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[[File:Bundesarchiv B 145 Bild-F001349-0028, Köln, WDR Rundfunkstudio.jpg|thumb|240px|Recording studio in Germany ([[Westdeutscher Rundfunk|WDR]], 1954)]]
[[File:Bundesarchiv B 145 Bild-F001349-0028, Köln, WDR Rundfunkstudio.jpg|thumb|240px|Recording studio in Germany ([[Westdeutscher Rundfunk|WDR]], 1954)]]


A '''radio documentary''' is a spoken word [[radio format]] devoted to non-fiction narrative. It is broadcast on [[radio]] as well as distributed through media such as tape, CD, and [[podcast]]. A radio documentary, or '''feature''', covers a topic in depth from one or more perspectives, often featuring interviews, commentary, and sound pictures. A radio feature may include original music compositions and creative sound design or can resemble traditional journalistic radio reporting, but covering an issue in greater depth.
A '''radio documentary''' is a spoken word [[radio format]] devoted to a non-fiction narrative. It is broadcast on [[radio]] as well as distributed through media such as tape, CD, and [[podcast]]. A radio documentary, or '''feature''', covers a topic in depth from one or more perspectives, often featuring interviews, commentary, and sound pictures. A radio feature may include original music compositions and creative sound design or can resemble traditional journalistic radio reporting, but cover an issue in greater depth.


== History ==
== History ==
=== Origins ===
=== Origins ===
The early stages of fiction audio storytelling did not entirely resemble what would later be called radio documentary. In the 1930s, with radio stations like [[WNYC]] entering the airspace, reporters documented real people and real life scenarios through short on-the-ground interviews rather than dramatization.<ref name=":1">{{Cite journal|last=Carson|first=Saul|year=1949|title=Notes toward an Examination of the Radio Documentary|jstor=1209386|journal=Hollywood Quarterly|volume=4|issue=1|pages=69–74|doi=10.2307/1209386}}</ref> Other notable documentary broadcasts include the unrefined one-shot audio recordings of events, such as the [[Hindenburg disaster]] in 1937.<ref name=":0">{{Cite web|url=http://transom.org/2014/brief-history-of-documentary-forms/#npr|title=A Brief History of Documentary Forms|last=Carrier|first=Scott|date=3 Feb 2014|website=transom.org|access-date=2 Dec 2016}}</ref> By 1939, CBS responded to growing anxieties about immigration in the U.S. with a six-month series, titled "Americans All…Immigrants All," that highlighted the stories of immigrant communities.<ref>{{Cite journal|last=Shiffman|first=Dan|year=1996|title=A Standard for the Wise and Honest: The "Americans All…Immigrants All" Radio Broadcasts|jstor=23413750|journal=Studies in Popular Culture|volume=19|issue=1|pages=99–107}}</ref>
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 [[WNYC]] entering the airspace, reporters documented real people and real-life scenarios through short on-the-ground interviews rather than dramatization.<ref name=":1">{{Cite journal|last=Carson|first=Saul|year=1949|title=Notes toward an Examination of the Radio Documentary|jstor=1209386|journal=Hollywood Quarterly|volume=4|issue=1|pages=69–74|doi=10.2307/1209386}}</ref> Other notable documentary broadcasts include unrefined one-shot audio recordings of events, such as the [[Hindenburg disaster]] in 1937.<ref name=":0">{{Cite web|url=http://transom.org/2014/brief-history-of-documentary-forms/#npr|title=A Brief History of Documentary Forms|last=Carrier|first=Scott|date=3 Feb 2014|website=transom.org|access-date=2 Dec 2016}}</ref> 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.<ref>{{Cite journal|last=Shiffman|first=Dan|year=1996|title=A Standard for the Wise and Honest: The "Americans All…Immigrants All" Radio Broadcasts|jstor=23413750|journal=Studies in Popular Culture|volume=19|issue=1|pages=99–107}}</ref>


The lack of documentary style reporting in this era can be attributed, in part, to technological limitations; recording equipment was not easily portable.<ref name=":0" />
The lack of documentary-style reporting in this era can be attributed, in part, to technological limitations; recording equipment was not easily portable.<ref name=":0" />


=== 1940s ===
=== 1940s ===
An important moment in the establishment of radio documentary as a widely used and discussed format is the expansion of portable audio recording devices. In 1945, sound archivist and radio producer, [[Tony Schwartz (sound archivist)|Tony Schwartz]] 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.<ref>{{Cite journal|last=Suisman|first=David|year=2012|title=Listening to the City|url=http://www.folkways.si.edu/magazine-fall-winter-2012-listening-city/sounds/music/article/smithsonian|journal=Smithsonian Folkways Magazine}}</ref> This style of sharing true-life sound bytes would remain in public radio documentary.
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, [[Tony Schwartz (sound archivist)|Tony Schwartz]] 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.<ref>{{Cite journal|last=Suisman|first=David|year=2012|title=Listening to the City|url=http://www.folkways.si.edu/magazine-fall-winter-2012-listening-city/sounds/music/article/smithsonian|journal=Smithsonian Folkways Magazine}}</ref> This style of sharing true-life sound bytes would remain in public radio documentary.


