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For generations, fans and critics have characterized classic
American radio drama as a "theater of the mind". This book examines
that characterization by recasting the radio play as an aesthetic
object within its unique historical context. In "Theater of the
Mind", Neil Verma applies an array of critical methods to more than
six thousand recordings to produce a vivid new account of radio
drama from the Depression to the Cold War. In this sweeping
exploration of dramatic conventions, Verma investigates legendary
dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis
Cooper on key programs ranging from The Columbia Workshop, The
Mercury Theatre on the Air, and Cavalcade of America to Lights
Out!, Suspense, and Dragnet to reveal how these programs promoted
and evolved a series of models of the imagination. With close
readings of individual sound effects and charts of broad trends
among formats, Verma not only gives us a new account of the most
flourishing form of genre fiction in the mid-twentieth century but
also presents a powerful case for the central place of the
aesthetics of sound in the history of modern experience.
This collection examines the work of Norman Corwin - one of the
most important, yet understudied, media authors of all time - as a
critical lens to view the history of multimedia authorship and
sound production. Known as the "poet laureate" of radio, Corwin is
most famous for his radio dramas, which reached millions of
listeners around the world and contributed to radio's success as a
mass media form in the 1930s and 1940s. But Corwin was also a
pioneer in other fields, including cinema, theater, TV, and
journalism. In each of these areas, he had a distinctive approach
to "soundwork," relying on inventive prerecorded and
live-in-real-time atmospheric effects in the studio, among other
aesthetic techniques. Exploring the range of Corwin's work-from his
World War II-era poetry and his special projects for the United
Nations to his path-breaking writing for film and television - and
its influence on media today, these essays underscore the political
and social impact of Corwin's oeuvre and cement his reputation as a
key writer in the history of many sound media.
This collection examines the work of Norman Corwin - one of the
most important, yet understudied, media authors of all time - as a
critical lens to view the history of multimedia authorship and
sound production. Known as the "poet laureate" of radio, Corwin is
most famous for his radio dramas, which reached millions of
listeners around the world and contributed to radio's success as a
mass media form in the 1930s and 1940s. But Corwin was also a
pioneer in other fields, including cinema, theater, TV, and
journalism. In each of these areas, he had a distinctive approach
to "soundwork," relying on inventive prerecorded and
live-in-real-time atmospheric effects in the studio, among other
aesthetic techniques. Exploring the range of Corwin's work-from his
World War II-era poetry and his special projects for the United
Nations to his path-breaking writing for film and television - and
its influence on media today, these essays underscore the political
and social impact of Corwin's oeuvre and cement his reputation as a
key writer in the history of many sound media.
From the cinema to the recording studio to public festival grounds,
the range and sonic richness of Indian cultures can be heard across
the subcontinent. Sound articulates communal difference and
embodies specific identities for multiple publics. This diversity
of sounds has been and continues to be crucial to the ideological
construction of a unifying postcolonial Indian nation-state. Indian
Sound Cultures, Indian Sound Citizenship addresses the multifaceted
roles sound plays in Indian cultures and media, and enacts a sonic
turn in South Asian Studies by understanding sound in its own
social and cultural contexts. 'Scapes, Sites, and Circulations'
considers the spatial and circulatory ways in which sound 'happens'
in and around Indian sound cultures, including diasporic cultures.
'Voice' emphasizes voices that embody a variety of struggles and
ambiguities, particularly around gender and performance. Finally,
'Cinema Sound' make specific arguments about film sound in the
Indian context, from the earliest days of talkie technology to
contemporary Hindi films and experimental art installations.
Integrating interdisciplinary scholarship at the nexus of sound
studies and South Asian Studies by questions of nation/nationalism,
postcolonialism, cinema, and popular culture in India, Indian Sound
Cultures, Indian Sound Citizenship offers fresh and sophisticated
approaches to the sonic world of the subcontinent.
From the cinema to the recording studio to public festival grounds,
the range and sonic richness of Indian cultures can be heard across
the subcontinent. Sound articulates communal difference and
embodies specific identities for multiple publics. This diversity
of sounds has been and continues to be crucial to the ideological
construction of a unifying postcolonial Indian nation-state. Indian
Sound Cultures, Indian Sound Citizenship addresses the multifaceted
roles sound plays in Indian cultures and media, and enacts a sonic
turn in South Asian Studies by understanding sound in its own
social and cultural contexts. 'Scapes, Sites, and Circulations'
considers the spatial and circulatory ways in which sound 'happens'
in and around Indian sound cultures, including diasporic cultures.
'Voice' emphasizes voices that embody a variety of struggles and
ambiguities, particularly around gender and performance. Finally,
'Cinema Sound' make specific arguments about film sound in the
Indian context, from the earliest days of talkie technology to
contemporary Hindi films and experimental art installations.
Integrating interdisciplinary scholarship at the nexus of sound
studies and South Asian Studies by questions of nation/nationalism,
postcolonialism, cinema, and popular culture in India, Indian Sound
Cultures, Indian Sound Citizenship offers fresh and sophisticated
approaches to the sonic world of the subcontinent.
For generations, fans and critics have characterized classic
American radio drama as a "theater of the mind". This book examines
that characterization by recasting the radio play as an aesthetic
object within its unique historical context. In "Theater of the
Mind", Neil Verma applies an array of critical methods to more than
six thousand recordings to produce a vivid new account of radio
drama from the Depression to the Cold War. In this sweeping
exploration of dramatic conventions, Verma investigates legendary
dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis
Cooper on key programs ranging from The Columbia Workshop, The
Mercury Theatre on the Air, and Cavalcade of America to Lights
Out!, Suspense, and Dragnet to reveal how these programs promoted
and evolved a series of models of the imagination. With close
readings of individual sound effects and charts of broad trends
among formats, Verma not only gives us a new account of the most
flourishing form of genre fiction in the mid-twentieth century but
also presents a powerful case for the central place of the
aesthetics of sound in the history of modern experience.
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