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Back Listeners: Locating Nostalgia, Domesticity and Shared Listening Practices in Contemporary Horror Podcasting
Welcome back listeners: locating nostalgia, domesticity and shared listening practices in Contemporary horror podcasting. Danielle Hancock (BA, MA) The University of East Anglia School of American Media and Arts A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy January 2018 Contents Acknowledgements Page 2 Introduction: Why Podcasts, Why Horror, and Why Now? Pages 3-29 Section One: Remediating the Horror Podcast Pages 49-88 Case Study Part One Pages 89 -99 Section Two: The Evolution and Revival of the Audio-Horror Host. Pages 100-138 Case Study Part Two Pages 139-148 Section Three: From Imagination to Enactment: Digital Community and Collaboration in Horror Podcast Audience Cultures Pages 149-167 Case Study Part Three Pages 168-183 Section Four: Audience Presence, Collaboration and Community in Horror Podcast Theatre. Pages 184-201 Case Study Part Four Pages 202-217 Conclusion: Considering the Past and Future of Horror Podcasting Pages 218-225 Works Cited Pages 226-236 1 Acknowledgements With many thanks to Professors Richard Hand and Mark Jancovich, for their wisdom, patience and kindness in supervising this project, and to the University of East Anglia for their generous funding of this project. 2 Introduction: Why Podcasts, Why Horror, and Why Now? The origin of this thesis is, like many others before it, born from a sense of disjuncture between what I heard about something, and what I experienced of it. The ‘something’ in question is what is increasingly, and I believe somewhat erroneously, termed as ‘new audio culture’. By this I refer to all scholarly and popular talk and activity concerning iPods, MP3s, headphones, and podcasts: everything which we may understand as being tethered to an older history of audio-media, yet which is more often defined almost exclusively by its digital parameters. -
Episode 12: the Meta Episode
Not Your Mother’s Library Transcript Episode 12: The Meta Episode (Brief intro music) Rachel: Hello, and welcome to Not Your Mother’s Library, a readers’ advisory podcast from the Oak Creek Public Library. I’m Rachel, and—hold the phone—we have a new co-host. It was getting pretty dark there all by my lonesome. I would like to introduce Leah! Care to tell the listeners a little about yourself? Share your darkest secrets? Dispense your wisdom? Leah: I will keep my darkest secrets, thank you. Rachel: Okay, fair enough. Leah: As far as wisdom and background go, sure. I got my bachelor’s degree from UW-Whitewater in multimedia art, a master’s degree from UW-Milwaukee in library science. After grad school I ditched Wisconsin to move to Florida and see what life was like without snow, and honestly that was amazing. That’s the wisdom part. I worked in various academic libraries in Florida for a few years then I came back to Wisconsin where I split my time between a Milwaukee-area technical college as well as being an adult services librarian at the New Berlin Public Library. I’m very excited about this move to the Oak Creek Public Library. My all-time favorite things about being a librarian are the opportunity to help people and being able to plan programs for the library that people want to come to. Rachel: Which you’ve already started doing like crazy, so congrats on that. Sarah: Excellent. Leah: Thank you. Outside of work I really like camping and hiking and canoeing—that kind of thing. -
04 Euritt Within the Wires
Within the Wires’ Intimate Fan-based Publics Aylin Euritt, Universität Leipzig, Germany Abstract As intimacy emerges as a key concept in podcast research, it becomes increasingly urgent to consider the multifaceted ways in which it interacts with the medium. This article advances research on podcasting intimacy by understanding intimacy as undergoing a continual process of culturally contingent negotiation and examining how podcasting participates in that negotiation. Instead of treating intimacy as an inherent part of podcasting, it demonstrates how podcasts can create intimacy and use it to form connections among members of a fan public. To do so, this article uses the first season of Within the Wires (2016) to show how narrative repetition constructs fan-based intimate publics. Within the Wires is an alternate reality fiction podcast whose first season takes the form of relaxation tapes. Throughout the podcast, the narrator repeats specific lines, phrases, and memories that the listener comes to recognize. By retooling Roland Barthes and Marianne Hirsch’s work on recognition and community building in photography for use in sound research, this article develops a theoretical framework for understanding the temporalities of recognition in podcasting. Using this framework, the article posits that Within the Wires uses non-narrative repetition alongside its aural aesthetics to create an intimate public through recognition. The podcast extends that recognition into its monetizing paratexts, making it possible for listeners to recognize themselves and others as fans. The first section of this paper defines recognition and its relationship to time, the second considers how recognition works within the show’s fandom, the third looks at recognition within Within the Wires’ monetizing paratexts, and the final tracks how the podcast finds horror in the breakdown of this system. -
Contemporary Audio Media and Podcast Horror's New Frights
