Tuesday 18 March 2008

Introduction to Radio Dramas

Please click on image above to observe the assessment criteria for this unit.....






Back before there were televisions and computers, there was radio. Families of the 1930s and 1940s would gather around the radio and listen to their favourite programmes such as Little Orphan Annie, Amos and Andy, The Guiding Light and the Shadow. Millions of people tuned in daily to their favourite programmes, just as we tune into our favourite television shows. Radio allowed the listener to create their own images of characters and settings, a luxury that we no longer have in these days of television.

BBC Radio Drama
BBC Radio 4
BBC Radio 7
Balance Publishing


Task:
Using the links above answer the following questions:

1) How old is Radio Drama?
2) When did Radio Drama reach its peak?
3) What did networks start doing in 1927?
4) What happened in the 1930s?
5) What effect did the war have on the Radio?
6) What effect did Radio Drama have on the early years of TV?
7) Does Radio Drama still exist in the UK? Where? What types of other programmes do these radio stations broadcast? Name 5 Radio Dramas broadcast in Britain today.



WAR OF THE WORLDS


WOW, an early American radio play, caused a great deal of confusion and panic when the audience misread the radio programme as non-fiction, rather than fiction. Read the information and watch the clips to find out more!



The Programme, broadcast from the 20th floor at 485 Madison Avenue (in New York City), started with a short introduction to the intentions of the aliens, and noted that the adaptation was set in 1939. The programme continued as an apparently ordinary music show, only occasionally interrupted by news flashes. Initially, the news is of strange explosions sighted on Mars.



Many people missed or ignored the opening credits of the programme, and in the atmosphere of growing tension and anxiety in the days leading up to World War II, took it to be a news broadcast. Contemporary newspapers reported that panic ensued, with people fleeing the area, and others thinking they could smell the poison gas or could see the flashes of the lightening in the distance.



The author Richard J. Hand cites studies by unnamed historians who "calculate[d] that some six million people heard the Columbia Broadcasting System broadcast; 1.7 million believed it to be true, and 1.2 million were 'genuinely frightened'". (Hand, 7) While Welles and company were heard by a comparatively small audience (Bergen's audience was an estimated 30 million), the uproar that followed was anything but minute: within a month, there were about 12,500 newspaper articles about the broadcast or it's impact (Hand,7), while Adolf Hitler cited the panic, as Hand writes, as "evidence of the decadence and corrupt condition of democracy."




The news reports grew more frequent and increasingly ominous after a "meteorite" - later revealed as a Martian rocket capsule - lands in New Jersey. A crowd gathers at the landing site, and the events are related by reporter 'Carl Philips' until the Martians incinerate curious onlookers with their "Heat - Rays". (Later surveys indicate that many listeners heard only this portion of the show before contacting neighbors or family to inquire about the broadcast. Many of these people contacted others, in turn; leading to rumors and later confusion.)



More Martian ships land, and the proceed to wreak havoc throughout the United States, destroying bridges and railroads, and spraying a poison gas into the air. An unnamed Secretary of the Interior advises the nation on the growing conflict. (The "Secretary" was originally intended to be a portrayal of Franklin Delano Roosevelt, then President, but CBS insisted this detail, among others, be changed. The "Secretary" did, however, sound very much like Roosevelt as the result of directions given to actor Kenny Delmar by Welles.)

Many of these listeners were apparently confused. In fairness, it must be noted that the confusion cannot be credited entirely to naivety. Though many of the actors' voices should have been recognisable from appearances on other radio shows, nothing like the WOW broadcast had ever been attempted in the United States, so listeners were accustomed to accepting newsflashes as reliable.



Newspapers reported the panic the next day and as usual the media hyped up the story, bringing even greater strength to the story which some say is an urban myth!


Introductory Task:

Using the information provided in this section, write a magazine article for a modern day publication explaining the events that have just beeen described to you.
Consider : Audience reaction, why did some of the audience react in the way they did? Why was radio drama such a powerful medium?

Monday 17 March 2008

Understanding the Codes & Conventions of Radio Drama Genres

Key Terms:

Codes
Conventions
Style
Structure

How to Analyse Radio Drama

You can apply the practice of semiotics to radio in the same way as you would to television. Instead of decoding visual signifiers, you are decoding auditory signifiers.

