Run by School of Languages, Literatures, Linguistics and Media

20 Credits or 10 ECTS Credits

Semester 2

Organiser: Dr Geraint Ellis

The aim of the module is to enable students with two years’ experience of radio production to further develop their skills in this area, focusing in particular on radio comedy, radio drama, podcasting and the development of programme ideas.

In a series of weekly two-hour workshops, as well as additional timetabled studio time, students will study examples of podcasts, radio comedy and radio drama, and develop their own ideas and productions in these areas. The emphasis will be on studio production, with students extending and expanding upon their existing production skills in this context. They will all produce individual work, and will also pitch their ideas in advance to the rest of the class.

excellent

A • Comprehensive knowledge • Detailed understanding • Extensive background study • Highly focussed answer and well structured • Logically presented and defended arguments • No factual/computational errors • Original interpretation • New links between topics are developed • New approach to a problem • Excellent presentation with very accurate communication

threshold

D: • Knowledge of key areas/principles only • Weaknesses in understanding of main areas • Limited evidence of background study • Answer only poorly focussed on question and with some irrelevant material and poor structure • Arguments presented but lack coherence • Several factual/computational errors • No original interpretation • Only major links between topics are described • Limited problem solving • Many weaknesses in presentation and accuracy

good

Very Good B • Strong knowledge • Understands most but not all • Evidence of background study • Focussed answer with good structure • Arguments presented coherently • Mostly free of factual and computational errors • Some limited original interpretation • Well known links between topics are described • Problems addressed by existing methods/approaches • Good presentation with accurate communication Good C: • Knowledge of key areas/principles • Understands main areas • Limited evidence of background study • Answer focussed on question but also with some irrelevant material and weaknesses in structure • Arguments presented but lack coherence • Has several factual/computational errors • No original interpretation • Only major links between topics are described • Limited problem solving • Some weaknesses in presentation and accuracy

1. Initiate, develop and realise distinctive and creative work within the area of radio production and podcasting;

2. Demonstrate the ability to analyse creative processes and practice through engagement in one or more production practices.

3. Produce individual work demonstrating the effective and confident manipulation of sound;

4. Experiment, as appropriate, with forms, conventions, languages, techniques and practices within the context of radio production and podcasting;

Type	Name	Description	Weight
	Production Ideas		40
	Production		60

		Hours
Supervised time in studio/workshop		11
Individual Project		167
Practical classes and workshops		22

• Literacy - Proficiency in reading and writing through a variety of media
• Numeracy - Proficiency in using numbers at appropriate levels of accuracy
• Computer Literacy - Proficiency in using a varied range of computer software
• Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
• Exploring - Able to investigate, research and consider alternatives
• Information retrieval - Able to access different and multiple sources of information
• Inter-personal - Able to question, actively listen, examine given answers and interact sensitevely with others
• Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.
• Safety-Consciousness - Having an awareness of your immediate environment, and confidence in adhering to health and safety regulations
• Presentation - Able to clearly present information and explanations to an audience. Through the written or oral mode of communication accurately and concisely.
• Teamwork - Able to constructively cooperate with others on a common task, and/or be part of a day-to-day working team
• Mentoring - Able to support, help, guide, inspire and/or coach others
• Caring - Showing concern for others; caring for children, people with disabilities and/or the elderly
• Management - Able to utilise, coordinate and control resources (human, physical and/or financial)
• Argument - Able to put forward, debate and justify an opinion or a course of action, with an individual or in a wider group setting
• Self-awareness & Reflectivity - Having an awareness of your own strengths, weaknesses, aims and objectives. Able to regularly review, evaluate and reflect upon the performance of yourself and others
• Leadership - Able to lead and manage, develop action plans and objectives, offer guidance and direction to others, and cope with the related pressures such authority can result in

• An understanding of creative and critical processes, and of the wide range of skills inherent in creative writing. (NAWE Creative Writing Benchmark Statement 3.1).
• Reflective practitioner skills, including awareness of the practice of others in collaborative learning (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.2).
• Ability to formulate and solve problems, anticipate and accommodate change, and work within contexts of ambiguity, uncertainty and unfamiliarity (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
• Ability to engage in processes of drafting and redrafting texts to achieve clarity of expression and an appropriate style. (English Benchmark Statement 3.3; NAWE Creative Writing Benchmark Statement 3.2).
• Information technology (IT) skills broadly understood and the ability to access, work with and evaluate electronic resources (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).

