Готові списки джерел за темами / Podcasts – Fiction

Добірка наукової літератури з теми "Podcasts – Fiction"

Автор: Grafiati

Опубліковано: 26 липня 2024

Оновлено: 28 липня 2024

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Статті в журналах з теми "Podcasts – Fiction"

Martínez-Otón, Laura, Cristina Rodríguez-Luque, and Mario Alcudia-Borreguero. "El reportaje de historias de vida como punto de partida de la radio dramatizada y el ´podcast´ de no ficción en el ecosistema digital. Estudio de caso. ´Sin mi identidad´ (Cadena COPE), ´Lo conocí en un Corpus´ (Podium Podcast) y ´Las tres muertes de mi padre´ (Cuonda)." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 135–62. http://dx.doi.org/10.33732/ixc/09/02elrepo.

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Анотація:

In current digital ecosystem, sound is gaining prominence through new formats such as podcasting, born in the era of mobility. Formats that can share elements, characteristics, dynamics of work and consumption with other traditional radio formats, such as reports, docudramas or the radio soap opera. This article aims to analyze whether the strength of human reach storytelling is a common starting point in analogic reports and in fictional and non-fiction podcasts, both on audio platforms and on conventional radio. For this, three podcast are proposed as case study: ‘Sin mi identidad’ (2018, COPE network), ‘Lo conocí en un Corpus’ (2017, Podium Podcast) and ‘Las tres muertes de mi padre’ (2017, Cuonda). The methodology is classified as descriptive and qualitative and includes semi-structured interviews with key subjects in the process of the three spaces considered as objects of study. In the analyzed cases it can be stated that, although reports and fiction and nonfiction podcasts are different products, they share similarities of production, documentation and recording. Also, all have as starting point a real story, even when podcasts are fiction. Key words: Docudrama; Podcast; Radio; Digital Radio; Radio Drama; Radio Reports.

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Olmedo-Salar, Silvia, and Paloma López-Villafranca. "Análisis comparativo de ´podcasts´ y series televisivas de ficción. Estudio de casos en España." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 183–213. http://dx.doi.org/10.33732/ixc/09/02analis.

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Sound fiction genre takes a relevant position after the irruption of American productions such as Serial in the year 2014, whose success boosted its emission in other media as a series with the same title offered by HBO. In Spain, the conversion from podcast to television series hasn´t been produced yet, but we do have on stream podcasts that derive from television series, specifically, on RTVE platform. The objective of this work is to perform a formal comparative analysis and content of podcasts and series of television platforms in Spain and the United States applied to the first season of the following fictions: Homecoming and Dirty John podcasts, both of them broadcasted as series on Amazon and Netflix in the USA. In Spain, we analyze the podcast Carlos de Gante podcast comparing it with the series Carlos, el Emperador, and the podcast Bienvenido a la Pasarela with the TV series Estoy Vivo, on RTVE web platform. In the US, the sound acquires a new dimension both in its adaptation to the television format as an independent unit while in Spain, although it is a complement to the transmedia universe, it enjoys a quality and a projection that announces a rediscovery of the sound format. Keywords: Sound Fiction; Series; Television; Radio; Transmedia; Podcast.

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Vicente, Eduardo. "Non-fiction narrative podcasts: an overview of the Brazilian production." Slow Journalism: estilo, contenidos, nuevos formatos y audiencias, no. 21 (February 29, 2024): raeic112101. http://dx.doi.org/10.24137/raeic.11.21.1.

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Анотація:

This text seeks to provide an overview of the development and current production of non-fiction narrative podcasts in Brazil. To this end, it initially presents a definition of the genre, highlighting its origin in radio journalism in the United States. Next, this production is contextualized in relation to Brazilian radio and some of the pioneering or most influential productions are listed. Subsequently, we provide a sample of the most recent works. Through this sample, the text seeks to present both the main agents involved in this field of production (large local media groups and larger podcast producers) and the predominant topics of podcasts. The text also seeks to address the significant economic concentration present in this context, the social and political importance of independent production, and the need for its greater valorization and visibility.

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Skjerseth, Amy. "Podcast Reenactments and the Sonics of Fictionalization from Cher to Swift." Journal of Popular Music Studies 35, no. 4 (December 1, 2023): 34–53. http://dx.doi.org/10.1525/jpms.2023.35.4.34.

