{qmdx? …nfOeÚ cyf{ k|ToIf k|;f/0f x'g] ub{y] .
To;}n] ;g\ !($* b]lv !(%( ;Ddsf] cjlwnfO{ k|ToIf k|;f/0fsf] bzs eGg] u/LPsf]
lyof] . ;g\ !(^) b]lv 6]lnlehg g]6js{x?n] /ªd~rdf b]vfOg] nfdf gf6s / rnlrqx?
nfO{ ;d]t k|;f/0f ug{ z'? u/] . o;n] 3/d} a;La;L 6]lnlehgsf] kbf{df rnlrq jf gf6s
x]g]{ ;+:s[ltsf] ljsf; eof] . o;/L ;dosf] lj:tf/ / k|ljlwdf cfPsf] ljsf;Fu} 6]lnlehg
sfo{qmdx? ljz]ifLs[t x'Fb} hfg yfn]sf] 5 .
g]kfndf ljz]ifLs[t 6]lnlehg sfo{qmdx?
g]kfndf 6]lnlehgsf] z'?jft ePsf] tLg bzs klg k'u]sf] 5}g . t/ oxL 5f]6f] ;dodf
klg g]kfnL ldl8ofn] 7'n} km8\sf] df/]sf] 5 . g]kfndf ;/sf/L:t/af6 :yflkt g]kfn
6]lnlehg klxnf] 6]lnlehg xf] . olx 6]lnlehgn] klxnf]k6s ;dfrf/ a'n]l6g k|;f/0f
23
yfn]sf] xf] . g]kfn 6]lnlehgaf6 klxnf]k6s @)$@ ;fn k'; !$ df klxnf] ;dfrf/
a'n]l6g k|;f/0f ePsf] lyof] . klxnf] ;dfrf/ a'n]l6g hDdf % ldg]6sf] lyof] . To;sf]
;ft lbg kl5 g]kfn 6]lnlehgn] ljwfut ?kdf klxnf] k6s v]ns'b sfo{qmd k|;f/0f
uof]{ . g]kfn 6]lnlehgn] v]ns'b ;dfrf/sf ?kdf k|;f/0f u/]sf] Tof]
sfo{qmdnfO{ ljwfut sfo{qmdsf] klxnf] sfo{qmd klg eGg] u/LG5 .
6]lnlehgn] tTsfnLg /fhf aL/]Gb|sf] hGdf]T;jdf cfof]lht z'ehGdf]T;j sk
km"6an af/]sf] pQm ;dfrf/ k|;f/0f u/]sf] lyof] . ;f] v]ns'b sfo{qmdsf] ;dfrf/
cfof]hsn] 6]lnkmf]gaf6 l6kfPsf lyP . g]kfn l6 eL n] k|f/DeLs lbgdf /fli6o
v]ns'b kl/;b ;+u ldn]/ v]ns'b sfo{qmd k|;f/0f u/]sf] lyof] . @)^$ c;f/ d;fGt
b]lv g]kfn 6]lnlehgaf6 v]n ;dfrf/ afx]sf cGo s'g} klg v]ns'b ;DalGw sfo{qmd
k|;f/0f ePsf 5}gg . g]kfn 6]lnlehgn] klxnf g} v]ns'b ;dfrf/ ahfPklg @)$^ ;fn
kl5 dfq v]ns'b lj6n] k|fyldstf kfpg yfn]sf] xf] .
g]kfn 6]lnlhgn] cfkm\gf sfo{qmdx?df ljljwtf NofpFb} ;dfrf/, gf6s,
6]lnlkmNd, xf:o so{qmd nufotsf sfo{qmdx? k|;f/0f ub}
{ sfo{qmdnfO{ ljz]ifs[t ub}{ nu]sf] lyof] . olx qmddf g]kfn 6]lnlehgdf
cfly{s If]qnfO{ ;d]6\g] u/L 5'§} sfo{qmd g} ;~rfng x'g yfNof] . …cy{sf]
cy{Ú gfdaf6 z'? ePsf] ;f] sfo{qmd clxn] klg g]kfn 6]lnlehgdf k|;f/0f x'Fb}
