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Oral History and the Radio Documentary/Feature: Intersections and Synergies Siobhan Mchugh University of Wollongong

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Oral History and the Radio Documentary/Feature: Intersections and Synergies Siobhan Mchugh University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2010 Oral history and the radio documentary/feature: intersections and synergies Siobhan McHugh University of Wollongong Recommended Citation McHugh, Siobhan, Oral history and the radio documentary/feature: intersections and synergies, Doctor of Creative Arts thesis, University of Wollongong. Faculty of Creative Arts, University of Wollongong, 2010. http://ro.uow.edu.au/theses/3255 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. ORAL HISTORY AND THE RADIO DOCUMENTARY/FEATURE: INTERSECTIONS AND SYNERGIES A thesis submitted in partial fulfillment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS from UNIVERSITY OF WOLLONGONG by SIOBHAN MCHUGH, B.Sc FACULTY OF CREATIVE ARTS 2010 1 THESIS CERTIFICATION CERTIFICATION: I, Siobhan Ann McHugh, declare that this thesis, submitted in partial fulfillment of the requirements for the award of Doctor of Creative Arts in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Siobhan Ann McHugh 9 December 2010 2 TABLE OF CONTENTS Page ABSTRACT……………………………………………………………………………. 6 ACKNOWLEDGEMENTS………………………………………………………… 8 INTRODUCTION………………………………………………………………….. 9 __________________________________________________ PART 1: BACKGROUND TO CREATIVE WORK ……………........ 16 1.1 Nature of the Creative Work: 2 x 53’ radio ‘Doc-OH Feature’ programs………………………………………………………………………..16 1.2 Catholic-Protestant Divisions in Australia as context for creative work………………………………………………………………………………18 1.3 Candidate’s background and relationship to theme……….24 _____________________________________________________________ PART 2: ORAL HISTORY and the ART OF INTERVIEWING…. 38 CH 2 ORAL HISTORY – DEVELOPMENT AND DEBATES………… 39 2.1 Origins of oral history as academic practice…………………40 2.2 Oral history: brief overview of theory and practice………… 41 2.3 Subjectivity in Oral History……………………………………..52 2.4 Memory,Truth and Reliability…………………………………..59 CH 3 THE ART OF INTERVIEWING - RADIO VS ORAL HISTORY…. 69 3.1. Introduction………………………………………………………………..70 3.2 Long-form interviewing for a radio feature/documentary and oral history interviewing: key characteristics……………………………… 71 3.3 Role of Interviewer………………………………………………………..71 3.4 Questions……………………………………………………………………..75 3.5 Technical Differences……………………………………………………..79 3.6 Interviewer-Interviewee Relationship…………………………………86 3.7 Ethics of Interviewing………………………………………………………102 3.8 Interviewing and Insight: a subjective process……………………107 PART THREE:STORYTELLING, ORALITY and RADIO PRODUCTION113 CH 4 SOUND, ORALITY AND THE POWER OF THE VOICE……………..114 4.1 Suckled by sound……………………………………………………………114 4.2 Affect…………………………………………………………………………… 123 4.3 Orality and Interview Transcription……………………………………128 4.4 Transcription Debates………………………………………………………133 CHAPTER 5: STORYTELLING ON RADIO: DOCUMENTARY, FEATURE AND HYBRID FORMS ……………………………………………………… 140 5.1 Narrative on radio compared to other media………………………141 5.2 The radio documentary……………………………………………………..146 3 5.3 The radio feature………………………………………………………………154 5.4 Radio Production: Creative Combustion……………………………….173 5.5 Radio Documentary and Feature – the Difference ……………….181 5.6 Cross-genres and Online Audio Features……………………………….187 5.5 Evolution of the Doc-OH Feature………………………………………….192 _______________________________________________________________ PART FOUR: MARRYING OUT – CASE STUDY……………………………….220 6.1 Aim and Methodology……………………………………………………220 6.2 Research Stage…………………………………………………………….221 6.3 Selection of Interviewees……………………………………………… 231 6.4 Collection of 50 Interviews……………………………………………. 233 6.5 Interview Process…………………………………………………………. 239 6.6 Post Interview Methodology………………………………………….. 244 6.7 Radio Series…………………………………………………………………. 248 6.8 Additional Audio Elements……………………………………………… 251 6.9 Radio Production……………………………………………………………259 6.10 Artistic Considerations………………………………………………….267 6.11 Publication and Feedback……………………………………………..273 6.12 Awards, reviews, overseas publication……………………………279 REFERENCES, BIBLIOGRAPHY, ENDNOTES…………………………… 283 ___________________________________________________________ APPENDIX Transcript Marrying Out radio series University of Wollongong Human Resources Ethics Application re Marrying Out: Participant Information Form, Consent Form, Sample Questions, Sample Advertisement _________________________________________________________ CREATIVE FOLIO MARRYING OUT series: 2 x 53' Doc-OH Features on CDs Also available online at Part 1: Not in Front of the Altar http://www.abc.net.au/rn/hindsight/stories/2009/2675480.htm Part 2: Between Two Worlds http://www.abc.net.au/rn/hindsight/stories/2009/2707014.htm 4 FIGURES Page Fig 1.1. Meg Clancy, a fifth-generation Irish-Australian and contributor 25 to Marrying Out Fig 5.1 Opening montage of Marrying Out, Part 2………………………… 167 Fig 6.1 The advertisement published in the Sydney Morning Herald on 24.3.2007, seeking informants for Marrying Out……………………………..224 Fig 6.2 John and Helen Haynes on their wedding day, Dubbo, New South Wales, 1962………………………………………………………………………230 Fig 6.3 Tony and Elaine Davis on their honeymoon, Surfers Paradise, 1961 ……241 Fig 6.4 John and Helen Haynes in 2007…………………………………….. 