Motivated by a curiosity for new types of listening communities, the project seeks to shed light on how the radio cinema as a cultural phenomena. With empirical starting point in Københavns Radiobiograf, the project examines how the radio cinema annum 2018 can be characterised, as well as which reception forms are being created in the combination of physical presence and the electronical facilitated and imagined activities of the radio. However, since the radio cinema is a relatively new concept, the project has to choose an eclectic approach where relevant conceptual domains from for instance radio and performance theory are united to create and support a conceptualisation of the subject.
The analysis explores how the radio cinema can be said to deviate from the technological development and social conditions of our time pointing back at how older communication cultures and thus can be regarded as a rebellion against increasingly growing tendencies towards individualised media consumption. As part of the illustration of the radio media’s communicative premises, a characterization of an excerpt is presented. Amongst other things, this reveals how the listener orientates in a non-visual medium, how this, the non-visuality of the radio can activate the media consumer’s fantasy to a larger extend than other media.
With a performance theoretical approach, it is possible to handle a series of observations from a radio cinema event with performance analytical purpose. These reveals that, as the visual elements are down toned, a larger focus on the auditory aspects is required and thus also on the listening experience itself. Further more, it is clear that listening as a joint event puts even more emphasis on listening as the primary activity and therefore also on the radio media itself.
An important discovery is the dualism between acoustic and electronical sound sources. The event as a whole proves to consist of two isolated aspects: The performance and the screening. In addition both observations and interviews reveal that an essential aspect of the radio cinema is its culture facilitating and specialised functions. However, the interviews also demonstrate that the audience at these events is rather homogeneous. This engenders a discussion of the social environment surrounding the radio cinema and leads to a comparison to draw a parallel to the cult film environment. Even though not all aspects of the radio cinema were compatible with the cult film, there are common traits regarding the setting of the event and the community
|Educations||Danish, (Bachelor/Graduate Programme) Bachelor|
|Publication date||28 May 2018|
|Number of pages||45|