cfO/x]sf] 5 . o;kl5 6]lnlehgdf dlxnfsf s'/fx?nfO{ p7fpg] p4]Zon] lj=;+ @)%!
a}zfv !^ df dlxnf ;zlQms/0fsf] d'4fnfO{ p2]Zo agfP/ sfo{qmd hfu[lt ;'? u/]sf]
kfO{G5 . g]kfn 6]lnlehgn] lgoldt ?kdf cf};tdf ;ftfsf] b'O{j6f o:tf sfo{qmd
k|;f/0f ug]{ uYof]{ . h;sf] p2]Zo n}lËs ;dfgtf lyof] . dlxnfn] g} ;+rfng tyf
pTkfbg ul/ g]kfn l6ledf k|;f/0f x'b} cfPsf] csf]{ sfo{qmd ;+3if{ xf] . cf/tL
r6f}+tLsf cg';f/ 7"nf dfG5]sf ukm eGbf ljsf;sf] d'nwf/af6 k/ /x]sf dlxnf,c
kfË, blnt, cflbjf;L hghflt, afnafnLsf h:tf ljifo plgx?s} cfjfhdf k|:t't ug]{ k|
of;sf] yfngL xf] .
g]kfn 6]lnlehgn] s[lifnfO{ k|fyldstfdf /fVb} s[lif sfo{qmd eg]/ klg k|;f/0f
ug{ yfNof] . of] sfo{qmd clxn] klg g]kfn 6]lnlehgaf6 k|;f/0f e}g} /x]sf] 5 .
o;}u/L, jftj/0f kqsf/ ;d'xn] g]kfn 6]lnlehgaf6 jftj/0f If]qnfO{ ;d]6\g] u/L
cfFlvem\ofn gfds sfo{qmd k|;f/0f u/]sf] lyof] . kl5 of] sfo{qmd cGo lghL
6]lnlehgdfkm{t k|;f/0f x'g yfn]sf] kfOG5 .
g]kfn 6]lnlehgn] ckm\gf sfo{qmdx?nfO{ ljz]ifLs[t ub}{ dgf/f]~hg, lzIff,
lj1fg, /fhgLlts, ;fdflhs, ljsf; d'ns sfo{qmdx? klg k|;f/0f ug{ yfNof] . g]kfn
6]lnlehgn] ljz]ifu/L ;dfrf/d'ns, dgf]/~hg / 6]lnrlnlrqsf If]qdf sfo{qmd k|;f/0f
24
ub}{ cfO/x]sf] ;dodf lghL:t/jf6 6]lnlehg v'Ng yfn]kl5 6]lnlehg sfo{qmdx?df
yk ljz]ifs[t x'Fb} hfg yfn] .
g]kfn 6]lnlehgsf] k|;f/0f ;do ef8fdf lnP/ lj=;+ )%# ;fnb]lv Od]h Rofgn, ;fª\u|
Lnf Rofgn / of]ª Pl;of 6]lnlehgn] 6]lnlehg sfo{qmd pTkfbg / k|;f/0fsf] cEof;
z'? u/] . lt Rofgnx?n] o'jf, dgf]/~hg, v]ns'b, lzIff, nufotsf ljwfdf sfo{qmdx?
k|:t't u/]kl5 g]kfn 6]lnlehgn] klg o'jf nlIft sfo{qmdx? agfpg yfn]sf] lyof] . t/
oltj]nf;Dd g]kfn 6]lnlehgs} Psflwsf/ lyof] .
lj=;= )%* ;fn c;f/ !( ut] g]kfsf] klxnf] e" pku|x 6]lnlehg Rfognsf ?kdf Rofgn
g]kfnn] k|;f/0f z'? u/]kl5 g]kfn 6]lnlehgsf] Psflwsf/ cGTo ePsf] lyof] . of]
Rofgnn] ;dfrf/ ;xlt o'jf nlIft dgf]/~hgfTds sfo{qmdx?df ljz]if hf]8 lbPsf]
lyof] . o;kl5 )^) ;fndf lghL:t/df c? Rofgnx? V'Ng yfn] . lghL:t/af6
