the radio feature [ˈfiːtʃə (ɹ)] (also feature and/or. Radio feature) is after the radio play the second original art form, which sound broadcasting brought out. While the radio play texts fiktionalen more strongly on orients itself, the feature has a usually rather documentary character.
Contrary to the radio play, which can be limited by formal and institutional criteria easily, the demarcation of the feature is not clear to related radio forms such as report and report. The most frequently quoted definition of the feature comes from Alfred Andersch one. 1953, in its time as directors/conductors of the Abendstudios of the hessian broadcast, he characterized the feature as „assembly art par excellence “.
Still three decades later, 1984, the medium scientist Knut Hickethier determines : „Who searches according to a clear definition of this program form, will remain unsuccessful “. The task of the feature sees Hickethier therein, „the world as area which can be heard, as an acoustic time in the radio aesthetically experiencable and experiencable to make “.
1937 was introduced with the BBC the experimental Hour. Bound, transmissions with a documentary character formally did not outweigh from contents. It developed a new presentation form, for which starting from 1939 the expression was in-patriated „feature “. After end 2. World war came with British crew power also the new transmission kind to Germany.
Axel harrow-broken put feature Dpt in November 1945 by notice in talc and. the NWDR (predecessor of WDR and NDR) in ten points firmly, which authors should know and editors „about hearing sequences (features) “. Axel harrow-broken, Peter von Zahn, Ernst Schnabel and, somewhat later, Alfred Andersch one are the four most important feature authors of the early postwar years.
1954 took over the SFB (today RBB) citizens of Berlin the NWDR Studio. Starting from end of the 60's-years by Peter Leonhard brown „the written “feature to „the acoustic feature “one developed further here. The Stereoverfahren and the work with original clay/tone photographs (ozone feature) coined/shaped this development crucially.
While the feature in West Germany ranks since 1945 among the firm component of the radio program, one preferred the expression “radio documentation ” (George Dannenberg) in the broadcast of the GDR at first. Only in January 1963 in Berlin (east) its own feature department was created, which existed up to the completion of the former GDR transmitters in December 1991.
Today in all nine broadcasting corporations of the pool of broadcasting corporations and the two national radio broadcasting programs of the Germany radio features are produced, which are available partly also than hearing books in the trade.
- Alfred Andersch one: Attempt over the feature. On the occasion of a new work Ernst Schnabels. In: Broadcast and television. Jg. , H. 1 (1953): S. 94–97.
- Tamara Auer Krafka: The history of the development of the West German broadcast feature from the beginnings to the present. Brewing Mueller, Vienna 1980. ISBN 3-7003-0258-4
- Patrick Conley: The radio feature and its topics. In: Literature in GDR sound broadcasting. UVK, Konstanz 2005. S. 249–310. ISBN 3-89669-478-2
- Axel harrow-break: „Over hearing sequences (features) “. Notice in the NWDR, November 1945. On-line version
- Knut Hickethier: The world as hearing area in the time. To the history of the program form ‚feature `. In: epd church and broadcast, Jg. , H. 53 (7. July 1984): S. 4-7.
- Udo Zindel; Wolfgang pure (Hrsg.): The radio feature. A workshop book. UVK media, Konstanz 1997. ISBN 3-89669-227-5