These auditory signifiers consist of the 'Voice', Technical aspects, Cultural Codes and Codes of Context.
Think about the style of the drama you are analysing, how is it suitable for the target audience? What is the mode-of-address?

Click on the Picture below to see what you need to be looking for...


Task 1:Using some of the websites listed below, choose 3 radio dramas of different genres and write an analysis of each using the notes above and in the picture below.

BBC Radio 4
BBC Radio 7
Drama Pod
Wireless Theatre Company

Example 1: The introduction voice is slightly high pitched and loud, this connotes the importance of the introduction, also as this is a radio drama based upon the star wars universe, which has a scrolling intro that sets the scene of the film, a voice over is needed to represent the importance and calibre of this introduction. The voice is smooth and keeps a constant rhythm, again this is because the introduction so is important to this story, the voice needs to be easy to understand and pleasing to listen to as they are the ones setting the scene for the whole drama. When the main villain is introduced his voice is slow, rough and sly. His voice connotes that he is evil, that he seems to be plotting and carefully thinking about what he is saying, signifying his intelligence. Juxtaposed against this is the voice of a simple foot solider, who stutters and has a quieter, more subtle voice. His voice signifies that he is ‘below’ the main antagonist and seen as a lesser person. More over, the hero is set up as a binary opposite to the villain. This highlights each of the characters personalities. The hero is a female, with a soft, flowing voice. She is juxtaposed against the villain.

Example 2:
Voice plays a huge role in this Radio Drama from the start. One of the main villains of the doctor who series, The Daleks, are introduced straight away. Their high pitched, electronic voice is iconic to the series and the voice signifies the cold, evil, calicle attitude of the Daleks by using high pitched short, and usually evil, responses. Also using an electronic voice signifies that they are robotic. When the doctor is introduced, he uses an very standard English dialect which links to the TV series being a highly acclaimed British show. The Doctor uses a language register that shows that the drama is aimed at people who are interested in the doctor who show, as he uses words and phrases associated with the show, ones which a first time listener would not understand. Without an understanding of the Doctor Who show, a listener would feel lost as the iconic sound effects (such as the Tardiss’ signature woo woo) help move the narrative on.

Example 3:
A BBC Radio 7 production. This radio drama has the genre, comedy. It is a scripted spoof of a chat show with a primary target audience of people aged around 16 to mid 30’s and both sexes, however secondarily it would be aimed at people of an older age or possibly younger than 16 but not children. The social class that this radio drama is aimed at would be working to middle class because although it is a spoof, there is an element of the broadcast which requires the audience to be well educated, the audience must also understand the codes of conventions of a real chat show. Applause is used as an icon, where the index is a big crowd of people who are sat in the audience, this gives the image of a real chat show and the impression that it is live. Music is used to signify when the guest is on, as the listener we would imagine that the guest has arrived onto the stage of the chat show. Because Alan is quite rude and also has a sexist view of women, this undermines the conventions of a chat show, where usually the host is very polite. The unprofessionalism juxtaposed with an american presenter is more affective. Alan is a complex character, neither good or bad, and in certain episodes he plays the role of the ‘hero’ where the guest is the ‘villain’ which is entertaining for the listeners and gives the drama more structure.

Task 2.Produce 3 x 20 second clips, each clip should emulate the codes and conventions of a specific genre.

Producing Proposals & Treatments for Radio Drama

In this section you should produce a treatment for 2 different radio dramas, 1 will be a text transformation of a classic fairytale and the other will be an original script, based on your own ideas.

Very useful website..........

Key Terms:

Formats
Narrative Stucture
Representation of Characters and Issues
Target Audience


For each drama you will need to produce the following:

Task 3: A Mind Map of your Ideas




Task 4: 2 x Proposals briefly stating different ways of presenting your drama; including ideas on narrative, sound fx, locations, characters, music beds etc...

Example:


My drama will be single strand, it will also be sequential as it will begin at equilibrium, then there will be the disruption, and then a resolution. The voices in my drama will generally be quite informal, as my drama will be aimed at working to middle class audiences. Also, because the drama’s primary target audience is children, the language will be tame and simple to make sure it easy to understand and does not get confusing, I will also include a narrator to help set the scene and help listeners to follow what is going on. Post-production I will hold informal auditions for the voices of each character.