6]lnlehg ;'? gePsf] cj:yfdf ;dfrf/d"ns cGo sfo{qmd klg g]kfn 6]lnlehgn]
g} ;'? uof]{ . @)^) df lghL:t/af6 sflGtk'/ 6]lnlehg / Od]h 6]lnlehg ;'?
ePkl5 ;dfrf/ / ;dfrf/d"ns sfo{qmdn] yk lj:tf/ x'g] df}sf kfof] eg] k|lt:kwf{sf
sf/0f yk kl/:s[t / nf]sk|Lo x'Fb} uPsf] b]lvG5 . To:t} ;dfrf/ g} dfq k|;f/0f ug]{
Rofgnsf ?kdf @)^% df b'O{ Rofgnx? cfPklg ;dfrf/ / ;dfrf/d"ns sfo{qmdx?
lbg] k|lt:kwf{ g} rn]sf] b]lvG5 g]kfnL 6]lnlehgx?df . ;dfrf/nfO{ g} s]lGb|t
agfPsf / dgf]/~hgnfO{ s]lGb|t agfOPsf 6]lnlehgn] klg cfkm\gf sfo{qmdx?
nfO{ cem ;':t ?kdf ljz]ifs[t ub}{ sfo{qmdx? agfpFb} cfO/x]sf 5g\ .
;/sf/L Rofgn g]kfn 6]lnlehgn] klg dgf]/~hgnfO{ nlIft u/L Pgl6le Kn; gfds
csf]{ Rofgn z'? u/]sf] 5 . Od]h / sflGtk'/n] ld>lt ;fdflu| lbg] u/]sf 5g\ . plgx?
eGbf leGg ?kdf ljz]ifLs[t Rofgnsf ?kdf PleGo'h, ;u/dfyf, Plal;, Go'h @$,
dfpG6]g Rofgnx? ;dfrf/d'ns l6lesf ?kdf cfPsf 5g\ . o:t} dgf]/~hgnfO{ nlIft
u/L uf]lkjs[i0f l6le lkmlNd, O @$ klg g]kfndf cfO;s]sf 5g\ . o'jfx?nfO{ nlIft
u/L ef]O; ckm o'y eGg] Rofgn klg cfpg] qmddf /x]sf] 5 .
ljz]ifLs[t 6]lnlehg Rofgn
g]kfndf )^@÷^# sf] hgcfGbf]ngkZrft 6]lnlehg Rofgnx? ylkg] qmd a9\b}
u}/x]sf] 5 . of] ;dodf g]kfndf gofF / ljlzi6 ljz]iftf ePsf 6]lnlehg
Rofgnx? ;~rfngdf cfPsf 5g\ . Pp6} Rofgndf lzIff, dlxnf, afnaflnsf,
dfgjclwsf/, :jf:Yo, v]ns'b, gf6s, cGtjf{tf, l/oflnl6 ;f], 6]lnkmf]g sfo{qmd,
/fhgLlts sfo{qmd, Jofª\ufTds so{qmd, xf:o sfo{qmd nufotsf sfo{qmd k|:t't
ub}{ cfPsf g]kfn 6]lnlehg, sflGtk'/ / Od]h RofgneGbf leGg ?kdf ljwfut ?kdf
25
g} 6]lnlehgx? cfpg yfn] . rf}lj;} 306f ;dfrf/ k|;f/0f ug]{ pb3f]ifsf ;fy
ljz]ifLs[t ;dfrf/ Rofgnx? lghL If]qjf6 ;~rfngdf cfPsf 5g\ .
PleGo'h 6]lnlehgn] )^$ c;f/ #@ ut]jf6 Go'h Rofgnsf ?kdf ckfm\gf] k|;f/0f z'?
uof]{ . ;u/dfyf 6]lnlehgn] klg Go'h Rofgns} ?kdf cfkm\gf] k|;f/0f ;fpg !$
ut]jf6 z'? u/]sf] 5 . t/ p;\n] c;f/ @* ut]b]lv g} ckm\gf] nf]uf]dfq k|;f/0fdf