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 with major domestic and international issues and involving extraordinary research and preparation'".<ref name=":2">{{Cite book|title=Radio Utopia: Postwar Audio Documentary in the Public Interest|last=Ehrlich|first=Matthew C.|publisher=University of Illinois Press|year=2011|pages=46–70}}</ref> 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 of an issue, an adherence to journalistic ethics, and often a call to action; the programming was usually released as multiple segments and at peak times.<ref name=":1" /> Examples of these first documentary projects include CBS' 1946 war feature, ''The Empty Noose'',<ref name=":2" /> and ABC's 1949 program, ''V.D., A Conspiracy of Silence'',<ref name=":1" /> addressing the lack of public attention to venereal disease.
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 with major domestic and international issues and involving extraordinary research and preparation'".<ref name=":2">{{Cite book|title=Radio Utopia: Postwar Audio Documentary in the Public Interest|last=Ehrlich|first=Matthew C.|publisher=University of Illinois Press|year=2011|pages=46–70}}</ref> Not only did the content deviate from programming that favors advertisers, but the style also 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.<ref name=":1" /> Examples of these first documentary projects include CBS' 1946 war feature, ''The Empty Noose'',<ref name=":2" /> and ABC's 1949 program, ''V.D., A Conspiracy of Silence'',<ref name=":1" /> addressing the lack of public attention to venereal disease.


=== 1970s ===
=== 1970s ===
With the founding of [[NPR|National Public Radio]] in 1971,<ref>{{Cite news|url=https://www.britannica.com/topic/National-Public-Radio|title=National Public Radio (NPR) {{!}} American organization|newspaper=Encyclopædia Britannica|access-date=2016-12-02}}</ref> radio documentary began shifting again due to non-commercial educational media. For a short time, programs such as ''[[All Things Considered]]'' explored creative styles of presenting non-fiction by deviating from now traditional styles of radio documentary by hiring reporters outside of the radio sphere.<ref name=":0" />
With the founding of [[NPR|National Public Radio]] in 1971,<ref>{{Cite news|url=https://www.britannica.com/topic/National-Public-Radio|title=National Public Radio (NPR) {{!}} American organization|newspaper=Encyclopædia Britannica|access-date=2016-12-02}}</ref> radio documentary began shifting again due to non-commercial educational media. For a short time, programs such as ''[[All Things Considered]]'' explored creative styles of presenting non-fiction by deviating from now-traditional styles of radio documentary by hiring reporters outside of the radio sphere.<ref name=":0" />


=== 1990s-present ===
=== 1990s-present ===
Important shifts in technology have allowed radio documentary to travel beyond the analog. In the advent of podcasting and internet radio, the FCC provides no guidelines for these media.<ref>{{Cite news|url=https://www.fcc.gov/media/radio/audio-division|title=Audio Division|date=2015-11-03|newspaper=Federal Communications Commission|access-date=2016-12-02}}</ref> Programs are allowed to skirt FCC regulation, marking yet another shift in content and style of documentary programming. Current features that exemplify the new possibilities opened by podcasting include the often gritty subject matter of [[Love and Radio|Love + Radio]] and the critical success of the podcast [[Serial (podcast)|Serial]] due to the ability of listeners across the globe to access the content for free.
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.<ref>{{Cite news|url=https://www.fcc.gov/media/radio/audio-division|title=Audio Division|date=2015-11-03|newspaper=Federal Communications Commission|access-date=2016-12-02}}</ref> Programs are allowed to skirt FCC regulation, marking yet another shift in the content and style of documentary programming. Current features that exemplify the new possibilities opened by podcasting include the often gritty subject matter of [[Love and Radio|Love + Radio]] and the critical success of the podcast [[Serial (podcast)|Serial]] due to the ability of listeners across the globe to access the content for free.


==Quotes==
==Quotes==
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{{Unreferenced section|date=September 2011}}
{{Unreferenced section|date=September 2011}}


There has been tremendous interest in the field of Radio Documentaries particularly in the developing nations such as India, Iran, South Korea and Malaysia. In India for example, Radio Documentary is gaining in popularity due to the flexibility, efficiency and accessibility to the masses. Producers such as '''Chitra Narain''' and '''Danish Iqbal''' 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 '''<nowiki>"Yeh Rishta Kya Kehlata Hai'</nowiki>''' is considered a Classic for the use of effective narrative and ambient sounds. This Documentary presents a heartfelt account of unseen bridges between a Kashmiri Shikarah Wala and his Auto Rickshaw Driver friend in Delhi. Although they never met each other but their unseen bond is the subject of this rare Documentary which transcends the barriers of political, religious and regional prejudices.
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 such as '''Chitra Narain''' and '''Danish Iqbal''' 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 '''<nowiki>"Yeh Rishta Kya Kehlata Hai'</nowiki>''' is considered a Classic for the use of effective narrative and ambient sounds. This Documentary presents a heartfelt 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.


