Theater of the Mind

Verma, Neil

doi:10.7208/chicago/9780226853529.001.0001

Cited by 124 publications

(6 citation statements)

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“…Broadcasts persist only because they were transformed before dispersing in space, plucked from the air and mineralized like fossils. 54 Nevertheless, as Verma goes on to argue, dwelling on the past is counterproductive in audio drama and is even against the 'spirit' of radio. Similarly, Gothic styles 'retain a double function in simultaneously assuaging and intensifying the anxieties with which they engage', associating Gothic with modernity.…”

Section: Kid Brother and Big Brother: Differing Worldviews In Nightfa...mentioning

confidence: 99%

Sounds Like Murder: Early 1980s Gothic on North American Radio

McMurtry

2022

Gothic Studies

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.

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Section: Kid Brother and Big Brother: Differing Worldviews In Nightfa...mentioning

confidence: 99%

Sounds Like Murder: Early 1980s Gothic on North American Radio

McMurtry

2022

Gothic Studies

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“…The issue of sound effects concerned radio sound engineers and producers in the early years of radio drama and, as Neil Verma discusses, by the late 1930s broadcast sound effects were becoming standardised and, in effect, decoupled sound from its supposed object-source. 42 Gilliam's representation of the broadcast sound effects for The Shadow of the Swastika, however, counteracts any sense of aural alienation that may result from the presence of recorded sound in a live broadcast. Indeed the veracity of the 'text' is reinforced by the technologically mediated historical source, producing an authentic aural atmosphere that is not reliant on live presence alone.…”

Section: Alex Goodymentioning

confidence: 99%

BBC Features, Radio Voices and the Propaganda of War 1939–1941

Goody¹

2018

Media History

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“…37 For others, a cognisance of the technical and artistic limitations of radio-sound, and of the restrictions imposed by broadcast genres and networks, transmuted into programmes and studio design that bore the spatial hallmarks of their anxieties, as discussed by scholars including Neil Verma and Shundana Yusaf. 38 The imbrication of space and geography in Portrait of Rome, and its two successor 'portrait' features, reveals MacNeice's exploration of space and form to be one marked above all by self-awareness. His portraits celebrate and complicate the idea of radio-spatiality, whilst also gesturing towards a knotty entanglement with overseas culture in the broadcast travel feature.…”

Section: Jigsaws and Patchwork: Geography And Spatiality In The Radiomentioning

confidence: 99%

‘Countries in the Air’: Travel and Geomodernism in Louis MacNeice's BBC Features

Lodhi¹

2018

Media History

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In the middle stretch of his twenty-two-year BBC career, the poet and producer Louis MacNeice earned a reputation as one of the 'undisputed masters of creative sound broadcasting', a reputation derived, in part, from a huge range of radio features that were founded upon his journeys abroad. Through close examination of some of his most significant overseas soundscapes-including Portrait of Rome (1947) and Portrait of Delhi (1948)-this article will consider the role and function of travel in shaping MacNeice's engagement with the radio feature as a modernist form at a particular transcultural moment when Britain moved through the end of the Second World War and the eventual disintegration of its empire.

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Theater of the Mind

Cited by 124 publications

References 0 publications

Sounds Like Murder: Early 1980s Gothic on North American Radio

Sounds Like Murder: Early 1980s Gothic on North American Radio

BBC Features, Radio Voices and the Propaganda of War 1939–1941

‘Countries in the Air’: Travel and Geomodernism in Louis MacNeice's BBC Features

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