NofPsf] lyof] . ;u/dfyfn] ckm'nfO{ klxnf] ;dfrf/ Rofgnsf ?kdf bflj ub}
{ cfPsf] 5 . o:t} Plal; 6]lnlehgn] ;dfrf/ Rofgnsf ?kdf )^% ebf} !( ut]jf6 k|;f/0f
z'? u/]sf] lyof] . g]kfn a|f]8sfl:6ª sDklgn] Goh @$ gfdsf ;dfrf/d'ns
sfo{qmd )^& j}zfv * ut]jf6 lgoldt k|;f/0fdf NofPsf] 5 . o:t} dfpG6]g 6]lnlehg
klg ;dfrf/d'ns 6]lnlehgs} ?kdf cfPsf] 5 .
lghL If]qjf6 ;~rflnt oL ;dfrf/ Rfognx?n] ;dfrf/sf] ljifoj:t' / ;dfrf/d'Nosf] If]q
lj:tf/ u/] . ;f]xL sDklgn] )^( ;fnaf6 dgf]/~hgfTds Rofgnsf ?kdf O{ @$ gfds
6]lnlehgnfO{ klg k|;f/0fdf NofPsf] 5 . lo Rofngx?ljr a9\b} uPsf] k|lt:kwf{sf
sf/0f ;dfrf/ k|:t'ltsf] z}nLdf klg ljljwtf b]vf k/]sf] 5 . t/ kg ;dfrf/sf] Pª\undf
;/sf/L ;/xs} b[li6sf]0f, ;dfg b[io / 36gfk|wfg sd{s08L ;frf/x?n] g} k|;f/0fsf]
w]/} c+z cf]u6\g] u/]sf] 5 . olglx?n] k|;f/0f ug]{ sfo{qmdx?df ;dfrf/ a'n]l6g,
cGtjf{tf{, 6]lnDofu]lhg, JolQmlrq, :yfg kl/ro nufotsf 5g\ . lolgx?n] ljwfut ?
kdf s'g}klg If]qsf] lj:t[t ljj/0fx? klg k|:t't ub]{ cfO/x]sf 5g\ .
6]lnlehgsf] lj:tf/;Fu} u}/ ;dfrf/d'ns ljz]ifLs[t Rofgnx? klg o; cjlwdf cfPsf
5g\ . g]kfn 6]lnlehgn] ckfm\gf] bf];|f] Rofngaf6 ;dfrf/ x6fP/ v]ns'b /
dgf]/~hgfTds Rofgn agfPsf] 5 . To;}u/L uf]lks[i0f OG6/6]Gd]G6 k|flnn] )^
% df3 !( df Ohfhtk|fKt u/L l6le lkmlNd gfds rnlrqdf cfwfl/t dgf]/~hgfTds
Rofgn klg e' pku|xdfkm{t k|;f/0f u/L/x]sf] 5 . clxn] g]jf/ efiffdf g]kfnd08n
Rofngsf] klg k|;f/0f e}/x]sf] 5 . To:t} wfld{s If]qdf nlIft u/L elQm bz{g gfds
6]lnlehg klg k|;f/0f e}/x]sf] 5 . dgf]~hgnfO{ g} nlIft u/L g]kfn a|f]8sfl:6ª
Rofgnn] )^& c;f/ !% df Ohfht k|fKt u/L O{ @$ gfds dgf]/~hgfTds 6]lnlehg
Rofgn klg k|;f/0fdf NofPsf] 5 . o;/L ;do / k|ljlwdf cfPsf] ljsfif;Fu} 6]lnlehg
sfo{qmdx? ljz]ifLs[t x'Fb} u}/x]sf kfOG5 . t/ ;a}h;f] 6]lnlehg sfo{qmdx?sf]
kmDof{6x? ljb]lz sfo{qmdx?l;t ldNg uPsf] kfOG5 . ljb]zL sfo{qmdx?sf]
gSsn u/]/ sfo{qmdx? ;~rfng ubf{ sltko sfo{qmdx? xfd|f] b]z z'xfFbf] ;d]t
gePsf] u'gf;f] ;'Gg] u/LG5 .