Because both Chitra and Danish had a long tenure at Delhi and had 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 '''Public Service Broadcasting Award''' for his documentaries.
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 '''Public Service Broadcasting Award''' for his documentaries.


==Notable feature makers==
==Notable feature makers==

Revision as of 15:11, 14 February 2023

Recording studio in Germany (WDR, 1954)

A radio documentary is a spoken word radio format devoted to a non-fiction narrative. It is broadcast on radio as well as distributed through media such as tape, CD, and podcast. A radio documentary, or feature, covers a topic in depth from one or more perspectives, often featuring interviews, commentary, and sound pictures. A radio feature may include original music compositions and creative sound design or can resemble traditional journalistic radio reporting, but cover an issue in greater depth.

History

Origins

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 WNYC entering the airspace, reporters documented real people and real-life scenarios through short on-the-ground interviews rather than dramatization.[1] Other notable documentary broadcasts include unrefined one-shot audio recordings of events, such as the Hindenburg disaster in 1937.[2] 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.[3]

The lack of documentary-style reporting in this era can be attributed, in part, to technological limitations; recording equipment was not easily portable.[2]

1940s

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, Tony Schwartz 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.[4] This style of sharing true-life sound bytes would remain in public radio documentary.

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 with major domestic and international issues and involving extraordinary research and preparation'".[5] Not only did the content deviate from programming that favors advertisers, but the style also 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.[1] Examples of these first documentary projects include CBS' 1946 war feature, The Empty Noose,[5] and ABC's 1949 program, V.D., A Conspiracy of Silence,[1] addressing the lack of public attention to venereal disease.

1970s

With the founding of National Public Radio in 1971,[6] radio documentary began shifting again due to non-commercial educational media. For a short time, programs such as All Things Considered explored creative styles of presenting non-fiction by deviating from now-traditional styles of radio documentary by hiring reporters outside of the radio sphere.[2]

1990s-present

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.[7] Programs are allowed to skirt FCC regulation, marking yet another shift in the content and style of documentary programming. Current features that exemplify the new possibilities opened by podcasting include the often gritty subject matter of Love + Radio and the critical success of the podcast Serial due to the ability of listeners across the globe to access the content for free.

Quotes

At its best, radio combines the power and immediacy of great documentary films with the intimacy and poetry of a New Yorker-style magazine piece.

— Columbia University Graduate School of Journalism, web.jrn.columbia.edu

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 reality and the desire for a 'musical' expression. The material (der Werkstoff) 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!

— Helmut Kopetzky, German author, Self-portrait

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 music.

— Patrick Conley, 60 Years of Radio Feature in Germany, 2007

Radio documentary in developing nations

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 such as Chitra Narain and Danish Iqbal 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 narrative and ambient sounds. This Documentary presents a heartfelt 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.

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 Public Service Broadcasting Award for his documentaries.

Notable feature makers

Wikimedia Commons has media related to Radio documentaries.

References

  1. ^ a b c Carson, Saul (1949). "Notes toward an Examination of the Radio Documentary". Hollywood Quarterly. 4 (1): 69–74. doi:10.2307/1209386. JSTOR 1209386.
  2. ^ a b c Carrier, Scott (3 Feb 2014). "A Brief History of Documentary Forms". transom.org. Retrieved 2 Dec 2016.
  3. ^ Shiffman, Dan (1996). "A Standard for the Wise and Honest: The "Americans All…Immigrants All" Radio Broadcasts". Studies in Popular Culture. 19 (1): 99–107. JSTOR 23413750.
  4. ^ Suisman, David (2012). "Listening to the City". Smithsonian Folkways Magazine.
  5. ^ a b Ehrlich, Matthew C. (2011). Radio Utopia: Postwar Audio Documentary in the Public Interest. University of Illinois Press. pp. 46–70.
  6. ^ "National Public Radio (NPR) | American organization". Encyclopædia Britannica. Retrieved 2016-12-02.
  7. ^ "Audio Division". Federal Communications Commission. 2015-11-03. Retrieved 2016-12-02.
  8. ^ "Siobhan McHugh".
  9. ^ https://www.webarchive.org.uk/wayback/archive/20130801111936/http://www.rslit.org/air-and-water-thoughts-of-a-radio-fellow [bare URL]
  10. ^ http://www.linkedin.com/pub/jane-ulman/48/330/320 [self-published source]
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