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April 2004 -2
From: PHONURGIA NOVA @ marc jacquin
Sent: Wednesday, March 24, 2004 9:28 PM
(Arles, les inscriptions sont ouvertes !)
nous sommes heureux de vous informer de l’ouverture des inscriptions aux stages _ son _ de l’Universit_ d’_t_ de la radio (12-24 juillet). Nous vous remercions de bien vouloir faire rebondir cette information et restons _ votre disposition pour toute compl_ment.
04 90 93 79 79
Arles, les inscriptions sont ouvertes !
Cr__e en 1986, sur une id_e de Pierre Schaeffer, l’Universit_ d’_t_ de la radio d’Arles (UER) est bien connue dans le monde francophone des radios comme un espace privil_gi_ pour la d_couverte ou l’approfondissement des techniques de la cr_ation radiophonique.
Chaque _t_ un programme de formations _ la carte permet de s’initier ou de se perfectionner aux diff_rentes disciplines qui concourent _ l’expression radiophonique : jeu du com_dien au micro, mise en ondes, animation d’_missions, reportages, design sonore, _criture et r_alisation de documentaires et de fictions.
Ces formations, d’une dur_e de 4 _ 10 jours, se succ_dent tout au long du mois de juillet. Elles s’adressent prioritairement aux intermittents du spectacle et de l’audiovisuel et aux _tudiants de fin d’_tude des _coles d’art et de journalisme, mais sont ouvertes sous certaines conditions _ des personnes venant d’autres horizons (litt_rature, th__tre, cin_ma, ethnologie).
D_sormais, en plus de ces rencontres d’_t_, des sessions de formation _ la _ radio d’art _ sous ses diff_rentes formes sont _galement propos_es pendant l’ann_e.
Ainsi, plusieurs fois par an, Kaye Mortley, productrice ind_pendante pour France Culture, ABC Sydney, YLE Finlande, WDR Cologne et de nombreuses radios europ_enne, laur_ate de nombreux Prix internationaux dont le tr_s prestigieux Prix Futura de Berlin, anime un atelier consacr_ au ” documentaire sonore de cr_ation “, le seul du genre en France vou_ _ une des formes privil_gi_es de la cr_ation sonore _ la radio, situ_e entre r_el et fiction.
Ces stages peuvent _tre pris en charge au titre de la formation continue. Ils sont conventionn_s par l’AFDAS.
Plus d’info : http://www.phonurgia.org et email@example.com
T_l. 04 90 93 79 79
Fax. 04 90 93 86 23
Comments? by ‘Comments’, below this entry
PRIX EX AEQUO, Regulations 2004 @ ORGANIZER
INTERNATIONAL CHILDREN’S AND YOUTH
RADIO DRAMA FESTIVAL
(Bratislava, 8 – 13 November 2004)PRIX EX AEQUO 2004 web site
The aims of the PRIX EX AEQUO Festival are:
a) to promote the creation of works of art in the field of radio drama for children and adolescents,
b) to promote the international exchange of radio drama for children and adolescents (productions, texts, artists),
c) to promote the exchange of theoretical and technical expertise at an international level in the field of the creation of radio drama works for children and adolescents.
The Festival is organized by Slovak Radio with the cooperation of the European Broadcasting Union (EBU).
3. BASIC INFORMATION
* The Festival is an international contest for children’s and adolescents’ radio plays.
* The Festival is open to all Active and Associate EBU Member organizations.
* Organizations may submit to the contest programmes in radio drama form aimed at children and adolescents.
* The Festival is held at Slovak Radio, M_tna Street 1, 817 55 Bratislava, Slovak Republic.
* The Festival takes place from 8th to 13th November 2004.
* The official languages of the Festival are English and French.
* There are two categories in the contest:
– radio plays aimed at children
– radio plays aimed at adolescents
4. PROGRAMMES SUBMITTED
Participating organizations may submit drama programmes fulfilling the criteria of the Regulations and first produced in the period from 1st December 2002 up to 30th June 2004.
Each radio organization may submit drama programmes for each category. The overall duration of the programmes in one category may not exceed 60 minutes.