26
TV in the contemporary era of satellite communication

Introduction

Television, in recent days, is the most influential and compulsory media. Due to its
distinct character, TV has created significant role in the society. It brings to mind a
medium that helps us to keep abreast with current affairs and entertainment.

Television was the first audio-visual aid that opened the door towards the realm of
recreation and mass communication. Unlike radio, it made it possible to watch live
events sitting in one's living room. It were the fifties that started influencing the lives
of the common man.

History of Television

The word 'television' is derived from the Greek word 'tele' which translates as 'far sight'
and the latin word 'visio', which means 'sight'. Television takes to commercial markets
in the late 1930s. It has taken the efforts of many engineers, over many decades, to
progress along different overlapping designs, to employ commonly accepted
mechanical and electronic principal. In 1926, John Logie Baird was able to
demonstrate televised moving images, the technology was combined with the image
dissector designed by Philo Farnsworth, in 1927.The first development of sound
backed pictures came in 1911, when Boris Rosing and Vladimir Kozmich Zworykin
used the mechanical mirror-drum scanner to transmit sound through a Braun or
cathode ray tube.

Charles Francis Jenkins gave the world the first demonstration of a working television
system on 26th January, 1926. The vertically scanned images were a result of an
application that derived functionality from a scanning disk and double spiral of lenses.
(Source: http://www.buzzle.com/articles/history-of-television.html)

After the horrible effect of the Second World War, the post-war economy was
booming around the world. According to surveys, approximately 3.1 million people
had TV sets in America in the fifties.

Facts about Television in the 1950s

The decade of 1950s is known as "the Golden Age of Television". Every family
member tried their best to get hold of a set of TV, as it was one of the sources of

27
cheaper, simpler entertaining media. Programs such as I love Lucy, Father knows Best,
Our Miss Brooks and Burns & Allen were some popular shows in the fifties.

Towards the mid-fifties, live performances of reality TV shows were broadcast for the
first time that created a different form of television entertainment. These programs of
reality television like Candid Camera broke the monotony of scripted drama.

News Programs

In 1952-1953, while NBC faced financial crisis and reduced its news programming,
CBS expanded its news operations. 1951 onwards, television networks started
telecasting news item such as See It Now. This was hosted by veteran news presenter
Edward R Murrow. It was a documentary series on public affairs that was telecast in
sequences. Hence, television in the '50s played a great role in making the people aware
of their rights by telecasting news, information as well as the election coverage.

Television Advertising

Television became the much sought-after medium of telecasting advertisements in the

1950s. Various companies started looking at the television as the best medium to
advertise for better sale and popularity of their products. These companies began to
sponsor popular shows and programs, as advertising on them brought them a wide
publicity. Thus, the businessmen found a medium through which they can get a market
for their products.

Television was first used as a medium for advertising the presidential campaign in the
year 1952, by Dwight Eisenhower. Later on, all future presidential candidates started to
rely on it for advertising as a part of their strategy.

In America, black and white TV were extremely popular at the beginning of the 50s.
Gradually, by the mid-fifties, there came electronic colour television, which was
followed by launching of remote control and transistorized television sets towards
1959.

Thus, we can conclude that television in the 1950s brought an element of reality, news
and fun for the people and also helped create a sense of awareness against all the social
ills. The availability of movies and movie-related shows, reality shows, daily soaps and
of course the news programs have made it the prime media of entertainment in every
household. (Source: Ajanta Bhattacharya, 9/26/2011)

28
HISTORY OF TELEVISION IN NEPAL

The history of visual electronic media has no long history. Nepal has only the history
of 27 years in television. Television in Nepal started with the establishment of
Government Owned ‘Nepal Television’ in January 1985. It was launched as a project
under the sixth development plan (1980-1985) with the slogan "Communication for
Development". Nepal Television was set up with a broad mission statement, "Produce
and telecast programs on educational, religious and cultural conservation to promote
national unity, conserve heritage and promote national interest". Today, Nepal has
twelve television broadcasters including the government run- Nepal Television and
NTV Plus. The private broadcasters are: Kantipur Television owned by Kantipur
Publication which is located at Tinkune, Kathmandu. Image Channel owned by Image
Groups of Companies is situated at Lazimpat, Kathmandu. Avenues Television, a news
and current affairs channel located at Tripureswor, Kathmandu, owned by Avenues
Ad. Sagarmatha Television, situated at Singhadurbar, Kathmandu. Channel Nepal is in
Shantinagar, Kathmandu which is also the first Nepali language satellite channel. TV
Filmy is owened by the Gopi Krishna Group that is situated at Chabel, Kathmandu.
Mountain Television, initially known as NBEX TV is situated at Kupondole, Lalitpur.
Himalayan Television broadcasts from Mid-Baneshwor, Kathmandu. Likewise, Terai
Television from Minbhawan, Kathmandu, was initially broadcasted from Birgunj.
Likewise, Nepal 1 is from India.

Furthermore, Makalu Television in Itahari, Himshikhar Television in Jhapa, Araniko

Television in Banepa, Crystal, Namaste and Abhiyan Television from Chitwan also
giving news and entertainment contents to their audiences.

