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Module Content

Currently much of the podcast material easily available in the UK is British or American based and the stories and styles display a degree of homogeneity. This module seeks to extend the framework of the discussion around audio storytelling to reflect a more global, growing body of audio storytelling.ÌýÌý Our primary resources will be both formal and informal archives and libraries around the world including material from Argentina, Germany, Iran, Jordan, Lithuania and Russia, to name a few. Guest lectures will feature audio practitioners from the international radio community, for instance, Egypt and Croatia, making use of virtual-internet connectivity.ÌýÌý

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This module will enable students to develop a critical language and framework for thinking about creative audio works, as well as a knowledge of different cultural approaches to creative audio from countries with established and emerging audio traditions, including non-English speaking countries. This will allow students to develop a more robust and flexible audio storytelling language, reflecting international styles, rather than a purely British or American-based approach.ÌýÌýÌý

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The module will consider the history of the rise of Broadcast Radio in different parts of the world and later of devolved forms such as citizens’ radio and the recent rise of podcast. It will do so in an international context, exploring social, political, and ethical aspects of different forms of audio storytelling.Ìý

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Each week students will listen to and critically analyse significant podcasts and audio works from around the world, including non-English speaking (with scripts or subtitles) reflecting different cultural contexts. Students will be expected to show evidence of independent critical listening and will be invited to share their reflections with the group.Ìý This will help students develop the confidence and ability to articulate their thoughts in public, which will aid students in presenting at festivals and online forums. This will, in turn, help students gain industry visibility, facilitate networking and create collaborative opportunities. At the mid-term point, students will submit a short review of a contemporary radio work or podcast episode from the body of work discussed above. At the end of term, students will produce an essay either critically analysing a significant audio work or comparing and contrasting two significant audio styles.Ìý

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Learning outcomesÌý

Having completed the course students will be able to:Ìý

• display knowledge of and critically evaluate a wide range of creative audio from past and present and around the world and use their knowledge of the historical and geographical context of audio production better to understand its distinctiveness.Ìý

• think critically to an advanced level about different cultural and historical traditions in creative documentary audio practice and write a critical or comparative analysis of creative audio work with reference to other works, producers and academics.ÌýÌý

• communicate effectively and succinctly about media content and demonstrate an awareness of ethical challenges and dilemmas confronted in audio storytelling in different global contexts.Ìý

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Indicative Delivery MethodÌý

• Seminars with occasional formal presentations, group listening and critiqueÌýand listening.ÌýÌý

• Most classes will follow a similar structure. Alongside instructor-provided context and history, each week the group will listen to a single long form documentary selected either for its historical or cultural creative significance. This will include non-English language audio works, which students will listen to with either transcripts or subtitles.Ìý

• Listening will be followed by a group discussion and critical analysis led by the tutor. Emphasis will be placed on students learning to provide reasoned arguments - with reference to storytelling, technical choices and production approach to justify their opinions. Classes will have prepared points of interest, learning and insights into the production process of the example piece to supplement the discussion.Ìý

• Indicative themes that might be covered each week include:Ìý

-ÌýÌýÌýÌýÌýÌý The influence of social, political, economic and cultural contexts on audio work, including the basic broadcast infrastructures available, political restrictions and the implications of thoseÌý

-ÌýÌýÌýÌýÌýÌý The diversity of podcast in environments with less established broadcast radio traditionsÌý

-ÌýÌýÌýÌýÌýÌý Accuracy, Objectivity, Fairness and Accountability – the ethical cornerstones of reportageÌý

-ÌýÌýÌýÌýÌýÌý History told through podcastsÌý

-ÌýÌýÌýÌýÌýÌý Opportunities for and challenges of global broadcastingÌý

-ÌýÌýÌýÌýÌýÌý Comparison of creative techniques across bordersÌý

-ÌýÌýÌýÌýÌýÌý Positionality and diversity of perspective in global audio workÌý

• As in other modules in Public Anthropology, the module takes advantage of the diverse backgrounds of students in the cohort so that within team work in the media studio, students bring a range of skills to the group and teach each other their own approaches.ÌýÌý

• In addition, there will be occasional guest lectures (delivered online) from international audio practitioners based around the world.Ìý Each will be based around a specific piece of work, which students will listen to beforehand ahead of the lecture. These sessions will explore the local contexts of audio production in non-western contexts.ÌýÌýÌý

• There will also be related independent reading to be done each week exploring different theoretical approaches to audio production and criticism.ÌýÌý

• Students will be invited to nominate a workÌýfrom their own research into international audio.Ìý From this, a short list of works will be drawn and then shared with the whole cohort.Ìý Students will present their chosen work, critically reflect on it and discuss it with the group.ÌýÌý

• The module will culminate in two pieces of written work: a short newspaper or blog-style review and a longer critical analysis of audio work/s of the student’s choice.Ìý