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Podcasts often blend journalistic investigation with personal reflection, from Serial to Switched on Pop. Their veneer of fiction-as-fact especially confounds representation when podcasts’ voice acting and sound design portray pop stars in caricatured dramatizations. This paper examines reenactments of Cher and Taylor Swift in podcasts that investigate popular music industries and technology. As I show, these stars often are ventriloquized on podcasts due to their respective ages and visibility as women. Podcasts interrogate them for being too old or too young and for trespassing onto the often-male domains of business and technology. To show how podcast hosts represent women pop stars in particularly gendered and ageist ways, I listen to the sonics of fictionalization of two episodes that mythologize Cher’s Auto-Tuning and Swift’s battle to take back her masters from record industry men. First, American Innovations reenacts Cher’s request to producers to create the Auto-Tune effect, but the male host’s ventriloquy of her voice reduces her artistic and technological prowess to parody as they make her seem outdated. Then, in Business Wars, multiple voice actors reenact Swift’s career from its beginning and depict her as a child who doesn’t know any better. These podcasts blur facts and public opinion with alluring dramatizations of what “really happened,” placing listeners in the scene with compelling voice acting and ambient sound effects. In these reenactments, podcasts’ affordances of intimacy and immersion—which hosts often herald as democratizing—perpetuate cultural mythologies about gender and age in popular music.

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Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (August 29, 2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.

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New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.

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Stewart, Victoria. "True Crime and Contemporary Crime Fiction." Crime Fiction Studies 3, no. 2 (September 2022): 159–74. http://dx.doi.org/10.3366/cfs.2022.0072.

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The incorporation of thematic and formal references to true-crime texts in recent British and Irish crime novels shows fiction authors acknowledging that they share an audience with true-crime podcasts, documentaries and books. At the same time, these authors assert the particular contribution that fiction makes to the raising of awareness of both real-world crime and its representations. Examples considered include novels by Ruth Rendell, Denise Mina and Catherine Ryan Howard.

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López Villafranca, Paloma, and Silvia Olmedo Salar. "El proceso creativo y los elementos distintivos de la ficción sonora en radios y plataformas españolas: estudio de caso." Ámbitos. Revista Internacional de Comunicación, no. 62 (2023): 88–103. http://dx.doi.org/10.12795/ambitos.2023.i62.05.

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La ficción sonora resurge en España con la irrupción de las plataformas sonoras como la red de podcasts Podium Podcast desde el año 2016, la innovación experimental sonora de la emisora pública RNE con el Laboratorio de Innovación Audiovisual de RTVE y la emisión puntual de audiodramas en las cadenas de radio convencionales, que difunden estos espacios en momentos especiales. En esta investigación se realiza un estudio de caso de diez ficciones radiofónicas de la emisora pública RNE, las emisoras privadas Ser y Onda Cero y las plataformas Podium Podcast y Spotify. Para ello se aplica una metodología mixta en la que se combina el análisis de contenido de la muestra de las ficciones seleccionadas con entrevistas en profundidad a ocho expertos en sonido conocedores el proceso de ejecución de las ficciones sonoras en distintas facetas. Los resultados de la investigación subrayan los rasgos distintivos del género en cada una de las plataformas y emisoras analizadas y cómo la distribución y el consumo a la carta posibilitan el resurgir de la ficción sonora con producciones muy cuidadas en el diseño sonoro y orientadas a un público habituado al audiovisual y el cine, que ha evolucionado con respecto al tradicional radioteatro.

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Skurtul, H. "ЯК ЗВУЧИТЬ ВІЙНА: НАРАТИВНІ ПОДКАСТИ ЯК ПРОДУКТ МЕДІАКОНВЕРГЕНТНОСТІ". State and Regions. Series: Social Communications, № 4(56) (20 січня 2024): 50. http://dx.doi.org/10.32840/cpu2219-8741/2023.4(56).6.