History of Satellite

The Merriam-Webster dictionary Merriam-Webster Dictionary defines a satellite as a

celestial body orbiting another of larger size or a manufactured object or vehicle
intended to orbit the earth, the moon, or another celestial body.
Electronic communications devices like cell phones and computers on the internet
utilize satellite communications (SATCOM). Today's satellite communications can
trace origins all the way back to the moon. A project named Communication Moon
Relay, was a telecommunication project carried out by the United States Navy. Its
objective was to develop a secure and reliable method of wireless communication by
using the Moon as a natural communications satellite.
The first artificial satellite used solely to further advances in global communications
was a balloon named Echo 1. Echo 1 was world's first artificial communications
satellite capable of relaying signals to other points on Earth. It soared 1,000 miles
(1,609 km) above the planet after its Aug. 12, 1960 launch, yet relied on humanity's
29
oldest flight technology — ballooning. Launched by NASA, Echo 1 was a giant
metallic balloon 100 feet (30 meters) across. The world's first inflatable satellite — or
"satelloon," as they were informally known — helped lay the foundation of today's
satellite communications. The idea behind a communications satellite is simple: Send
data up into space and beam it back down to another spot on the globe. Echo 1
accomplished this by essentially serving as an enormous mirror 10 stories tall that
could be used to bounce communications signals off of. The first American satellite to
relay communications was Project SCORE in 1958, which used a tape recorder to store
and forward voice messages. It was used to send a Christmas greeting to the world
from U.S. President Dwight D. Eisenhoer. NASA launched the Echo satellite in 1960;
the 100-foot (30 m) aluminized PET film balloon served as a passive reflector for radio
communications. Courier 1B, built by Philco, also launched in 1960, was the world's
first active repeater satellite.
It is commonly believed that the first "Satellite" was Sputnik 1. Put into orbit by the
Soviet Union, Sputnik 1, launched on October 4, 1957 and was equipped with an
onboard radio-transmitter that worked on two frequencies: 20.005 and 40.002 MHz.
Sputnik 1 had been launched as step in the exploration of space and rocket
development. While incredibly important it was not placed in orbit for the purpose of
sending data from one point on earth to another. Hence, it was not the first
"communications" satellite but it is the first artificial satellite in the steps leading to
today's satellite communications.
Telstar was the first active, direct relay communications satellite. Belonging
to AT&T as part of a multi-national agreement between AT&T, Bell Telephone
Laboratories, NASA, the British General Post Office, and the French National
PTT (Post Office) to develop satellite communications, it was launched by NASA
from Cape Canaveral on July 10, 1962, the first privately sponsored space
launch.Relay 1 was launched on December 13, 1962, and became the first satellite to
broadcast across the Pacific on November 22, 1963.
An immediate antecedent of the geostationary satellites was Hughes' Syncom 2,
launched on July 26, 1963. Syncom 2 revolved around the earth once per day at
constant speed, but because it still had north-south motion, special equipment was
needed to track it.
To an observer on the earth, a satellite in a geostationary orbit appears motionless, in a
fixed position in the sky. This is because it revolves around the earth at the earth's
own angular position, i.e 360 degrees every 24 hours.
A geostationary orbit is useful for communications because ground antennas can be
aimed at the satellite without their having to track the satellite's motion. This is
relatively inexpensive. In applications that require a large number of ground antennas,
30
such asDirectTV distribution, the savings in ground equipment can more than
outweigh the cost and complexity of placing a satellite into orbit.
The concept of the geostationary communications satellite was first proposed
by Arthur C. Clarke, building on work by Konstantin Tsiolkovsky and on the 1929
work by Herman Potočnik (writing as Herman Noordung) Das Problem der Befahrung
des Weltraums — der Raketen-motor. In October 1945 Clarke published an article
titled "Extra-terrestrial Relays" in the British magazine Wireless World. The article
described the fundamentals behind the deployment of artificial satellites in
geostationary orbits for the purpose of relaying radio signals. Thus, Arthur C. Clarke is
often quoted as being the inventor of the communications satellite.
The first geostationary satellite was Syncom 3, launched on August 19, 1964, and used
for communication across the Pacific starting with television coverage of the 1964
Summer Olympics. Shortly after Syncom 3, Early Bird, was launched on April 6,
1965 and placed in orbit at 28° west longitude. It was the first geostationary satellite
for telecommunications over the Atlantic Ocean.
On November 9, 1972, Canada's first geostationary satellite serving the continent, Anik
A1, was launched by Telesat Canada, with the United States following suit with the
launch of Westar 1 by Western Union on April 13, 1974.
On May 30, 1974, the first geostationary communications satellite in the world to
be three-axis stabilized was launched: the experimental satellite ATS-6 built
for NASA.
After the launches of the Telstar through Westar 1 satellites, RCA Americom (later GE
Americom, now SES Americom launchedSatcom 1 in 1975. It was Satcom 1 that was
instrumental in helping early cable TV channels such as WTBS (now TBS
Superstation),HBO, CBN (now ABC Family), and The Weather Channel become
successful, because these channels distributed their programming to all of the local
cable TV headends using the satellite. Additionally, it was the first satellite used by
broadcast television networks in the United States, like ABC, NBC, and CBS, to
distribute programming to their local affiliate stations. Satcom 1 was widely used
because it had twice the communications capacity of the competing Westar 1 in
America, resulting in lower transponder-usage costs. Satellites in later decades tended
to have even higher transponder numbers. Communications Satellites are usually
composed of the following subsystems:

