Radio drama adaptations: an approach towards an analytical methodology
TL;DR: In this paper, a methodology with which radio drama pieces can be analyzed is established, which integrates all features the art form has to offer: voices, music, noises, but also technical features like cutting and mixing.
Abstract: This article establishes a methodology with which radio drama pieces can be analysed. It thereby integrates all features the art form has to offer: voices, music, noises, but also technical features like cutting and mixing contribute to the narrative that is being told. This approach emphasizes the importance of seeing radio drama as an art form in its own right, and not as a literary genre. An analysis of radio drama adapted from literary pieces shows how varied the features with which the same story can be told in the two art forms can be.
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TL;DR: The use of music from radio dramas and their re-uses in television has thus far not been examined as discussed by the authors, however, the authors of this paper have examined the composition of the 'Moat Farm Murder' radio score and Corwin's collaboration with Herrmann in it, as well as the re-use of radio music in The Twilight Zone.
Abstract: The re-use of storylines from radio plays on early television was not uncommon; indeed, much of the television programming of the 1950s and early 1960s consisted of repurposed radio scripts Columbia Presents Corwin 'Moat Farm Murder' (Bernard Herrmann, 18 July 1944) was among the many radio programmes from the 1940s that had music featured in The Twilight Zone Of the radio plays to feature music in the series, 'Moat Farm Murder' provided more cues than any other CBS radio score Cues from 'Moat Farm Murder' are found in eleven episodes of The Twilight Zone (CBS, 1959–1964) The use of music from radio dramas and their re-uses in television has thus far not been examined This essay looks at the composition of the 'Moat Farm Murder' radio score and Corwin's collaboration with Herrmann in it, as well as the re-use of radio music in The Twilight Zone Through this case study of 'Moat Farm Murder', better knowledge of how the CBS Stock music library was used, in tandem with the way in which other similar network and production company cue libraries worked
8 citations
TL;DR: The reuse of radio dramas from radio dramas on early television was not uncommon; indeed, much of the television programming of this period consisted of repurposed radio scripts as mentioned in this paper, and the scores for these...
Abstract: The reuse of storylines from radio dramas on early television was not uncommon; indeed, much of the television programming of this period consisted of repurposed radio scripts. The scores for these...
7 citations
Cites background from "Radio drama adaptations: an approac..."
...Like adaptations from literature to radio drama, television adaptations of radio dramas tell the same basic story but with fundamental differences in the delivery.(7) Radio dramas themselves began as an adaptive medium....
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TL;DR: In this paper, the authors argue that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis.
Abstract: This article argues that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis. This argument is illustrated by means of a case study on the 1967 Belgian radio play The Slow Motion Film. This radio play is an adaptation (in fact, a re-adaptation as there had been radio adaptations in 1940 and 1950) of the innovative theatre play The Slow Motion Film (1922) by Herman Teirlinck. In order to explain the creative choices of the radio play, which are largely based on the pursuit of fidelity to the source work, the institutional aspect is of great importance. The goal of honouring Teirlinck and highlighting the cultural-historical importance of his work fitted within the broader cultural-educational mandate of the public broadcaster, which prevented a more inventive adaptation. This article argues that in order to gain a better understanding of the radio play as a text, the industrial context also needs to be studied. Furthermore, this article contributes to the largely unwritten history of the radio play in the Low Countries.
3 citations
Cites background from "Radio drama adaptations: an approac..."
...Such a closeness can also be found in the English-speaking world of radio drama (Crook 1999), while it is less present in German-speaking radio drama history, notwithstanding the strong presence of literary radio adaptations (Huwiler 2010: 130)....
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...It is in these and other instances of the second act that it becomes most clear that, notwithstanding its closeness to literary works, radio drama should indeed be considered, as an art form in its own right, with its own intrinsic features (Huwiler 2010: 139)....
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01 Jan 2021
TL;DR: In this paper, the authors examine radio drama as a rich art form with distinctive qualities that could address serious issues and have a far-reaching influence on listeners, and compare two radio dramas: John Dryden's Pandemic (2012) and Martin Millien's COVID39 (2020).