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Анотація:

The purpose. The aim of the scientific research is to determine the functioning features the narrative podcasts of the audio projects of Public Broadcasting Company of Ukraine «Suspilne»: «Yak my vyzhyly» («How we survived»), «Poshramovanyi» («Scarred») and «Moia istoriia viiny» («My war story»). The research focuses on the peculiarities of narrative design, construction of meanings, structural organization uniqueness, ways and methods of historical information actualization, and its media coverage. Research methodology. The author applies the following research methods: current scientific information analysis, monitoring and interpretation methods, descriptive and analytical as well as problem and topical methods, methods of systematization and generalization. The article proves that narrative podcasts creation makes it possible to record and archive various war experiences. The core genre is oral story (storytelling) makes the narratives realistic and actualized as well as it contributes to mentalising and strengthening of the emotional background of the story, due to above mentioned effects listeners manage to immerse themselves in the story, empathize with characters and be ready to understand the events as well as reflect.Novelty. The novelty of the research implies the profound research of inefficiently studied aspects of the podcasting analysis: the specifics of its functioning, the genre potential as a convergent media product; analysis of the podcast as an author’s attempt at reinterpretation of historical topics, documentary materials.Practical meaning. The practical application of the research results after analyzing the media projects of «Suspilne»: «Yak my vyzhyly» («How we survived»), «Poshramovanyi» («Scarred») and «Moia istoriia viiny» («My war story») can be used for the development of practical recommendations for improving the production of narrative podcasting, as well as its expressive specificity intensification.Key words: podcast, narrative podcast, podcast journalism, media convergence, audience, non-fiction audio project, audio story.

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Slobodian, Elvira Yu. "THE FUNCTION OF EKPHRASIS AND METAEKPHRASIS IN PODCASTS ABOUT PLASTIC ARTS." Articult, no. 3 (September 30, 2023): 51–61. http://dx.doi.org/10.28995/2227-6165-2023-3-51-61.

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Анотація:

The article for the first time distinguishes between the functions of ekphrasis, narrative ekphrasis and metaekphrasis in Russian podcasts about plastic arts on the example of eight episodes dedicated to painters and architects. Episodes of podcasts “Art for Guys”, “Talk About Art”, “About History and Art. Project YaAndArt”, “Walls have ears”, “Art and Facts” have become the empirical material of the research. By reviewing the content of episodes, it is proved that polyfunctionality is inherent in both ekphrasis, including its narrative version, and metaekphrasis. In particular, the examples given in the text of the article illustrate how the problem of limited visuality of audio narratives is solved due to ekphrastic descriptions. It also analyzes the construction of narrative ekphrasis in relation to artifacts with a plot and non-plot basis and indicates the contradiction between the elements of fiction in the speech of the presenters and the verifiability of art history knowledge. Finally, the manifestation of meta-ekphrasis is considered from the point of view of comparing works of art within the same type and between different types, critical interpretation of the author and description of ideological, political-critical, social-constructive contexts.

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Paritosh, Praveen, and Gary Marcus. "Toward a Comprehension Challenge, Using Crowdsourcing as a Tool." AI Magazine 37, no. 1 (April 13, 2016): 23–30. http://dx.doi.org/10.1609/aimag.v37i1.2649.

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Human readers comprehend vastly more, and in vastly different ways, than any existing comprehension test would suggest. An ideal comprehension test for a story should cover the full range of questions and answers that humans would expect other humans to reasonably learn or infer from a given story. As a step toward these goals we propose a novel test, the Crowdsourced Comprehension Challenge (C3), which is constructed by repeated runs of a three-person game, the Iterative Crowdsourced Comprehension Game (ICCG). ICCG uses structured crowdsourcing to comprehensively generate relevant questions and supported answers for arbitrary stories, whether fiction or nonfiction, presented across a variety of media such as videos, podcasts, and still images.

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Дисертації з теми "Podcasts – Fiction"

Williams, Anna. "My Gothic dissertation: a podcast." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7046.

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In My Gothic Dissertation, I perform an intertextual analysis of Gothic fiction and modern-day graduate education in the humanities. First, looking particularly at the Female Gothic, I argue that the genre contains overlooked educational themes. I read the student-teacher relationships in Ann Radcliffe’s The Mysteries of Udolpho (1794), Mary Shelley’s Frankenstein (1818, 1831), and Charlotte Brontë’s Villette (1853) as critiques of the insidious relationship between knowledge and power. Part literary critic and part literary journalist, I weave through these readings reports of real-life ‘horror stories’ of graduate school, arguing that the power imbalance between Ph.D. advisors and their students can be unexpectedly ‘Gothic’ as well. Drawing on research from the science of learning—developmental psychology, sociology, and pedagogical theory—I advocate for more a student-centered pedagogy in humanities Ph.D. training. Following in the footsteps of A.D. Carson and Nick Sousanis, I have produced My Gothic Dissertation in a nontraditional format—the podcast. Mixing voice, music, and sound, I dramatize scenes from the novels and incorporate analysis through my narration. The real-life “Grad School Gothic” stories are drawn from personal interviews. Much of the science of learning is drawn from personal interviews with researchers as well, though some material comes from recorded presentations that have been posted to public, online venues such as YouTube. The creative/journalistic style of reporting is heavily influenced by programs such as This American Life, Invisibilia, and Serial, with the dual aims of engaging a broad audience and expanding our modes of scholarly communication beyond the page.