Resource implications for students

None

Reading list

Albarran, A. & Pitts, G., 2001. The Radio Broadcasting Industry. Boston: Allyn & Bacon. Barnard, S., 2000. Studying Radio. London: Arnold. Beaman, J., 2000. Interviewing for Radio. London: Routledge. Boardman-Jacobs, S., 2004. Radio Scriptwriting. Bridgend: Seren. Chapman, J., 2006. Documentary in Practice. London: Polity. Chantler, P. & Stewart, P., 2003. Basic Radio Journalism. Oxford: Focal Press. Chignell, H., 2009. Key Concepts in Radio Studies. London: Sage. Crisell, A., 2006. Understanding Radio. London: Taylor and Francis. E Crisell, A., 2006. More than a music box. New York: Berghahn Books. Crook, T., 1999. Radio Drama. London: Routledge. Dimbleby, N., 1994. Practical Media: a guide to production techniques. London: Hodder & Stoughton. Emm, A., 2001. Researching for Television and Radio. London: Routledge. E Fleming, C., 2010. The Radio Handbook. London: Routledge. E Gazi, A. et al, 2011. Radio Content in the Digital Age. Bristol: Intellect. E Hand, R., & Traynor, M., 2012. Radio in Small Nations. Cardiff: UWP. Hartley, J., (ed.), 2005. Creative Industries. Oxford: Blackwell. E Hausman, C., 2003. Modern Radio Production. Belmont, CA: Wadsworth. Hendy, D., 2000. Radio in the Global Age. Cambridge: Blackwell. E Hesmondhalgh, D., 2002. The Cultural Industries. London: Sage Press. Hilliard, R., 2011. Writing for Television, Radio and New Media. Boston: Wadsworth. Hilmes, M. (ed.), 1994. The Television Handbook. London: BFI. McInerney, V., 2001. Writing for Radio. Manchester: MUP McLeish, R., 2005. Radio Production. Oxford: Focal Press. McLuhan, M., Understanding Media. London: Routledge. Shingler, M. & Wieringa, C., 1998. On Air. London. Arnold. Siegel, B., 1992. Creative Radio Production. Oxford: Focal Press. Starkey, G., Radio in Context., 2004. Basingstoke: Palgrave Macmillan. Starkey, G., Balance and Bias in Journalism, 2007. Basingstoke: Palgrave Macmillan. Starkey, G. & Crisell, A., 2009. Radio Journalism. Los Angeles: Sage. Stewart, P., 2010. Essential Radio Skills. London: Methuen Drama. E Wilby, P. & Conroy, A., 1994. The Radio Handbook. London: Routledge.

Pre-requisites:

• UXS-1038: Intro' to Media Practice
• UXS-2052: Radio: Theory and Practice

Compulsory in courses:

• P306: BA Media Studies year 3 (BA/MS)
• P31B: BA Media Studies (4 year with Incorporated Foundation) year 3 (BA/MS1)
• 8U76: BA Media Studies (with International Experience) year 3 (BA/MSIE)

Optional in courses:

• WP83: BA Media Studies & Creative Wrtng year 3 (BA/CWMS)
• PQ53: BA English Language & Journalism year 3 (BA/ELJO)
• W620: BA Film Studies year 3 (BA/FLM)
• W62B: BA Film Studies (4 year with Incorporated Foundation) year 3 (BA/FLM1)
• 2W89: BA Film Studies (with International Experience) year 3 (BA/FSIE)
• PP53: BA Journalism and Media Studies year 3 (BA/JMS)
• PP5B: BA Journalism & Media Studies (4yr with Incorp Foundation) year 3 (BA/JMS1)
• 3HPQ: BA Media Studies and English Literature year 3 (BA/MEN)
• P3R1: BA Media Studies with French year 3 (BA/MSFR)
• P3R2: BA Media Studies with German year 3 (BA/MSG)
• P310: BA Media Studies with Game Design year 3 (BA/MSGD)
• P3R3: BA Media Studies with Italian year 3 (BA/MSIT)
• PW33: BA Media Studies and Music year 3 (BA/MSMUS)
• LP33: BA Media Studies and Sociology year 3 (BA/MSSOC)
• P3R4: BA Media Studies with Spanish year 3 (BA/MSSP)
• P3R5: BA Media Stud with Spanish (with International Experience) year 4 (BA/MSSPIE)
• W6W8: BA Professional Writing & Film year 3 (BA/PWF)
• P3W9: BA Professional Writing and Media year 3 (BA/PWM)
• W900: MArts Creative Practice year 3 (MARTS/CP)
• P308: MArts Media year 3 (MARTS/MED)
• W891: MArts Professional Writing year 3 (MARTS/PW)