Community radio stations have multiplied in the past few decades. Neither commercial nor State-controlled, these radio or television stations, if not tied to any particular interests, make up a new element of and an original contribution to public broadcasting. Sensitive to the needs of the communities they serve, community media facilitate citizens' access to the broadcasting system and their participation in public life. Their programming is perfectly consistent with the spirit of public broadcasting.

C. Programs that leave their mark

The relationship between culture and television is not simple, reflecting the bonds between the arts and communications. There is no single definition of culture. As Jacques Rigaud writes quite rightly, extolling the cultural mission of the audiovisual media is one thing, defining it in practical terms is another.7 French researcher Michel Souchon, who speaks of a "permanent misunderstanding," cites the heritage culture sought by some, giving access to the great works of humankind, and the topical culture of others, enabling us to understand man and his world a little better.8

Rigaud distinguishes three levels of media action in the area of culture. Radio and television must promote the arts and culture, broadcast existing works and cultural products, and sup-port the creation of original works: theatre, concerts, and also light music or variety programs. Public broadcasting, too, must feature entertainment programs intended for a wide public. But it must do so differently, distinguishing itself from commercial media. We can hope that public broadcasters' programs will leave their mark. It is possible to present game shows that are both informative and entertaining. Drama, even at a low budget, also provides an opportunity to deal with contemporary matters of interest to people; historical drama may serve to teach about the past and, therefore, enlighten the present. On the other hand, the educational mission of public broadcasting should not be exaggerated. We must bear in mind, says Jacques Rigaud, that the media, and television in particular, are not night courses.

D. In-house production

Public television cannot merely be a programmer. The particular ethics of public broadcasting demand that programs be designed with particular care. This requirement implies that the public broadcaster should also become involved in audiovisual production. While public broadcasters may buy or commission some programs, in-house production not only guarantees that programs will adequately meet the purpose of the broadcaster, but also ensures the perenniality of expertise-some would say a "culture" of creativity-particular to the public broadcaster. This is even truer of new public broadcasters, which must develop an identity, a "signature," distinguishing them from other stations.

This approach, specific to public broadcasting, expresses itself partly in a concern for research, innovation and creativity. In-house production also makes it possible to establish the quality standards that public broadcasters must maintain and that will serve as a guide for other broadcasters. Rowland and Tracey describe this search for quality and the application of high standards by public television as follows: "From this perspective the nature of public broadcasting would be that any program offered, whatever the genres, should be the best of its kind, the best it can be."9 Many public broadcasting organizations adopt internal policies that define the standards in the areas of information and programming. Public broadcasting should also ensure that the programs they commission are produced to the same criteria.

E. National content

More than any other broadcasting programming, that of the public broadcaster must be national in content. This does not mean that foreign productions should be excluded; however, according to their role as a public forum, public broadcasters must first promote the expression of ideas, opinions and values current in the society where they operate. In this regard, it is of foremost importance to give priority to national programs. This general statement comes with one caveat, however. In some countries, there is a tendency to pay more attention to the programs' origin than to their content. We must guard against identifying quality with national content; they are not always synonymous!

This issue of national content obviously concerns television more than radio. With the exception of music, radio programs are in most cases national productions, when they are not regional or local. In television, the international program market is far more developed. In certain genres, like fiction, it is cheaper to purchase foreign programs than to produce one's own. However, the public broadcaster must ask itself whether these international dramas are essential to the programming it wants to offer and compatible with its missions. Most of the time, they should probably be considered complementary.