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Decicio, Brendan. "The Layered Frames of Performed Tabletop: Actual-Play Podcasts and the Laminations of Media." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8737.

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Despite their sudden growth in popularity, the role-playing actual-play podcasts have either been ignored or grouped with the genre of audio drama in prior scholarly works. Examination using frame analysis shows, however, that these podcasts are distinct in their engagement of the audience on multiple, simultaneous levels; levels which correspond with well-known media genres such as Documentary, Fiction, and Game Play. Each frame has its own layer of identities, conduct, and avenue for appealing to audiences just as these genres have their own distinct appeals. Through the combinations of these frames, familiar tropes and techniques such as Short-Form Improv and Campbell's monomyth are broadened and challenged, and identities become entangled in this post-modern medium. Delineating the features of these frames and exploring their interactions and interconnectivity not only helps to distinguish the actual-play podcast as its own distinct podcast genre, but also highlights the potential for using such frames or frame analysis in other media forms.

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Книги з теми "Podcasts – Fiction"

West, Kasie. Listen to your heart. New York: Point, 2018.

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Luper, Eric. Seth Baumgartner's Love Manifesto. New York: HarperCollins, 2010.

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Burton, Mary. Her Last Word. Brilliance Audio, 2018.

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Her last word. Montlake Romance, 2018.

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Summers, Courtney. Sadie: A Novel. St. Martin's Press, 2018.

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Are you sleeping. 2017.

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Are You Sleeping. Thorndike Press, 2018.

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Are You Sleeping. Simon & Schuster, 2017.

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Are You Sleeping. Pan Macmillan, 2017.

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Barber, Kathleen. Are You Sleeping. Pan Macmillan, 2017.

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Частини книг з теми "Podcasts – Fiction"

Hancock, Danielle, and Leslie McMurtry. "‘I Know What a Podcast Is’: Post-Serial Fiction and Podcast Media Identity." In Podcasting, 81–105. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90056-8_5.

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Kleege, Georgina. "30. Fiction Podcasts Model Description by Design." In Crip Authorship, 318–25. New York University Press, 2023. http://dx.doi.org/10.18574/nyu/9781479819386.003.0033.

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Morrissey, Colleen. "‘The Grief Manual’: Fact, Fiction, and Narrative Podcasts." In Faktuales und fiktionales Erzählen II, 167–92. Ergon Verlag, 2020. http://dx.doi.org/10.5771/9783956505126-167.

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O’Toole, Kit. "Magic Circles." In Fandom and The Beatles, 107–38. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190917852.003.0005.

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Despite technological change, two elements of the Beatles fan community remain stable: community and artistic expression. Fans want to communicate with fellow enthusiasts. In addition, fans want to contribute to that community, whether through fan fiction, fanzines, books, online discussion groups, YouTube channels, or podcasts. In the 1960s and 1970s, fans bonded primarily in person at record stores, concerts, and fan conventions. Desktop publishing and personal computers let fans design their own fanzines at lower cost. Then the internet changed how fans network and how they contribute to participatory culture. This chapter examines these trends and how fans today communicate with one another and ensure the Beatles’ legacy among younger generations. A survey of multigenerational fans and an interview with a video blogger further illustrate how fans connect today. Two forms of Henry Jenkins’s participatory culture will be applied to how technology has impacted Beatles fandom: affiliation and expression.

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Звіти організацій з теми "Podcasts – Fiction"

Mental Health in Schools, and the Global CYP Mental Health Crisis. ACAMH, October 2021. http://dx.doi.org/10.13056/acamh.17482.

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In this podcast, we talk to Lauren Cross about her research interests around mental health and wellbeing in schools and inequalities during childhood and adolescence, as well as her co-authored CAMH debate paper ‘Is There a True Global Children and Young People's Mental Health Crisis Fact or Fiction’.

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