Radio documentary

The radio feature [fi ː tʃə ( ɹ )] ( also radio feature or radio documentary called ) is a non-fiction radio genre, which has been established since 1945 in addition to the radio play in the cultural programs of radio in various European countries. A radio feature combines, among other elements of radio drama, documentary and reportage. End of the 1930s it was perceived in the UK by the BBC and popular as an independent element of style.

Definition

The feature can not be strictly defined because there are from the original feature, which consists of reports and interviews, in essence, to documentation, which is based on archival material, many game species. The transitions to the radio play are fluid. In the feature about typically weigh the facts, the radio drama fiction. However, many radio plays include documentary and fictional elements many features. This feature is thus the tension between information and its artistic design.

History

1937 led the BBC experimental Hour ( experimental hour) with not formally bound shipments, which were distinguished by their documentary character. The success of the series were the authors of artistic freedom and gradually formed out a new form of presentation, for which starting in 1939, the term "feature" naturalized. During the period of National Socialism in Germany the reception of the BBC was forbidden. After the Second World War came with the British occupation forces and the new broadcasting genre to Germany.

Axel Eggebrecht presented in November 1945 by a poster in the Talks and Features Dpt. (Department of conversations and feature) of the North West German Radio in ten points determine what writers and editors should " About Hörfolgen (features) " know. From Eggebrecht comes also the first German -language radio feature What if ... A review of the future of the world, which was first broadcast on 9 March 1947. Eggebrecht, Peter von Zahn, Ernst Schnabel and Alfred Andersch are the main authors of the early features in Germany.

In 1954, the SFB Berlin NWDR studio. From the late 1960s developed here Peter Leonhard Braun, the " written " feature to " acoustic feature" on; many of his works contained more original sounds as voiceovers. This was made possible by portable recorders and particularly attractive due to the advent of stereophonic.

While in the West German Radio program since 1945, the word "feature" is familiar, was preferred in the broadcast of the GDR at the beginning of the term " radio documentary" (Georg Dannenberg ). Only in January 1963 ( East) was established in its own feature department in Berlin, which existed until the settlement of the former GDR station in December 1991.

Today, all nine broadcasters ARD and Germany produce radio features.

Modes of production

The production of radio features runs in two phases:

  • The author researched, conducts interviews, writes the manuscript. This process can sometimes take months, years.
  • The director invites actors to the studio and produced the show. A radio feature today is typically completed in one week.

The two roles - writer and director - must not be separated. Authors such as Peter Leonhard Braun and Helmut Kopetzsky have early successfully represented both functions in one. Due to the advent of digital production capabilities with "Digital Audio Workstations ", ie PCs with editing and mixing software, more and more authors can make their own " studio", and accordingly takes the tendency to fusion of roles, writer / director to. In the majority of productions, however, the traditional separation is by that fact alone makes sense, because the recording and writing of a feature other skills presupposes than working with actors, sound, and sound effects in a studio.

In January 2010 we launched, following the example of radio crime scene, the Germany -wide series The ARD radio feature. She is seen as a " restriction and enhancement at the same time ", since a greater audience is reached through the merger of broadcasting slots on the one hand, but on the other hand, broadcasting slots are lost for new Ursus Dungen.

Legal definition for radio play

Although there is overlap, the classic feature is no radio play, so no fiction. Therefore, do not usually attacks the feature of the art of title ( Article 5 paragraph 3 sentence 1 of the Basic Law). Facts need for a feature Memo solid recheriert and not be embedded out of context. There are in the history of radio features numerous cases of injunctions against the station, with different output. In most cases, the burden of proof falls back to the author. This situation has notably by a critical point that many programs now available on the Internet and will not, as before, " weggesendet " and forgotten. Fictional elements in a feature are so marked in the production as such.

Prices

  • Axel Eggebrecht Prize ( since 2008)
  • Feature Foundation Prize Radio Basel (since 1995)
  • Feature Prize of Bremen Hörkinos (since 2007)
  • Prix ​​Europa Radio Awards (since 1987)
Nordwestdeutscher Rundfunk Sender Freies Berlin Hessischer Rundfunk Deutschlandfunk Integrated Authority File
398835
de