5. TECHNICAL STANDARDS
Programmes recorded on CDs, along with texts of the programmes translated into each of the official languages and original texts (30 copies for each language â€“ â€œpage-to-pageâ€ format would be the most suitable) as well as the electronic version of the texts in all relevant languages must reach the organizer no later than eight weeks before the beginning of the Festival.
The international jury in each category has three members.
The jury is composed of experts in the field of radio drama art and literature for children and adolescents.
The organizer of the Festival appoints an expert from its own country to the jury in each category. Two additional jury members are named by the organizer on the basis of EBU Members proposals.
The members of the jury are not allowed to be personally involved in the programmes submitted to the competition.
Jury members must have a good command of at least one of the official Festival languages.
Each jury will elect its own chairman from among its members.
In each category, the jury shall award for overall quality a PRIX EX AEQUO prize
1. For the best radio play aimed at children
2. For the best radio play aimed at adolescents
to an organization submitting its entry to the contest.
In each category, as well, the jury shall award for the exceptional artistic execution a PRIX EX AEQUO prize
1. For the exceptional artistic execution of a radio play aimed at children
2. For the exceptional artistic execution of a radio play aimed at adolescents
to an individual – creator of a programme submitted.
The jury shall award the PRIX EX AEQUO prize by a simple majority of votes. In the case of a tie, the vote of the chairman shall be decisive. The jury’s decision is final.
The PRIX EX AEQUO prizes are not of a financial nature.
8. DELEGATES, OBSERVERS, PRESS
Delegates, observers and press are allowed to attend all listening sessions, seminars and discussions held during the Festival.
All costs connected with participation in the Festival (copyright and translation arrangements, postage as well as accommodation, travel and subsistence costs of representatives) will be borne by each organization or individual taking part in the Festival.
The juryâ€™s costs for travel and accommodation will be covered by the Festival organizer.
10. CHANGES AND AMENDMENTS TO THE REGULATIONS
Slovak Radio shall be empowered to make any changes and amendments in the Regulations of the PRIX EX AEQUO Festival. No changes in the Regulations shall be made after they are circulated.
PRIX MARULI – OLD TEXTS REVISITED @ Organizer
INTERNATIONAL FESTIVAL OF RADIO PLAYS AND DOCUMENTARY RADIO DRAMASPRIX MARULI_ – OLD TEXTS REVISITED is a festival organized by the Drama Department of Croatian Radio in co-operation with the European Broadcasting Union (EBU).
The contest is open to all regular and associate members of the EBU, as well as to other broadcasting organisations and free producers.
A. INTENTIONS OF THE FESTIVAL
The intentions are implied in the Festival’s motto – old texts revisited, and the components of the motto should be interpreted including all the layers of their meaning.
1. (a) Old texts refers to literature, regardless of its genre or form, poetry or prose ( poems, epics, dramas, novels etc.), i.e. all literary works inherited from the past. However, the Festival gladly welcomes programmes based on so-called borderline texts, not belonging to literature in the strictest sense, and on other artefacts, e.g. complete or fragmentary notes, which are witty or observant or show the spirit of the times, and which transfer past spiritual experience into the present ( epitaphs, letters, recorded oral tradition: customs and rituals, legends, myths, fairytales etc. and songs, biographical and autobiographical notes, entries in a diary and other personal notes, historical documents and the like). In brief, old texts refers to old literary texts, but also to any other document or written form of cultural heritage which eludes literary classification.
(b) An old text in this context is considered to be any text predating 1894, which marks the beginning of radio broadcasting.
2. Revisited – the second part of the Festival’s motto refers to the strength and appeal of an old text, and its power to find a reflection in the present, in particular, to find a new artistic form suited for the radio. In this respect, the intention of the Festival is to encourage genuine radio expressiveness. The old text is viewed as a model, a point of departure and a challenge. The radio adopts it, transforms it, and broadcasts it to its listeners as an authentic work of radio-art. The Festival would like to affirm the diversity of approaches, forms and methods, and in view of this aim it stresses its openness to various genres of radio-art.
B. IMPORTANT DATES
The Festival begins on May 8, 2004 and lasts 7 days.
The participation note should be sent by February, 2004.
The completed registration form should be sent by March 10, 2004.
The recorded broadcasts and original scripts with an English translation should be sent by April 1, 2004.