 Communication Payload, normally composed of transponders, antenna, and

switching systems
 Engines used to bring the satellite to its desired orbit

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 Station Keeping Tracking and stabilization subsystem used to keep the satellite
in the right orbit, with its antennas pointed in the right direction, and its power
system pointed towards the sun

 Power subsystem, used to power the Satellite systems, normally composed

of solar cells, and batteries that maintain power during solar eclipse

 Command and Control subsystem, which maintains communications with

ground control stations. The ground control earth stations monitor the satellite
performance and control its functionality during various phases of its life-cycle.

The bandwidth available from a satellite depends upon the number of transponders
provided by the satellite. Each service (TV, Voice, Internet, radio) requires a different
amount of bandwidth for transmission. This is typically known as link budgeting and
a network simulator can be used to arrive at the exact value.
As television became the main market, its demand for simultaneous delivery of
relatively few signals of large bandwidth to many receivers being a more precise match
for the capabilities of geosynchronous comsats. Two satellite types are used for North
American television and radio: Direct broadcast satellite (DBS), and Fixed Service
Satellite (FSS)
The definitions of FSS and DBS satellites outside of North America, especially in
Europe, are a bit more ambiguous. Most satellites used for direct-to-home television in
Europe have the same high power output as DBS-class satellites in North America, but
use the same linear polarization as FSS-class satellites. Examples of these are
the Astra, Eutelsat, and Hotbird spacecraft in orbit over the European continent.
Because of this, the terms FSS and DBS are more so used throughout the North
American continent, and are uncommon in Europe.
Fixed Service Satellites use the C band, and the lower portions of the Ku bands. They
are normally used for broadcast feeds to and from television networks and local
affiliate stations (such as program feeds for network and syndicated programming, live
shots, and backhauls, as well as being used for distance learning by schools and
universities, business television (BTV), Videoconferencing, and general commercial
telecommunications. FSS satellites are also used to distribute national cable channels
to cable television headends.
Free-to-air satellite TV channels are also usually distributed on FSS satellites in the
Ku band. The Intelsat Americas 5, Galaxy 10R andAMC 3 satellites over North
America provide a quite large amount of FTA channels on their Ku band transponders
The American Dish Network DBS service has also recently utilized FSS technology as
well for their programming packages requiring their SuperDish antenna, due to Dish
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Network needing more capacity to carry local television stations per the FCC's "must-
carry" regulations, and for more bandwidth to carry HDTV channels.
A direct broadcast satellite is a communications satellite that transmits to small
DBS satellite dishes (usually 18 to 24 inches or 45 to 60 cm in diameter). Direct
broadcast satellites generally operate in the upper portion of the microwave Ku band.
DBS technology is used for DTH-oriented (Direct-To-Home) satellite TV services,
such as DirecTV and DISH Network in the United States, Bell TV andShaw Direct in
Canada, Freesat and Sky Digital in the UK, the Republic of Ireland, and New Zealand
and DSTV in South Africa.
In Nepal Channel Nepal was the first nepal channel broadcasted via Satellite in 2058
B.S, After that Nepal television linked with Satellite. Now, almost all television
broadcasted from Kathmandu are linked with Satellite.
Investment and Expenditure in Nepali Television

More than3 0,000 television has linked to satellite in the World. In South Asian
countries , India has more number of Television. India itself has more than 3000
televisions link to Satellite. As we have discussed earlier, number of Nepali television
has more than 16 stations.

