Golden Age in the 1930s and 1940s

In an age that adage the popularity of the tele call up, electric lights, phonographs, automobiles, motion pictures, and countless other

electrical devices, the radio pass catcher was another

achievement serving to confirm the faith of Americans

There were 2 modes of presentation on radio--most shows

had a sponsor, but each lucre had a certain number of shows without sponsors. The entire advertising arranging for radio

differed from what we have on television today:

During the entire score of engagement radio embarktainment, and during the first decade of network television, com retcher programme decisions were largely made, not by the networks themselves, but by advertisers and their agencies (Jencks 37).

much(prenominal) control was thorough, extending to decisions on the format

and nature of programs, the selection of stars and supporting players, take upion of day-to-day output signal, and the monitoring of the programs for taste and propriety. Some advertisers even had in-ho social occasion production units which produced the program directly. Programs without advertising were called sustaining. When sustaining programs had advertising, it was generally promotional for the network, with advertisements for other network programs. Radio shows were identified with specific sponsors in a direct focus. For instance, during most of Jack Benny's twenty-five years on radio, eyepatch the program was popularly called "The Jack Benny Show," the

As with all types of program, telephone voices were signaled with a filtered voice. In the Benny program, a shift in Benny's voice from filtered as he calls the operators to unfiltered serves the same function as a knock down from one place to another in film--the audience k instanters it is now in Benny's dressing room and no longer at the telephone switchboard. Other sounds utilize echo real-life elements, sounds such as a door opening or closing, footsteps, a phone dial, a phone ringing, and so on. One sound on comedy shows is ever-present--the audience response, which serves to fill in a reasoned deal of the time and highlight various moments when people enter (applause), score a point (laughter), and generally elicit a response from those in the studio.

The use of a studio-audience in this way is most like a play, but it also matches what happens in a movie theater filled with people. It is especially grievous in comedy shows because laughter has a contagious deed and invites those at home to join in with the studio audience.

Corwin's play depends most on the voices of the actors, but in addition there argon sound patterns suggesting locations, such as the crowd touch around to take pictures of Venus. Even this, of course, is developed through the use of multiple voices. An inquiry into why Venus has come to soil includes Venus speaking Latin to prove who she is. The play presents a clash between the prerogatives of the gods and the machinations of human bureau-cracy. Sound nitty-grittys are used to bolster the action with the rapping of the judge's hammer or the shattering of a chandelier. Music is used as a twosome from one scene or locale to another. Voices are used almost as sound effects in a montage effect as different voices are put forward and then overlapped with other voices to give the effect of a cacophony of appeals to Venus to judge this or support that. This effect would have been well known to movie audiences in two its visual and auditory form.

Radio comedy l
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