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The European Broadcasting Union (EBU; French: Union européenne de radio-télévision, UER) is an alliance of public service media organisations whose countries are within the European Broadcasting Area or who are members of the Council of Europe.
- The EBU’s Predecessor – The Ibu
- The Birth of The Ebu and Eurovision
- The Applications of Eurovision
- Ideas For Programme Formats
- The Ebu and Media Technology
- The Partnership of Content and Technology
- The Need For Many Capabilities
- Looking Forward
The story begins in the years before the European Broadcasting Union (EBU) was constituted in 1950. In 1925, driven by the birth of radio broadcasting across Europe, the EBU’s predecessor, the International Broadcasting Union (IBU) was established in Geneva, Switzerland. Many supported creating the IBU, but among them was John Reith, the first Mana...
In the tumultuous years that followed, the World War, then the Cold War, held back progress in international cooperation. But, by 1950, the dust had finally settled and broadcasters from Western Europe came together in a hotel in the English seaside town of Torquay to form the European Broadcasting Union. Broadcasters in Eastern Europe created the ...
Returning for a moment to its origin in the early 1950s, once set up, Eurovision needed to be well used. Initially, though many others came along, three types of programme content seemed valuable to exchange, because of their universal interest. These were - and still are - News, Music and Sport. Procedures for news content exchange between Members...
Stopping in time for a milestone moment in the mid 1950s, EBU Members received proposals for two programme formats from its Members that seemed likely to appeal across nations. The first was a pan-European version of the ‘San Remo Song Festival’. The second was a pan-European version of a national TV show ‘Top Town’. Here, individual towns put up t...
Media rests on the bedrock of technology, and the EBU has always been in the vanguard of developments. It was intimately involved in colour television. It worked on analogue radio systems. It has been instrumental in planning the way the airwaves are used internationally since the days of the IBU. The EBU’s work made possible ‘frequency plans’ for ...
The media always has depended on, and always will depend on, the partnership of content and technology. There are many stories to tell. One milestone occurred in 1967. An EBU television programme experience beyond the technical imagination of the time was brought to life. Many early generation satellites, a million kilometres of cable, thousands of...
Media rests not only on technology and the ability of the programme maker. It also needs legal understanding and skills. From the days of the IBU, protecting and arranging copyright issues have been a major activity for the EBU, as have the legal frameworks for public service media, and the manifold occasions when a legal dialogue and decisions are...
Change itself is the only permanent facet of the media. The last decades have seen huge changes in media content, technology, and ways of experiencing media. Through it all, the EBU’s public service Members have navigated with the one simple and immutable principle – that they are media with a purpose. It is our job at the EBU to ensure the public ...
The ‘Union Européenne de Radio-Télévision (European Broadcasting Union)’ (hereafter ‘EBU’) is an association of broadcasting organisations which is governed by Swiss law and by these Statutes.
Oct 1, 2012 · Originally created by broadcasters in western Europe, the EBU merged with its eastern European counterpart, OIRT, in 1993. It now has 74 member companies in 54 countries, ranging from Monaco to Russia, as well as 44 associate members in countries further afield.
The European Broadcasting Union (EBU) is the world’s leading alliance of public service media (PSM). We have 113 Member organizations in 56 countries and have an additional 31 Associates in Asia, Africa, Australasia and the Americas.
Feb 8, 2020 · The EBU is best known for the international broadcasting event The Eurovision Song Contest and for its signature Eurovision fanfare, from Charpentier’s Te Deum. But it was set up to...
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This work makes a stimulating contribution to the interaction of Euro-pean law and broadcasting policy, and its careful and critical assessments and warnings are a most welcome contribution to the analysis of the current and future developments in the European Union’s competence in broadcasting.
