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with major domestic and international issues and involving extraordinary research and preparation'". Not only did the content deviate from programming that favors advertisers, the style deviated from the standard, creating a well-known format. The style of reporting for the CBS features was adopted and melded by ABC and NBC networks. The format included extensive interviews to gain multiple perspectives on an issue, adherence to journalistic ethics, and often a call to action; the programming was usually released as multiple segments and at peak times. Examples of these first documentary projects include CBS' 1946 war feature,
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narrative and ambient sounds. This documentary presents an account of unseen bridges between a
Kashmiri Shikarah Wala and his auto rickshaw driver friend in Delhi. Although they never met each other their unseen bond is the subject of this rare Documentary which transcends the barriers of political, religious and regional prejudices.
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have been accredited with its revival and popularity in the region. Danish Iqbal who is primarily a drama producer combined the elements of dramatic narrative to produce some memorable radio documentaries. His documentary "Yeh Rishta Kya
Kehlata Hai" is considered a classic for the use of effective
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There has been tremendous interest in the field of radio documentaries, particularly in developing nations such as India, Iran, South Korea and
Malaysia. In India, for example, radio documentary is gaining in popularity due to their flexibility, efficiency and accessibility to the masses. Producers
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In 1946, one of the most pivotal developments in the spread and stylization of radio documentary was the creation of the CBS Documentary Unit. It was the first sector of a major media network dedicated to this format of radio. The unit was "'devoted exclusively to the production of programs dealing
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Important shifts in technology have allowed radio documentary to travel beyond analog. With the advent of podcasting and internet radio, the FCC provides no guidelines for these media. Programs are allowed to skirt FCC regulation, marking yet another shift in the content and style of documentary
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began to use portable audio recording equipment to collect the sounds of his neighborhood in New York City to share on his WNYC radio show; his features ran for 30 years and grew to include the sounds of daily life recorded by and mailed to him from people around the world. This style of sharing
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Staring red-eyed at the mirror in front of me, having spent another day and half of the night with my computer, I ask myself fundamental questions: Why radio? Why documentary? Answer: No other medium can provide me with more freedom of creation and investigation. It meets my urgent interest in
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So what is a radio feature? Technically speaking, it is a 30- to 60-minute, elaborate broadcast from a semantic field related to a radio drama, that can contain all the elements from original sound (interviews) and author texts (epic or scenic type) to noise and
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entering the airspace, reporters documented real people and real-life scenarios through short on-the-ground interviews rather than dramatization. Other notable documentary broadcasts include unrefined one-shot audio recordings of events, such as the
184:) is sound. And sound always surrounds us. And: I'm not so much interested in the description of stable situations, but in processes. Our medium is not space, but time; our stories are not glued to the ground, but have motion, life ... That's why!
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Because both Chitra and Danish had a long tenure at Delhi and had a creative collaboration with many media institutes, their influence is seminal in shaping the thinking of many of their students and co-workers. Danish won twice the prestigious
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An important moment in the establishment of the radio documentary as a widely used and discussed format is the expansion of portable audio recording devices. In 1945, sound archivist and radio producer,
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in 1937. By 1939, CBS responded to growing anxieties about immigration in the U.S. with a six-month series, titled "Americans All…Immigrants All," which highlighted the stories of immigrant communities.
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explored creative styles of presenting non-fiction by deviating from now-traditional styles of radio documentary by hiring reporters outside of the radio sphere.
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The early stages of fiction audio storytelling did not entirely resemble what would later be called radio documentaries. In the 1930s, with radio stations like
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The lack of documentary-style reporting in this era can be attributed, in part, to technological limitations; recording equipment was not easily portable.
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programming. Current features that exemplify the new possibilities opened by podcasting include the often gritty subject matter of
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in 1971, radio documentary began shifting again due to non-commercial educational media. For a short time, programs such as
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Shiffman, Dan (1996). "A Standard for the Wise and Honest: The "Americans All…Immigrants All" Radio
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At its best, radio combines the power and immediacy of great documentary films with the intimacy and poetry of a
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Carson, Saul (1949). "Notes toward an
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reality and the desire for a 'musical' expression. The material (
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true-life sound bytes would remain in public radio documentary.
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Radio Utopia: Postwar Audio
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as well as distributed through media such as tape, CD, and
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129:All Things Considered
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410:Glenn Gould
323:Jay Allison
318:Greg Barron
749:2016-12-02
724:2016-12-02
566:References
524:Pete Myers
444:David Isay
373:Bill Drake
353:Edwin Brys
160:New Yorker
428:Alan Hall
398:Ira Glass
383:Joe Frank
233:does not
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285:such as
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60:feature
56:podcast
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199:music.
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147:Serial
660:JSTOR
635:2 Dec
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545:2008)
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