Until the mid-1960s, radio documentaries were not very developed – although most countries were creating some. Radio stations around the world didn’t know about each other. The Big Bang in the history of radio documentaries came in the year 1974 when three program editors Peter Leonhard Braun, Ake Blömstrom and Andries Poppe had a discussion about the importance of connecting the world of documentary producers – so everyone would have the possibility to learn from colleagues from other countries. The idea of international cooperation led to the foundation of the non-competitive International Feature Conference (IFC) – an open forum for radio makers from all over the world where they can discuss their work, to learn from each other about different ways of storytelling (each country uses different tools) and to cooperate in a friendly and safe environment. The aim of this work is to explicate certain specifics and dissimilarities in radio production worldwide, to describe how different countries use the basic tools of documentary making and to show the importance of this kind of production. At the IFC Reková met an American producer Dennis Funk and together they created a unique documentary – the first USA-Czech collaboration in this field. Based on interviews with relevant speakers and specialized literature, Reková will present her significant study about the importance of international cooperation. She will also play excerpts from her work to show specifics of the translation, but also to prove that it is possible to work bilingually.
Tereza Reková is a radio and television freelancer and musician from the Czech Republic. She produces mainly documentaries but also writes scripts for radio plays and hosts some radio and television shows. In early 2021, she finished her PhD studies in the field of radio conferences and festivals (with the main focus on the International Feature Conference). She also teaches Radio Studies at Janacek Academy of Music and Performing Arts. In 2017 she was nominated for Prix Europa with her piece MATĚJ (ended up sixth), three years later she was nominated again together with her colleague Ivan Studený (piece THE SANE PEOPLE OF THE CZECH NATION). She is also a winner of Prix Bohemia, Government Board Award for the best works propagating the problems of the disabled population on the radio, AudioREPORT, and was nominated for multiple international festivals. Tereza participated in the organisation of the HearSay Audio Arts Festival 2019, she also cooperates with Grey Heron Media on some audio projects.
See the presentation with audio and video excerpts HERE
SLIDE 1
Some say that radio is dead. Others say that radio is the theatre for the blind. But is it true? Why do people tend to tell stories using only sound? And is it possible to create an epic, yet very intimate and emotional tale when your only tool is the spoken word and sounds from everyday life?
SLIDE 2
Firstly: no, radio is not dead. It’s alive and kicking! And as for the theatre for the blind: also no. That has been invalid for a long time now. For many years radio has been recognized as a medium with the same amount of influence as television or the internet, and sometimes even bigger. But let’s now focus on a more specific kind of radio production – a radio documentary. You probably now ask yourself: what? Radio documentary? What’s that?
SLIDE 3
Well, radio documentary, in some countries called a feature, is actually a very popular and progressive genre. It is not a documentary for the blind and it is also not just the audio track taken from the video documentary. It is a self-dependent genre with many specifics and rich history. There are plenty of documentary producers around the world who create amazing pieces, work together and record fascinating stories for the listener’s ears. But only 60 years ago it was not like this.
Until the mid-1960s radio documentaries were not very developed – although most countries were creating some. Yet radio stations around the world didn’t know about each other and the rigidity of forms and not very good technical equipment had a great impact on the quality of programs. The radio documentary was primarily a studio-recorded monologue recited by narrators, with no sound effects, just a bit of music.
SLIDE 4
The Big Bang in the history of radio documentaries came in 1967 when Peter Leonhard Braun [1] created the program called Chickens. The Chickens introduces the story of the poultry living under terrible conditions in factory farms. The documentary is highly progressive because of Braun’s use of the stereo technique. Since Braun’s bold step in the use of stereo (and also thanks to the development of modern technology) other broadcasters slowly started to use stereophonic techniques during their work too.
SLIDE 5
But Braun is not important only because of this. Seven years later Braun travelled to Macedonia where he met Ake Blömstrom from Sweden and Andries Poppe from Belgium. Blomström, Braun and Poppe (all of them program editors) had a discussion about the importance of connecting the world of documentary producers – so everyone would have the possibility to learn from colleagues from other countries.
