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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.
Orson Welles, radio literature, the female voice on radio, deferral, close listening, proximity effect, CBS radio, experimental sound, Ray Bradbury, contrapuntal, phonophobia, mastering effect, enunciative mastery, sonic culture, radio art, Dylan Thomas, acoustic drift, National Public Radio, Agnes Moorehead, announcer, radio drama, problem of the speaking woman, media history, BBC radio, Susan Stamberg, prestige broadcasting, sound studies, Samuel Beckett, Mercury Theatre on the Air, Irving Reis, musique concrète, Ken Nordine, Norman Corwin, Joe Frank, Antonin Artaud, Lucille Fletcher, radio essay, Arch Oboler, Archibald MacLeish, radio noir, podcasting commentator, radio modernism, radiophonic, Edward R. Murrow, the Columbia Workshop