ªCycles upon cycles, stories upon storiesº : contemporary audio media and podcast horror's new frights Hancock, D and McMurtry, LG http://dx.doi.org/10.1057/palcomms.2017.75 Title ªCycles upon cycles, stories upon storiesº : contemporary audio media and podcast horror's new frights Authors Hancock, D and McMurtry, LG Type Article URL This version is available at: http://usir.salford.ac.uk/43490/ Published Date 2017 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. ARTICLE Received 15 Dec 2016 | Accepted 21 Jun 2017 | Published 1 Aug 2017 DOI: 10.1057/palcomms.2017.75 OPEN “Cycles upon cycles, stories upon stories”: contemporary audio media and podcast horror’s new frights Danielle Hancock1 and Leslie McMurtry2 ABSTRACT During the last ten years the ever-fertile horror and Gothic genres have birthed a new type of fright-fiction: podcast horror. Podcast horror is a narrative horror form based in audio media and the properties of sound. Despite association with oral ghost tales, radio drama, and movie and TV soundscapes, podcast horror remains academically overlooked. Podcasts offer fertile ground for the revitalization and evolution of such extant audio-horror traditions, yet they offer innovation too. Characterized by their pre-recorded nature, indivi- dualized listening times and formats, often “amateur” or non-corporate production, and isolation from an ongoing media stream more typical of radio or TV, podcasts potentialize the instigation of newer audio-horror methods and traits. -
06 Sulimma Alice Isnt Dead FINAL
Defined by Distance: The Road Trip and Queer Love in Alice Isn’t Dead Maria Sulimma, University of Duisburg-Essen, Germany Abstract From a feminist media studies and cultural studies perspective, the contribution explores the fascinating, yet overlooked podcast series Alice Isn’t Dead (2016-8). The podcast thematically centers around the complex relationship of culture and distance and develops different understandings of culture, as well as the experience of distance in a geographical, socio-economic (class mobility), or interpersonal-romantic sense. Tracing these conceptions and their attempts to define a collective US-American identity differently, the contribution focuses on the podcast’s narration in the form of radio monologues by its protagonist, the exceptional trucker character Keisha, its take on the road trip and (female) mobility, as well as its representation of a queer love story. With an eye for the intersectional effects of gender, race, and sexual orientation, these readings mobilize a variety of cultural artifacts to explore the particular affordances of serialized fictional podcast storytelling. Of particular interest to the contribution are the intertextual echoes of tropes and themes of the road trip narrative and the road movie, as well as the podcast’s ending as a turn toward homonormativity that is inconsistent with the queer temporalities and the capitalist critique developed by the podcast during its three seasons. “Bitter cold and thin air. It hurts a little to breathe, and every time I do, the breath comes out visible. It’s offseason, I think. Or maybe not many people come to this [northern] part of the Canyon. -
Podcast Suggestions
PODCAST NAME (as given) LINK (as given) DESCRIPTION (as given) No Such Thing As A Fish great trivia / general knowledge cast with great comedy Slow Burn relevant political miniseries about Nixon Heat Rocks! https://twitter.com/heatrockspod short eps (15-20 minutes) where musicians take apart well- Song Exploder known tracks. lots of genres, lots of insight <3 It's a "Podcast Hug" once a week. an Irish comedian who wears a plastic bag on his head to hide his identity rambles https://itunes.apple. on topics ranging from history, art, music and his own short com/ie/podcast/the-blindboy- stories. The interview episodes on Irish history are Blindboy Boatclub Podcast podcast/id1300577518?mt=2 especially good. bech Potterless https://twitter.com/PotterlessPod if you're into D&D or just really good interactive storytelling! you will laugh until your stomach hurts. You don't have to The Adventure Zone https://twitter.com/TheZoneCast be into D&D - just into laughing! Revisionist History https://art19.com/shows/the-good- The cast and crew talk about the show and it's very funny The Good Place place-the-podcast and wholesome not entirely a science podcast, but it will make you get super interested in almost any topic and the host is witty Ologies and fun. Dispassionate, non-humorous descriptions of Japanese True Crime Japan crimes, with asides on Japanese culture. a podcast about Fortean weird ideas, mysteries, and stuff. Blurry Photos The recent "lead masks" ep is very good to start Sawbones medical myth debunk / history show Forever 35 https://twitter.com/Forever35pod Call Your Girlfriend https://twitter.com/callyrgf Who? Weekly https://twitter.com/whoweekly Fortunately on bbc4 https://www.nytimes. -
Drama Podcasts an Overview of the US and UK Drama Podcast Market
Drama Podcasts An overview of the US and UK drama podcast market By Ella Watts Commissioned by BBC Sounds December 2018 2 Contents Scale of the US Drama Podcast Market 3 Overview of the UK Drama Podcast Industry 11 Independent vs Network Drama Podcast Budgets 18 Top 10 Podcast Dramas in the Last Few Years 22 Map of Drama Podcast Genres 34 3 Scale of the US Drama Podcast Market Introduction Broadly speaking, the audio fiction podcast industry in the US has been through three major historical phases to date. It is now entering its fourth. The first and earliest phase ran from 2008 to 2014, and was dominated by podcasts like We’re Alive, Our Fair City, The Thrilling Adventure Hour and Sayer. The second phase is defined by the meteoric rise of Welcome to Night Vale - which, though it started in 2012 and began to grow in popularity in 2013, rose to its greatest level of international success in 2014 - around the same time as Serial. A slew of major shows quickly followed in 2015, including The Black Tapes, Limetown, Tanis and The Message, cementing 2014 to 2016 as a significant period in the history of audio fiction podcasts. From 2016 to 2018, the industry had found its footing somewhat - and we saw a proliferation of smaller, indie shows trying to imitate the success of podcasts like Night Vale and The Black Tapes. In this third phase, major podcast networks began to invest in serialised drama podcasts on a large scale, bringing in celebrity talent and trying to engage with what seems to be a market experiencing exponential growth.