SLIDE 6
The idea of international cooperation led to the foundation of the noncompetitive International Feature Conference (IFC) in 1975 – an open forum for radio makers and freelancers from all over Europe where they can discuss their work.
SLIDE 7
The main idea of the conference is to share the knowledge of recording techniques, technologies, editing, choosing of topics, and sounds – to learn from each other and to cooperate in a friendly and safe environment. This five days long meeting is suitable for any radio producers of any level – no matter if their skills are basic or advanced. Everyone is equal because everyone has the same passion – radio documentaries.
SLIDE 8
The IFC used to take place regularly in Berlin but then a decision was made to move the IFC across all of Europe (and sometimes even to transatlantic countries). Every year a city with a rich radio history is chosen and people from other countries travel there for the five days the long feast of radio content. Only sixteen participants from fourteen countries came for the first IFC in 1975 but the number increased steadily during the years. Today there are around one hundred participants at the conference every year. The schedule is always the same – participants sit in the listening room and together they listen to audio programs in different languages. Scripts in the English language are provided for a better understanding of the non-English programs.
After the listening sessions, discussions happen. These discussions are completely honest and open to any ideas and thoughts on the programs, which is essential and makes the IFC quite unique. Founders of the IFC believed that only in open discussions about programs can participants learn the most interesting things and extend the boundaries of their perception of documentary making.
SLIDE 9
I will now play you the first audio extract recorded at the IFC 2017. You can hear Silvia Lahner, the chairwoman of the IFC, Willem Davids, the administrator of the IFC webpage, and Gabriela Hermer, the chairwoman of the Ake Blömstrom Award, which is a competition for young audio makers.
AUDIO Excerpt 01 (1:16)
SILVIA: Please, come in everybody. We are starting the afternoon session.
(Sounds of people chatting)
WILLEM: The IFC is a kind of conference of shoemakers. You have talks about material, tools, how to sell – all aspects of shoes, and that kind of stuff you can translate to documentary.
GABRIELA: I think if somebody who is not part of our conference if he enters the hall where we sit, he really would think it is a bunch of total crazy people who just sit, listen e.g. even to Chinese pieces (we have that as well) and read the translation… For an outsider it looks really strange. For us it is a part of our reality and the link between us is that we are all a little bit crazy here and we are all freaks and we all love radio. And for an outsider it might look as we are all quite crazy but I think we all like to be crazy.
(The end of the excerpt)
SLIDE 10
That was Gabriela Hermer talking about the craziness in the radio community and I must say that the craziness is one of the things I love the most about this group of people. The most important for Leo Braun was to connect radio producers from all over Europe or even from all over the world and create one big radio family. No one should be afraid of asking for international help, everyone should be able to connect with colleagues from anywhere. Yet the idea is amazing and the community really exists, these people tend to meet up only during IFCs or other international festivals (like Prix Europa, Prix Italia, Third Coast Festival, HearSay International Audio Arts Festival…) and they usually don’t really cooperate meanwhile.
But cooperation IS possible and the producers shouldn’t forget about it!
SLIDE 11
VIDEO Excerpt 01 – HUDBA V DŘEVĚ ZAKLETÁ (in Czech language with English subtitles) (2:28)
You’ve just listened to the first three minutes of my radio feature called Music charmed into the wood. I met Dennis Funk, the American producer, on the IFC in Stockholm in the year 2017 where my radio feature called Matěj was played. Yes, in the Czech language and with the English subtitles, as I mentioned before. Dennis listened to this piece and decided to cooperate with me – he sent me an email with a proposal a couple of weeks after the IFC. After weeks of discussions, we agreed on a date of recording and Dennis came all the way from Chicago. He really didn’t know a word in the Czech language which of course caused many funny moments.
