Skip to main content

Quake

Quake, a “new audio drama” (Reynolds, 2017) from Radio 4 is about how “the search for survivors begins after a deadly earthquake” (Graham, 2017). This new form of audio drama is “made up of 12 short form audio pieces” (Graham, 2017) and uses the innovative virtual reality technology to tell a gripping story and “illustrates how digital communication methods can help save lives” (BDH, n.d.).

The series is “not on radio but online” (Reynolds, 2017), using VR and animations bringing the story to life which is new for Radio 4 as it is its “first virtual reality radio” (BDH, n.d.), winning the “PRIX EUROPA Award for innovation” (BDH, n.d.). This shows how the BBC has taken the first step “into the digital revolution” (Reynolds, 2017) leading the way for others to follow and making this unique for the BBC.


Image result for quake bbc radio 4BBC Radio 4 should provide a “mixed speech service, offering in-depth news and current affairs and a wide range of other speech output” (BBC, n.d.) and Quake does this by “highlighting the digital possibilities available in relief efforts and the value of ‘communication as aid’” (FEBA, n.d.) and combining it with a dramatic story that can be put parallel with real disasters that have happened.

Quake’s content reflects the target audience perfectly as it is for those listeners “seeking intelligent programmes in many genres” (BBC, n.d.). Quake follows “the action from different points of view” (Reynolds, 2017) and presents enigma at the end of each part leaving the listeners on a cliffhanger, encouraging them to continue listening.

Through the “superb sound design” (Reynolds, 2017) and by “allowing audiences to create the narrative that suits them” (BBC, 2017) it furthers the listening experience giving them control over what information they hear allowing for the information to unravel in any order. This immerses the listener into the drama bringing the scenes to life and the “visuals offer an extra dimension to each episode” (Graham, 2017), enhancing the drama through this interactive medium.

References

Reynolds, G. (2017). If this is radio’s future then we should all be worried. Retrieved 10 November 2017, from https://www.pressreader.com/uk/the-daily-telegraph/20170518/282385514446109

Graham, P. (2017). BBC Radio 4 Ventures Into VR For Online Audio Drama Quake. Retrieved 10 November 2017, from https://www.vrfocus.com/2017/04/bbc-radio-4-ventures-into-vr-for-online-audio-drama-quake/

BDH. (n.d.). QUAKE: Trapped Man VR. Retrieved 10 November 2017, from https://www.bdh.net/immersive/quake-vr-trapped-man

BBC. (n.d.). Information for suppliers to Radio. Retrieved 10 November 2017, from http://www.bbc.co.uk/programmes/articles/2FC4S5Nr3dbMH6XJzyM8tHX/bbc-radio-4

FEBA. (n.d.).  BBC radio series uses VR for earthquake response drama. Retrieved 10 November 2017, from https://www.feba.org.uk/blog/bbc-radio-series-uses-vr-for-earthquake-response-drama

BBC. (2017). BBC Radio 4 explores virtual reality in drama for the first time in Quake. Retrieved 10 November 2017, from http://www.bbc.co.uk/mediacentre/latestnews/2017/radio-4-explores-virtual-reality

Popular posts from this blog

The Archers

The Archers is BBC Radio 4's "longest running drama" (Independent, 2011) and has been providing entertainment of real stories for over 67 years. It fits the radio 4 remit by providing a "wide range of other speech output including drama" (BBC Trust, 2016) but why has it been running for so long and what makes this drama engaging for its listeners? The episode I listened to was from back in 2013 when Bridge Farm's dairy herd was sold. This programme was grounded in factual research to ensure the programme sounded realistic for the viewers. The writer for The Archers visited a farm's cattle sale because there is "no way a writer could conjure scenes like this out of the imagination" (Solazzo, 2013). This quote shows that in every detail of the programme, in-depth research has been done to immerse the audience in as much realism as possible. The Archers covers a wide range of topics from "domestic violence and dementia to robotic cow mil

Desert Island Discs

This week I am focussing on copyright and clearance, more specifically how copyrighted material is cleared and what has been used in the chosen programme. I listened to the episode featuring Jack Whitehall which was broadcast on 9th February 2018. Desert Island Discs is presented by Kirsty Young who "invites her quests to share the soundtrack of their lives" (BBC, n.d.) and broadcast on BBC Radio 4. Desert Island Discs fits BBC Radio 4's remit because the "mixed speech service" (BBC, 2016) is used to "inform, educate and entertain" (BBC, 2016) its audience. The Copyright,  Designs and Pattern Act 1988 is the law on copyright currently in the UK (UKCS, n.d.). It gives the creator of original content control over how their content is used. It is described as when an "individual or organisation creates a work, and applies to a work if it is regarded as original" (UKCS, n.d.) then copyright arises. For Desert Island Discs, the music used w

Eden: Paradise Lost

Eden: Paradise Lost - Channel 4 'Eden: Paradise Lost' was first broadcast as 'Eden' on Channel 4 in 2016. The programme followed the experience of a group of men and women from the UK as they "face the challenge of building a new life and creating a new society from scratch" (Channel4.com, 2015). Using an "embedded crew" (Channel4.com, 2015) the group have only the basics to survive and build a new society but after the only a few episodes being aired in 2016 it was "pulled from screens" (Swindon, 2017) and in 2017 it was rebranded as 'Eden: Paradise Lost' to "tell the story of how it all fell apart so dramatically" (Nicholson, 2017). When the participants emerged from Eden, they realised that it "had not been on television in months" (Nicholson, 2017) mainly due to the ratings falling "from 1.7 million to 800,000 over four episodes" (Swindon, 2017). So why did this programme fail? The five new e