Results 201 to 210 of about 2,106 (260)
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Abstract This chapter discusses the editorial aims of radio drama over one hundred years of its existence. It features original interviews illustrating the views and contributions of several producer-directors and writers who have helped to shape the genre over its second half-century.
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Canadian Radio Drama and the Radio Drama Project
Canadian Theatre Review, 1982What is a radio play? In some ways drama is drama, whether in the theatre, on the television tube, in the cinema or on the radio. The main formal requirements of a dramatic text – plot, dramatic tensions and resolutions, the development of character and so on – are the same in any medium. For the actor a role is a role, a performance a performance, no
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Zapis : bilten Hrvatskog filmskog saveza, 2001
Prikaz povijesti hrvatske radio-drame i najvažnijih datuma u povijesti hrvatskoga radija u europskome kontekstu.
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Prikaz povijesti hrvatske radio-drame i najvažnijih datuma u povijesti hrvatskoga radija u europskome kontekstu.
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Better Than Magritte: How Drama on the Radio Became Radio Drama
Journal of Radio Studies, 2000Using British radio and stage drama as its example, this article explores how a new medium took over an old genre and, after attempting to reproduce it closely, gradually modified it into something more suited to its own character. Initial disagreements about the significance of radio's blindness were attributable to the unreliability of pure sound as ...
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Canadian Theatre Review, 1977
CBC’s English Services Division recently published “The Report of the CBC Radio Study Group on Programming of and About Arts, Music, and Drama.” Ostensibly an internal document, its wide distribution outside the Corporation indicates that CBC gives it considerable weight and by implication treats it as the catalyst for a new approach to its arts ...
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CBC’s English Services Division recently published “The Report of the CBC Radio Study Group on Programming of and About Arts, Music, and Drama.” Ostensibly an internal document, its wide distribution outside the Corporation indicates that CBC gives it considerable weight and by implication treats it as the catalyst for a new approach to its arts ...
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The British Journal of Aesthetics, 2005
Radio drama is often considered an incomplete or 'blind' artform because it creates worlds through sound alone. The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression.
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Radio drama is often considered an incomplete or 'blind' artform because it creates worlds through sound alone. The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression.
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2018
This chapter analyzes methods of sonic storytelling and radio acting used in early broadcast drama. While accounting for a small percentage of period programming, dramatic productions formed a rich site for vernacular theorization of radio’s purportedly medium-specific properties and aesthetic possibilities.
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This chapter analyzes methods of sonic storytelling and radio acting used in early broadcast drama. While accounting for a small percentage of period programming, dramatic productions formed a rich site for vernacular theorization of radio’s purportedly medium-specific properties and aesthetic possibilities.
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Abstract This chapter examines the inception of South Korea’s postwar radio culture by analyzing 1960s radio dramas, focusing on voice and voice performance. What kinds of indexical and iconic voices contributed to the popularity of the radio dramas in the 1960s?
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Abstract When radio stations in Mexico City began transmitting dramas in the early 1930s, listeners throughout Mexico had a decade of familiarity with the medium behind them. At the time, commercial and official stations transmitted an array of programs, including news bulletins, conferences, weather reports, women’s advice shows ...
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