Radio Drama: Historical and Theoretical Perspectives

I have secured a contract to write a monograph entitled Listen in Terror: British Horror Radio from the Advent of Broadcasting to the iPod for Manchester University Press to be published in 2012. The research for this project builds upon my experience and expertise in research, most directly upon the work I undertook for Terror on the Air: Horror Radio in America, 1931-52 (McFarland 2006): the first full-length study of US horror radio which was researched and written with support from an Arts and Humanities Research Board Small Grant in the Performing Arts awarded in 2004. Terror on the Air has enjoyed extremely positive reviews, being described as 'a well written, highly documented, greatly researched book' (Illustrated Press 342, September 2006), an 'excellent study' (Gothic Studies 9.2, 2007), and 'a masterful' work which 'fills a vital niche in broadcasting history' (Journalism History, July 2007). Terror on the Air has also given me a media profile with regard to radio drama and since its publication I have made appearances on radio news and documentaries for the BBC (World Service and Radio 4's Today programme) as well as on Australian, German, and American radio. My new monograph will be another groundbreaking book this time offering the first full-length study of horror radio and 'spoken word' horror performance in Britain. From experiments in pre-radio audio cultures, the pioneering days of live radio broadcasting (1920-50s), through the era of pre-recorded broadcast drama to the digital audio cultures of our own time, this volume will offer an historical, critical and theoretical exploration of horror radio and 'spoken word' horror performance in Britain. The book will look at key issues such as writing and narrative, performance practice (actor, director, sound effects and music) and reception throughout the history of that most neglected of popular art forms: radio drama and 'spoken word' auditory cultures.

The completion of the output requires research to be conducted primarily using archival resources and theoretical engagement, but as an accomplished practitioner having written and webcast/broadcast two experiments in live horror radio drama I intend to underpin my written research with an element of experimentation within drama and radio studios.

I anticipate that this research project will benefit three key groups outside the academic research community: the media; organisations and individuals in the creative and performing arts; and the wider public in general. Although radio drama and spoken audio culture is a somewhat neglected area in academic study, it continues to have a significant place in the popular imagination and activity. The publication of my first book on radio drama led directly to keen media interest, including guest-spots and interviews on national and international radio stations (including BBC Radio 4, BBC Wales and the BBC World Service) as well as several programmes in Germany, Australia and National Public Radio in the US. It also led directly to contact with organisations and individuals in the creative and performing arts ranging from professional theatre companies interested in adapting radio drama to the stage. I also developed a link with Neoflux Productions, a professional film production company, which is planning to produce an animated film based on classic radio drama and asked for my opinion as to what might be suitable radio recordings for adaptation. My radio drama research also led to me being appointed as a consultant for Tinderbox Broadcast who approached me with an interest in developing a radio documentary based on my monograph. I was also appointed a committee member of the British Library Archival Sound Recordings User Panel for its First Phase (2005-2007) and Second and Final Phase (2007-2009). A video interview with me about the Archival Sound Recordings has been used on the British Library's website. I have also been contacted by individual collectors and fans of radio drama expressing enthusiasm for my book. As I hope is evident, the impact of my first radio drama book has been tangible and continuing. I anticipate that the publication of Listen in Terror: British Horror Radio from the Advent of Broadcasting to the iPod will lead to a similar impact in the media, creative and performing arts, and the wider public. This is not least because I have extended the range of the research to look at contemporary manifestations of audio culture in our contemporary world as well as maintaining an historical 'long view'. In addition, the new research project will look at British radio drama. As the UK continues to be the most prolific and ambitious radio drama culture in the world, I expect the research to be relevant, welcomed and 'taken up' outside academia. I will be sure to follow-up on the well-established links and relationships I have nurtured with various individuals and organisations.