No programme first broadcast before May 10, 2001 will be eligible.
C. RULES AND REQUIREMENTS
1. All kinds of radio forms and approaches based on old texts are welcome in this Festival. According to the explanations of old texts given under INTENTIONS OF THE FESTIVAL, the Festival welcomes radio adaptations of old literary texts (e.g. dramas, mysteries, poems, epics, diaries, letters and other literary forms), original radio dramas, documentaries and features, and other radio forms based on an old literary text or other artefact of written or documented heritage, on the condition that the date of the text upon which the programme is based meets the requirements of the Festival, as explained under INTENTIONS OF THE FESTIVAL. Since the intention of the Festival is also to encourage the revival of old vernaculars, broadcasts based on national literary heritage are particularly welcome. Programmes with primarily educational purposes will not be accepted.
2. The Festival comprises two Categories :
(a) Drama Category, and
(b) Documentary Category
3. In Documentary Category, the Festival particularly expects to attract the feature-documentaries, programmes approaching their subject in an investigative and modern way.
4. Entrants decide in which category they want to compete and state their decision in the registration form.
5. Each entrant can participate with:
– a maximum of two broadcasts in the same category in a total length of up to 90 minutes, or
– a maximum of three broadcasts in both categories in a total length of up to 110 minutes;
– an individual broadcast may not exceed 60 minutes.
6. The organizer would like to encourage the authors of entries to attend the Festival, participate in the open discussions with fellow practitioners, and play an active part in the selection of winning entries.
7. Programmes will be judged by a Jury. The composition and the work of the Jury are regulated by a set of rules.
8. The programmes declared best by the Jury will be given the following awards:
(a) In the Drama Category:
– Grand Prix Maruli_ 2004 Award consisting of a medal, a diploma and a monetary award amounting to 4.000 Euros;
– Two equal Prix Maruli_ 2004 Awards consisting of a medal and a diploma.
(b) In the Documentary Category:
– Grand Prix Maruli_ 2004 Award consisting of a medal, a diploma and a monetary award amounting to 4.000 Euros;
– Two equal Prix Maruli_ 2004 Awards consisting of a medal and a diploma.
9. Organiser will pay the prize moneys in both categories to the authors of the winning entries or to the representatives of the entering organisations for distribution to those entitled to the prize.
10. The official language of the Festival is English.
11. Programmes that have already been presented at other festivals are also welcome.
12. Programmes should not contain advertisements.
13. Along with the recorded broadcasts in the original language (two copies on DAT cassettes or CD-ROM discs), the complete script in the original language and in English should be also sent, preferably printed in two parallel columns.
14. A synopsis of the programme and a short biography of the author and director should be supplied together with the script, all in English.
15. The script of the programme should be sent in 50 copies.
16. The entrants pay all shipping costs for scripts and recorded broadcast.
17. All the material should be sent to the following address:
Hrvatski radio – Dramski program
18. Parcels should be sent by air, a bill of freight enclosed, to the above address. The sender should inform the organizer of the dispatch date and the bill of freight number.
19. The recordings and scripts will remain in the archives of the Drama Department of Croatian Radio.
20. The entrant agrees that, in the case its programme is awarded one of the Festival prizes, the organizer of the Festival may use up to three minutes of the winning programme for the purpose of promoting the Festival, internet included.
21. If necessary, the organizer reserves the right to make a preselection according to the following criteria: how the programme meets the basic requirements of the Festival, quality of the programme, entrant’s quota and date of receipt.
22. An entrant whose programme has not been included in the contest will be notified of the decision and given an explanation in writing.
23. All entrants and the European Broadcasting Union (EBU) will be officially notified of the decisions of the Jury.
24. The registration of an entry for the Prix Maruli_ 2004 Festival implies full acceptance of all these rules and requirements.