244 Fig 6.5 Working notes from theme, ‘family hostility’, showing timed interview excerpts with ratings…………………………………………………………….250 Fig 6.6 Julia O’Brien and Errol White in the 1920s. The tragic story of their elopement and Julia’s subsequent estrangement was the basis for Tom Fitzgerald’s song, ‘Marrying Out’……………………………………………. 253 Fig 6.7 A convalidation document, used to ‘regularise’ a Catholic who had married outside the Catholic Church. The judgemental language on the form was incorporated into a dramatised scene in Part 2……………………….257 Fig 6.8 Heather and Cliff Shepherd, who married in Marulan NSW, 1961. Their honeymoon utility was sabotaged, causing an accident. Theirs is one of three stories told in detail in Part 1…………………………………………….262 Fig 6.9. First 30 minutes of Marrying Out Part 2, showing Pro Tools configuration of overlapping elements. Each of the seven tracks shown contains a different type of audio – interview speech, narration, music, effect, etcetera. Each section has to be carefully positioned and sound levels adjusted so as to cohere and blend………………………………………….264 Fig 6.10 Kaye Ambrose with her father on her wedding day in 1964…….268 Fig 6.11 Phil and Gwen Cassidy, 1987………………………………………270 Fig 6.12 Production detail Part 2, Marrying Out…………………………….271 5 ABSTRACT (A) CREATIVE WORK: This Doctorate of Creative Arts is based on a two- hour radio documentary/feature series entitled ‘Marrying Out’, which draws on 50 oral history interviews recorded by the candidate on the topic of family conflict and sectarianism associated with mixed marriage between Catholics and Protestants in Australia to the 1970s. The series seeks to harness the aesthetics of long-form crafted radio so as to allow oral history to achieve its fullest force, by emphasising orality while enhancing the interview’s ‘listenability’ and impact through carefully judged radio production techniques. (B) EXEGESIS: The exegesis examines the proposition that the genres of oral history and long-form radio journalism have intersecting characteristics as well as divergent aims, and that each genre can benefit the other. It discusses how oral history debates around interview practice, memory, subjectivity, reliability and interpretation concur with or depart from journalistic interviewing for radio documentaries and features. It assays the characteristics of the radio medium and its affinity with storytelling. It argues that oral history research is most authentically rendered in aural rather than printed form, and that its creative treatment for radio legitimately enhances its inherent personal aspect. The exegesis asks whether the aesthetic interpretation of oral history in this crafted radio form (documentary/feature) and the distillation imposed by radio editing increases its ‘listenability’. While noting the rigorous research that is the foundation for high quality radio documentaries (such as those that win broadcasting awards or air on esteemed public broadcasting 6 organisations such as the British Broadcasting Corporation (BBC)), the exegesis explores whether the range and personal nature of oral history research can expand the scope and impact of the radio program. The candidate proposes that the broadcast genre which places thoroughly researched oral history at the heart of creative storytelling on radio be labelled a ‘Doc-OH Feature’, a form that sits on the radio documentary/feature continuum. The exegesis concludes with a detailed case study of the making of the Doc-OH Feature series Marrying Out. 7 ACKNOWLEDGEMENTS This work was originally undertaken with a scholarship from the Faculty of Creative Arts at the University of Wollongong, which greatly aided the candidate. For suggesting I apply for this scholarship, and for his beautiful composed music for Marrying Out, and his bravura performance on piano, violin and viola, I wholeheartedly thank Dr Thomas Fitzgerald. Michelle Rayner, executive producer of Hindsight at ABC Radio National, was enormously supportive of the proposed
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