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Geisteswissenschaften, Kunst, Musik / Theater, Ballett
From Archibald MacLeish to David Sedaris, radio storytelling has long borrowed from the world of literature, yet the narrative radio work of well-known writers and others is a story that has not been told before. And when the literary aspects of specific programs such as
The War of the Worlds or
Sorry, Wrong Number were considered, scrutiny was superficial. In
Lost Sound, Jeff Porter examines the vital interplay between acoustic techniques and modernist practices in the growth of radio. Concentrating on the 1930s through the 1970s, but also speaking to the rising popularity of today's narrative broadcasts such as
This American Life,
The Organicist, Porter's close readings of key radio programs show how writers adapted literary techniques to an acoustic medium with great effect. Addressing avant-garde sound poetry and experimental literature on the air, alongside industry policy and network economics, Porter identifies the ways radio challenged the conventional distinctions between highbrow and lowbrow cultural content to produce a dynamic popular culture.
Lucille Fletcher, enunciative mastery, Antonin Artaud, problem of the speaking woman, Dylan Thomas, phonophobia, media history, National Public Radio, Agnes Moorehead, Mercury Theatre on the Air, Archibald MacLeish, Irving Reis, proximity effect, podcasting commentator, Joe Frank, Ray Bradbury, radio modernism, radio essay, radiophonic, Orson Welles, Susan Stamberg, announcer, deferral, Arch Oboler, radio literature, musique concrète, mastering effect, prestige broadcasting, sound studies, BBC radio, radio drama, experimental sound, close listening, Norman Corwin, CBS radio, Edward R. Murrow, radio noir, the female voice on radio, Samuel Beckett, Ken Nordine, radio art, sonic culture, contrapuntal, acoustic drift, the Columbia Workshop