PRIX EX AEQUO @ Laurent Marceau
International Children’s & Youth Radio Drama Festival
Bratislava, 08-13 November 2004
Please find herewith the regulations, registrations, delegates and entry
forms for the next edition of “Prix Ex Aequo”, the International Children’s
and Youth Radio Drama Festival, which will be held in Bratislava from 08 to
13 November 2004.
The completed forms should be sent directly to Slovak Radio at the given
EBU Member organizations are kindly asked to take note of the following
– Preliminary registration forms: 31 May 2004
– Entry forms and programmes submitted (with CDs and texts both in paper and
electronic versions): 15 September 2004
– Delegates forms: 20 September 2004
Head of Eurosonic / Radio Plus
Distribution: International Departments of EBU Active and Associate
Radio Drama Specialists
List of programs IFC 2004 @ Project Group
As the listening sessions are one of the pillars of the IFC, the FPG would be very grateful if you could make sure that the scripts submitted are accurately translated into English and presented in a user-friendly way.
1. More than museums (by Peter Woods; RTE/Ireland)
2. Before a fall of a border (by Helmut Kopetzky; CR/Czech Republic-MDR/Germany co-production)
3. Tracing the Inner Warrior (by Kirsten Laumann; DR/Denmark)
4. Portrait in Red (by Jolanta Krysowata; Polish Radio/Poland)
5. Hortus Sanitatis (by Heide and Rainer Schwochow; RBB/Germany)
6. Tango with the devil (by Machteld Libert and Ng Sauw Tjhoi; VRT/Belgium)
7. And I walked, stories from the border (by Ann Hepperman and Kara Oehler) and VÃ¡gy/ SzomjÃºsÃ¡g/ Thirst (by Alex Van Oss; Third Coast Festival ShortDocs, USA)
8. Ages Ago -Parrot in an Intirror- (by Sherre DeLys; ABC, Australia)
9. Salt Song (by Michaela Helmis; ROR/Romania)
10. Work of the devil (by Birger Amundsen; NRK/Norway)
11. A Classic Is Like a White Rabbit Out of a Magician’s Hat (by Barbro Holmberg, YLE/ Finland)
12. The tomato and the Big Apple (by Alwine van Heemstra; RVU/The Netherlands)
13. At last together (by Hanna Bogoryja Zakrzewska; PR/Poland)
14. La Madonna del Parto (by Alfred Koch; ORF/Austria)
From tiny waves to beating hearts @ Birger Amundsen
The human voice communicates more than words alone; barely audible shades of yearning, pain and quivering joy. How can you as a documentary maker capture these tiny rippeling waves? Birger Amundsen will in his workshop tell about practical use of the microfone and play examples from his abundant treasure box.
What do our listeners want to listen to? @ Peter Klein
But what do we know about the taste and the needs of our listeneres? And if we know their desires is it really clever
to follow them?
The Austrian Broadcasting Corporation did in the last 15 years a lot of scientific research about this questions.
We know very precisly which documentaries our listeners liked and which they disliked. We even know why and how long
they listened to concrete and single programmes and why and when they lost their attention or interest.
We can say which genre or style they prefere. This results are internationally convertible. And they are provocativ.
Because what radiomakers consider to be a good programme must not automaticaly be an interesting piece of work in the minds
of the listeners.
Nelson Mandela : A audio history @ Joe Richman
We hope you can tune in.
Joe Richman and Sue Johnson
MANDELA: AN AUDIO HISTORY
– A rare recording of the 1964 trial that resulted in Mandela’s life sentence
– A visit between Mandela and his wife, Winnie, secretly recorded by a prison guard
– Marching songs of guerilla soldiers
– Government propaganda films
– Pirate radio broadcasts from the African National Congress
This is the story of the struggle against apartheid told through rare sound recordings, the voice of Nelson Mandela himself, as well as those who fought with him, and against him.
Throughout this past year we have been conducting interviews and digging through archives all over South Africa — dusting off wax records and splicing together forgotten reel-to-reel tapes. Many of these archival recordings have never been broadcast before.
Mandela’s journey from “terrorist” to President is one of the most remarkable stories of our generation. MANDELA: AN AUDIO HISTORY airs every day this week (April 26-30) to mark the 10th anniversary of South Africa’s first free democratic election.
National Public Radio
All Things Considered
4:30 and/or 6:30 PM EDT
On Monday we also launch a special Mandela website where you can find the stories and a multimedia timeline.
Thanks to all of you who helped make this series a reality. A special thanks to our editors, Ben Shapiro and Deborah George, and to the Corporation for Public Broadcasting for its generous support.
Radio Diaries is a not-for-profit production company.
For more info: firstname.lastname@example.org