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Week 10


Chapter 11. “A Feminist Materialisation…” Kaitlynn Sass

Podcast TBD Erick Marco Ramos Link to Slides via MS Teams

Reading / Listening

  1. Continued: Serial. S01E01-12, 2014,
  2. Spinelli and Dann. Podcasting. Ch 08 (Serial).
    1. Serial rethinks journalism (*as a consequence of live production, online participation, soft-touch editing, depth) (pp 175-6)
    2. complications - Serial seen as evading complexity of race, aided by its audio medium; (177)
    3. levels of complexity in narrative; Serial; This American Life; Roland Barthes, S/Z. (180); rethinking or problematizing of objectivity, balance, and detachment (181-3_
  3. Ears Only: Drama 06 (audio) audiop link
    1. fiction/non-fiction and 'naming rights'; new terms a sign of 'something coming together'?;
    2. 'audio drama' once equalled “radio drama' and even 'BBC radio drama'; still 350 plays a year! integrated into British middle-class life.
    3. 100 year history of radio drama doesn't seem to have its periods / fashions as do TV and cinema; TODAY's podcast drama: 1) producer background (not BBC, but Americans drawing on cinematic traditions) 2) genre based for audience and 3) framing device.
    4. revolutionary? or naive, unencumbered by a past? (clean slate?)
      1. ex. 'The Truth' uses casual, less-stagey cinema type dialogue,
      2. designed for earbuds and not BBC enunciated diction for listening over the washing machine;(editor uses script plus improvisation, with many takes etc. ).
  4. Framing devices - podcast drama in-between-ness, not fully immersive; engaging and intimate via earbuds, but we are mobile while listening; audience must “work … make all these things happen … in your mind”; frame must “lighten the cognitive load of the audience … places the narrator or reporter into the story…” Ex. early, first audio drama “The Lights Have Gone Out' about a mining disaster; or Orson Welles' “War of the Worlds” - also like Cecil in Welcome to Nightvale … (also lends itself to “lean production” which you need if you're going to sustain a long-term podcast with a smaller audience, though this also looks to the future (licensing etc.)
  5. Limitations, opportunities: - little comedy? confrontation? weirdness? risk aversion in an opt-in medium? adaptations?
  6. Are we working within a niche within a niche?
  7. “Do we want to become mainstream? Isn't niche better?”
  8. Well, what if we could pay people a little? Not paid too much, enough to keep us humble.

(from last week)

  1. Spinelli and Dann. Podcasting. Ch 06 - Utopian Moment:, Diversity, and Youth
    1. born of youth protests and youth coverage in mainstream media. Goal to involve young in mentored podcast production (an alternative to 'diversity projects' in BBC etc.). Both equips youth to express/critique media AND also gives them 'job skills' to join media.
  2. Ears Only: Editing 07 (audio)
    1. “What is unique about the editing and aesthetics of podcasting?”
      1. Challenge (lack of vocab.?) in talking about the “sound” in podcasts (as opposed to its story or content), though we find it remarkable when going to a movie where a story is told through images.
    2. They're Alive
      1. “I really wanted to mimic movies … the sound everyone experiences in the theater and just find a way to bridge the mediums of film and the pre-existing audio entertainment … and get those people interested in movies … in between a book and a movie…” (Casey Whalen); listen with high-fi speakers!


Spinelli and Dann. Podcasting. Ch 07; Ears Only: Future 08 (audio); BCritical essay; proposal due 11/9)

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