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Horror Podcasting

Storytelling in the Mind

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Horror Podcasting

De : Leslie Grace McMurtry
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Horror Podcasting argues that podcasting, as an aural medium, is about the mind. Horror is an inward-style of storytelling, and yet the reception of the podcast can be an embodied form of listening. This intersection creates conditions for a subject/listener collapse (which results in immersion) as well as a potential listener/creator collapse (listeners move into the roles of creators).
The texts (2006- ) discussed in this book generally originate in independent podcasting or public service broadcasting. Titles like the post-Serial dramas (The Black Tapes, Tanis, A Scottish Podcast, Video Palace, The Lovecraft Investigations) leverage the ‘found footage’ mode, collapsing frames through audio media’s time-based qualities, while Welcome to Night Vale plays on generic hybridity and horror’s fixation on technology-based fears.
The last part of the book uses cultures of production and Practice as Research frames to investigate processes of monetization and platformization and the impact of community in horror podcast dramas. The tensions between experiment and professionalization are explored through a series of interviews with 14 creators involved in the 11th Hour Audio Drama Challenge as well as the author’s own podcast drama series. The praxis of horror podcast drama is ultimately informed by the book’s themes: technology-based fears including surveillance, generic hybridity and the collapse between listener/creator engendered by the podcast form. Art du conte Création de contenu et réseaux sociaux Divertissement et arts du spectacle Films et télévision Sciences sociales
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Commentaires

In the vast and ever-proliferating world of podcasting, few genres are as compelling, complex, and multifaceted as horror. With accessible prose, deftly selected case studies, and valuable insights as both scholar and practitioner, Leslie Grace McMurtry is our expert guide to this rapidly evolving field. She illuminates the genre's diverse histories and aesthetic strategies, while demonstrating why horror podcasting is one of the most innovative and influential forms of contemporary audio storytelling. The result is an insightful and indispensable study that will appeal equally to scholars, practitioners, and anyone interested in the power of horror to captivate audiences through sound.
Horror Podcasting provides a bold and incisive argument that horror’s inward storytelling style complements podcasting’s concern with the mind, fostering a subject-listener collapse and narrative immersion with listeners potentially becoming producers. McMurtry investigates a broad range of exemplars and identifies horror podcast cycles and tropes and makes a significant contribution that deepens and broadens podcast, horror and media studies scholarship.
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