Abstract: The aim of this study is to examine Radio Drama as a rich art form with distinctive qualities that could address serious issues and have a far-reaching influence on listeners. The resurgence of Radio Drama can be attributed to the outbreak of the coronavirus pandemic; however, there are a plethora of outstanding plays that tackle significant subject matters and are worthy of study. The researcher attempts the following questions: Can Radio Drama be considered an art form per se? Can Radio Drama be as influential as stage drama? The researcher compares two radio dramas: John Dryden’s Pandemic (2012) and Martin Millien’s COVID39 (2020). The first play predicts the future and visualizes the stages that have led up to the outbreak of a deadly pandemic across the world, and the latter tackles the mental, psychological, and socio-political repercussions of COVID-19 after the lapse of 20 years. To provide a theoretical framework for the plays under study, the researcher employs the theory of narratology and draws upon the works of Elke Huwiler who was the first to apply the latter theory to Radio Drama. The researcher proves that both Dryden and Millien through their compelling radio dramas unravel the social and political problems in connection with the pandemic. Dryden, on the one hand, unveils the unscrupulousness and indifference of governmental officials which act as determinants of the pandemic outbreak. On the other hand, Millien unfolds the incessant discriminatory experiences of racism in the United States of America.
1 citations
References
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Book•
31 May 19801,884 citations
TL;DR: Bal's Narratology as discussed by the authors is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works.
Abstract: Since its first publication in English in 1985, Mieke Bal's Narratology has become the international classic and comprehensive introduction to the theory of narrative texts. Narratology is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works. In this third edition, Bal updates the book to include more analysis of film narratives while also sharpening and tightening her language to make it the most readable and student-friendly edition to date. Bal also introduces new sections that treat and clarify several modernist texts that pose narratological challenges. With changes prompted by ten years of feedback from scholars and teachers, Narratology remains the most important contribution to the study of the way narratives work, are formed, and are received.
1,812 citations
Book•
01 Jan 1986
TL;DR: Bal's Narratology as mentioned in this paper is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works.
Abstract: Since its first publication in English in 1985, Mieke Bal's Narratology has become the international classic and comprehensive introduction to the theory of narrative texts. Narratology is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works. In this third edition, Bal updates the book to include more analysis of film narratives while also sharpening and tightening her language to make it the most readable and student-friendly edition to date. Bal also introduces new sections that treat and clarify several modernist texts that pose narratological challenges. With changes prompted by ten years of feedback from scholars and teachers, Narratology remains the most important contribution to the study of the way narratives work, are formed, and are received.
1,264 citations
Book•
01 Jan 2006
TL;DR: O'Flynn as discussed by the authors discussed the benefits of adaptation as a process and explained the appeal of adaptation in a variety of contexts, including the economic lure, legal constraints, personal and political motivations, and intentionality in adaptation.
Abstract: Preface to the 1st Edition Preface to the Revised Edition Chapter 1 Beginning to Theorize Adaptation What? Who? Why? How? Where? When? Familiarity and Contempt Treating Adaptations as Adaptations Exactly What Gets Adapted? How? Double Vision: Defining Adaptation Adaptation as Product: Announced, Extensive, Specific Transcoding Adaptation as Process Modes of Engagement Framing Adaptation Chapter 2 What? (Forms) Medium Specificity Revisited Telling - Showing Showing - Showing Interacting - -Telling or Showing Cliche #1 Cliche #2 Cliche #3 Cliche #4 Learning from Practice Chapter 3 Who? Why? (Adapters) Who Is the Adapter? Why Adapt? The Economic Lures The Legal Constraints Cultural Capital Personal and Political Motives Learning from Practice Intentionality in Adaptations Chapter 4 How? (Audiences) The Pleasures of Adaptation Knowing and Unknowing Audiences Modes of Engagement Revisited Kinds and Degrees of Immersion Chapter 5 Where? When? (Contexts) The Vastness of Context Transcultural Adaptation Indigenization Learning from Practice Why Carmen? The Carmen Story-and Stereotype Indigenizing Carmen Chapter 6 Final Questions What Is Not an Adaptation? What Is the Appeal of Adaptations? Epilogue by Siobhan O'Flynn
1,009 citations
Book•
01 Jan 1999
TL;DR: Radio Drama as discussed by the authors explores the practicalities of producing radio drama for radio and evaluates the future of radio drama in the age of live phone-ins and immedate access to programmes on the Internet.
Abstract: Radio Drama brings together the practical skills needed for radio drams, such as directing, writing and sound design, with media history and communication theory. Challenging the belief that sound drama is a 'blind medium', Radio Drama shows how experimentation in radio narrative has blurred the dividing line between fiction and reality in modern media. Using extracts from scripts and analysing radio broadcasts from America, Britain, Canada and Australia, the book explores the practicalities of producing drama for radio. Tim Crook illustrates how far radio drama has developed since the first 'audiophonic production' and evaluates the future of radio drama in the age of live phone-ins and immedate access to programmes on the Internet.
86 citations