Television Industry of Nepal has the investment of 15 billion rupees. This amount of
investment is excluded from community and government based television. (Arthik
Abhiyan Daily, January1, 2011). In an interview with Arthik Abhiyan Daily, Vice-
President of FNCCI, Bhaskar Raj Rajkarnikar had expressed that everyone, now a
days, tend to television as people are attracted towards television. According to
Advertising Association of Nepal (AAN), the advertising market of Nepal has 3.5
billion rupees yearly. Among this budget, more than 900 million rupees are gathered
by Nepal Television in Advertisement. The Advertising market of Nepal is tiny, R.K
Manandhar of Image Channel shared. He also said that, television utmost should
gathered around 4.5 to 5 million rupees in a month to run in Profit. It is said that many
television stations has been bearing loss.

The expenditure of television is varied. The Nepal Television has the expenditure
budget of 20.5 million rupees in a month. Similarly, News 24 Television has the
expenses of 4 to 4.5 million rupees. According to Shuva Shankar Kandel, executive
Director of ABC Television, ABC television expenses 4 to 5 million in a month.
Likewise Tarai television also has the same expenditure budget in a month. Likewise,
about 8 lakhs is included to their budget to link with the satellite monthly. According
to the television enterprisers their expenditure will be reduced doubled in the MPEG-4
satellite.

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There are around 1500 people are employed in Television in Nepal.

To broadcast the Television in Satellite, a television should invest minimum 50 million

rupees, Manandhar said. Nowadays, most of the television has broadcasted through
satellite. Only four televisions in a valley broadcast their program through Terrestrial
and Satellite Media. These stations are Nepal Television, NTV Plus, Image Channel
and Kantipur Television. Similarly, Kantipur Television has extended its coverage to
America, Malaysia and UAE. Television should pay 2 percent royalty and 10 percent
renewal charge every year. Most of the television entrepreneurs have been urging
against this charges.

In a bid to install the satellite, Nepal has formed a 5 member committee about buying
the slot in the universe. As being a member of International Telecom Union (ITU),
Nepal has to buy a slot to fix the satellite within 2015 A.D. It is said that Nepal has to
pay 2 billion rupees to different satellite operator from Telecom, DTH, television
operation and other satellite users. If Nepal has not made any process to install the
satellite, the other country could buy it. (Karobar Daily, April 18, 2013)

Effect and Affect of Satellite Television

According to a study published in 2008, conducted by John Robinson and Steven

Martin from the University of Maryland, people who are not satisfied with their lives
spend 30% more time watching TV than satisfied people do. The research was
conducted with 30,000 people during the period between 1975 and 2006. This
contrasted with a previous study, which indicated that watching TV was the happiest
time of the day for some people. Based on his study, Robinson commented that the
pleasurable effects of television may be likened to an addictive activity, producing
"momentary pleasure but long-term misery and regret.

Television has also been credited with changing the norms of social propriety, although
the direction and value of this change are disputed.

Conclusion

After the development of satellite-made- communication, the content and media is

not limited to its boundary only. So, now every contents and broadcast is boundary
less. Now, it is necessary to understand the context and utilize the technology, is also
the great challenge to Nepalese Television broadcasters. To create the globalization of
Nepalese Channels, they should focus on these points.

 The time zone of various countries and continent are different. There is day time
in USA, European sub continents while night in our country. So television in
night time should broadcast the contents focusing on international contents.
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 Television should focus on the various issues that help for the marketing of
Tourism Industry including mountains, nature, life, culture, religious, traditions
and so on.
 Nepalese living in outside the boundary are the audiences of Nepali channels.
The content should help to joining their views and making connections to them.
 The advertisement of airlines, hotel, lodges, resorts, travel and trekking and
other tourism related agencies should be promoted.
 The program should be made in English Language as Arirang of Korea, NHK of
Japan.
 More international audiences help to boost the Nepal and Nepalese in the
international arena as well as it also boost the number of advertisement.

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