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EN
For the past decade or so, internet radio, podcasts, mobile sound apps, and digital libraries of audio content have enjoyed increasing popularity among researchers and receivers of culture. Radio, similarly to other traditional media, often experiments with the opportunities offered by the new media technologies enabling the emergence of new communicational practices. As a starting point, I consider the contemporary audiosphere, which constitutes the auditory part of the audio-visual culture, and the influence of technological changes on radio communications, artists, and receivers. I attempt to answer the question, what happens at genre fringes? What are the characteristic features of the emerging forms? How, when one is faced with new technology, the multimedia world, and virtual reality, can one reach a reflection on the fiction and non-fiction genres on the radio? The expansive character of new technologies is often the source of inspiration for that which is traditional, thus renewing the object of its study. The inclusion of new phenomena within the widely understood auditoriness has a rescuing nature for traditional forms, and, at the same time, offers new opportunities for creators, and thus an area of research for literary scientists, media scientists and literary critics.
EN
The aim of the article is to discuss one of the best known journalistic genres – the interview [in its oral form], with particular attention on one of its varieties, i.e. the personal interview. To illustrate this, I have used selected editions of the programme “Biuro Myśli Znalezionych”, broadcast on Program 3 Polish Radio. In considering this, I begin from dialogue as a form of expression which I treat as synonymous to a conversation. The interview, as one of the bases for the conduct of dialogue in the media, rests on the derivative realisation of mechanisms of dialogic interaction as well as of structures of exchange. I also draw attention to the fact that in certain situations the personal interview can constitute a kind of bridge between radio PR and artistic forms and be the starting point for radio documentary.
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EN
The article is an attempt to describe contemporary radio features focusing on the theme of travel. We point to different ways of talking about travel in this artistic radio form, through analysis and interpretation, we try to see how, and by which artistic devices, we can talk about worlds near and far, in a medium devoid of images. Our observations are based on listening to dozens of radio features created in recent years. We propose thematic categories for radio features, because the theme of travel is taken by the authors in various ways. In one case, the feature makers focus on the character of the traveler, in another on the journey itself. There are also programs presenting the journey as a kind of escape before war or terror. This diversity also applies to formal solutions. Radio features about travel are characterized by a large variety of stylistic, compositional and aesthetic features. We can also speak about the style of a particular artist, whose talent, sensitivity, ingenuity and aesthetics influence the style of individual programs about travel.
PL
Artykuł jest próbą opisu współczesnych radiowych reportaży o tematyce podróżniczej. Wskazujemy na różne ujęcia podróży we wspomnianym gatunku oraz – analizując i interpretując wybrane audycje – staramy się zauważać, w jaki sposób i za pomocą jakich środków można w medium pozbawionym obrazu opowiadać o światach bliskich i dalekich. Swoje obserwacje oparłyśmy na wysłuchaniu kilkudziesięciu reportaży powstałych na przestrzeni ostatnich lat. Zaproponowałyśmy tematyczne kategorie podziału audycji, bowiem motyw podróży bywa podejmowany przez autorów w różny sposób. W jednym przypadku dziennikarze skupiają się na postaci podróżnika, w innym na samej podróży. Bywają również audycje przedstawiające podróż jako swoistą ucieczkę przed wojną czy terrorem. Wspomniana różnorodność dotyczy także formalnych rozwiązań. Radiowe reportaże podróżnicze cechuje duża różnorodność stylistyczna, kompozycyjna i estetyczna. Uprawnione jest także mówienie o osobliwości warsztatowej danego twórcy, którego talent, wrażliwość, pomysłowość i poczucie estetyki wpływają na styl konkretnej audycji podróżniczej.
EN
The goal of the article is to answer the question: what do radio broadcasters in the West understand to be a ‘feature’? A lack of clarity in terminology in this respect was especially visible during the Prix Europa 2012 and 2013 festivals. The article begins with an outline of the term ‘feature’, followed by discussion of relevant festival categories, and ending with a presentation of several selected audio examples that indicate both the characteristics of the genre and cases where, in spite of divergences from these qualities, the term ‘feature’ continues to function.
PL
Artykuł omawia reportaże radiowe przygotowane przez Fundację „Głos Ewangelii”. Cykle reportaży Życie jest piękne zostały zanalizowane i zinterpretowane pod kątem tematyki, zastosowanych środków dźwiękowych oraz obecności wątków religijnych i Boga. Wybrany materiał audialny pozwolił również na wskazanie ogólnych cech stylu reportaży Fundacji „Głos Ewangelii”.
EN
The article discusses the radio reports prepared by the Głos Ewangelii Foundation. The Życie jest piękne series was analysed and interpreted in terms of the themes, the sound effects used, and the presence of religious themes and the notion of God. The selected audio material also enabled the researchers to indicate the general qualities of the reporting style of the Głos Ewangelii Foundation.
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