SLIDE 12
VIDEO Excerpt 02 – HUDBA V DŘEVĚ ZAKLETÁ (in Czech language with English subtitles) (00:19)
My part as a translator was not easy. We recorded many hours of interviews with Bena – approximately around 20 hours during one weekend. Dennis asked Bena about many details from her life and I had to translate these questions for her, but also her long answers to him. You know how it could be when 80 years old woman starts to speak about her past… All of these memories…
SLIDE 13
VIDEO Excerpt 03 – HUDBA V DŘEVĚ ZAKLETÁ (in Czech language with English subtitles) (1:06)
The postproduction of the material was the hardest part. We had to do the transcription of all the Czech interviews and translate it to the English language, word by word. Dennis then could use the transcription in the Czech and also in the English language. But it is really hard for a non-native speaker to edit the Czech spoken word – even though he has the English transcription in front of him.
SLIDE 14
So Dennis tried his best to edit the material but in the end, he didn’t have enough time for it and it was I who ended up creating the bright new documentary. You can find the full version of the feature on the webpage of Czech radio.
I and Dennis agreed on creating a feature in the language neither of us understands next time – so both of us could enjoy the full adventure of stepping out of our comfort zone and immersing ourselves in the magic world of audio.
Because we know it is possible and we are not alone in this. Audio producers and listeners worldwide are hungry to create and listen to more international productions. But how to listen to an audio piece in a different language when you don’t have the script? The answer is actually very easy.
SLIDE 15
A couple of years ago a British producer Eleanor McDowall created an absolutely unique webpage called RADIO ATLAS, where you can listen to audio pieces from all over the world. It doesn’t matter what’s the original language of the production – you listen to it while reading English subtitles, which makes listening really easy. Yes, it is similar to what I made with the subtitles with my piece, but actually much better.
SLIDE 16
Maybe you ask yourself: Why should I listen to things in a different language? Isn’t the radio production pretty much the same everywhere? The answer is: No, it’s not.
Every country also has its own handwriting – for example, producers from Scandinavian countries very often tend to tell more personal stories than producers from the West or the East. The difference in production is caused by different political or economic situations in each country. The way to tell a story also varies because of the different historical backgrounds of each nation. The comparison of different ways of storytelling, use of tools, narration and other aspects of documentary making is enormously important for documentary producers. But even though there are many rules laid down for producers, the main rule still is that there are no rules. It is hard to explain what a proper documentary feature should sound like – if it should be half an hour long or one hour long if there should be sequences of recorded scenes in it or not – because every topic needs special treatment. Some topics require a minimalistic adaptation, little to no music and a decent narration, while other topics need the opposite approach.
Let’s listen to another audio extract recorded on the IFC 2017. Peter Leonhard Braun himself will tell you his own definition of the feature, accompanied by a Belgian radio maker Edwin Brys and British producer Simon Elmes.
SLIDE 17
AUDIO Excerpt 02 (1:12)
LEONHARD: I will give you the definition of the feature I love the most. Of course, it is mine. I forgot it, what was it…
EDWIN: For me, a good feature is not only made by the heart and by the belly, but also by the head.
LEONHARD: Radio feature is like an ocean.
EDWIN: A good feature is like a song…
LEONHARD: The great feature can be like a great restaurant.
EDWIN: …It has its own personal melody…
LEONHARD: It is a means of transport for information.
INGO: It is the world I live in. I love it.
LEONHARD: That means of transport can be a lorry or a rocket to the moon.
EDWIN: The feature puts the question of how does it happen, or why. One of the most interesting questions in life is how could it come so far?
SIMON: You can do a feature about anything. Anything. There is nothing that you can’t do a feature about. And the key is a good story.
EDWIN: The rule for feature makers is that there are no rules.
(The end of the excerpt)
SLIDE 18
In this picture, you can see visitors to the IFC 2019 which took place in Ireland near Cork. There were almost 200 audio makers from all over the world this year and many new connections were created. I believe that international cooperation, which was the most important thing for Leo Braun as I said at the beginning of this presentation, will continue growing in the future years. Because not only there are no rules in feature making, but there are also no borders when we speak about the creative possibilities of the audio!
Notes
[1] Peter Leonhard Braun (*1929, Germany) is a program editor who had a significant impact on the development of European radio documentary production. His methods of the use of sound were groundbreaking. Braun is also a founder of the International Feature Conference and Prix Futura Berlin, which changed to Prix Europa later.
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