Task 5: 2 treatments based on your proposals using as much relevant media language as possible.

Writing Radio Drama Scripts in Specific Genres

Principals of Writing Radio Drama

Task 6:You should produce 2 scripts, one for each of the treatments from the previous task.

For example Scripts have a browse through the ones listed on the websites below.

Vintage Radio Scripts
Golden Age Scripts
Simply Scripts

Tony Palermo's website has some very good advice and downloadable templates:
ruyasonic.com

Click on the Pictures below for an example of a script produced for this course.


(Dark music – a series of deep bas chords. Followed by a clatter of drums.

Ambience – the crackle of a fire. )

Thomas – People say there is a fine line between civilisation and barbarism. A thin gap between trust and fear, peace and war. I never used to believe that – I saw the good in people. But then there was the outbreak, and it changes us.

Cut to news report – (Sfx of sirens and ambience of crowd noise. Fade in reporter)

Reporter – ‘And more news of widespread disruption in Northern Cities this afternoon…… This is difficult to make sense o at the time but it appears that normally peaceful towns have descended into chaos. There are reports of the residents randomly attacking and in some cases even acts of cannibalism have been reported. This seems to be the result of……….(Fade out to ambience of the fire).

Thomas – Nobody really believed the reports at first and for a while down in the South life carried on as normal. I lived in Bristol then and worked as a solicitor in a small office – nothing exciting. But it seemed strange to carry on – even then it felt like we were about to fall into a precipice. Before long though, the trouble got to us. First in the villages then in the towns. (Transition)

(Sfx – breaking glass/car alarms/ shouts)

Man 1 - help me ……help ………….

Woman 1 - John………John………What’s wrong………Oh my……..

Fade out

Thomas (slow/solemn tone) – There was nothing we could do…….




Plan & Produce a Radio Drama


Task 7:To produce a radio drama using one of the scripts produced in the previous task.



This website may be useful for sound FX:
Sound FX

Task 8:Evaluate your Product, answering the following questions in your evaluation:

Purpose :
What was your original aim?
Did you actually achieve your purpose? Your own opinion.
Now ….you must gather audience feedback by playing your package to a group of people from your target audience. You should then write under the following headings :

Audience
What did they say? Did they enjoy it? Did they take your preferred reading…. Or an oppositional reading? Use words like “primary target audience….. uses & gratifications theory”

Representation issues.
Did you give positive messages… or negative …. were you biased?
Did your package only include boys/girls or both?
Were different ethnic groups included in your plans? If not, why not?
How did your music track add to the mood of the piece?
Were the locations appropriate to the package? Why? Why not?
Was the language appropriate for your target audience?
Was it realistic when compared to a similar professional product?

Technical issues
What were the levels like? Voice? Music? Background?
Did you cut off anyone’s voice when you edited the piece? If you did, how could you solve this next time?
Was the microphone work o.k.? Why? Why not?
Was there enough variety to keep your audience interested?
Was your editing o.k.? Have you used single track editing or multi-track editing?
Have you used sound effects? Why? Why not?
Have you used any actuality in your piece? What was it?


Conventions/Narrative
What do you think was typical of this genre? Make a list.
What would be the same in a similar professional product?
Do they have any advantages over you?
Features of good narrative include........ enigma.... , equilibrium, disruption, resolution, hero, villain.... did you use any of them?
Would you regard your story as single strand or multi-strand?


Own performance... self evaluation
Did you learn any new skills?
How do you think you did? ..... strengths?.. weaknesses?
Were you a good team member? Why? Why not?
Did you argue or were you prepared to listen to the opinion of others?

Future targets
What would you improve on next time?
Produce a brainstorm of some ideas for
1. PROMOTING your audio product?
2. DISTRIBUTING it?
Which ‘laws/controls’ might you need to consider? Copyright? How can you get permission to use music?
Look at MCPS (Mechanical Copyright Protection Society) for prices.
Look at Ofcom’s programme codes/news codes/advertising codes, depending on your chosen genre. Have you followed the guidelines? If you have and you have no worries…. Ask yourself WHAT IF I’D DONE………..? This gives you a chance to look at the codes more thoroughly.

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