“I discovered that I had magical powers, the powers to transform the world’s soundtrack, to make it a better place to live…”
Winner of Best Short at Grand Prix Nova (2023) and Third Prize at the UK International Radio Drama festival (2023)
Eve-Marie Bouché (Paris, France) At first, she was a dramatic author, then she started writing texts for radio dramas (Radio France). But when she learned how to edit sounds, it was an epiphany, the discovery of another form of writing. She can’t stop any more!
First created for the Rás 1 (Channel 1) summer program Sumarmál, played at the 2023 International Features Conference.
In search of justice – a whisper can be louder than a shout; it stays in the heart and mind forever.
This programme explores issues around child sexual abuse and contains content that listeners may find distressing.
agnieszka czyżewska jacquemet – the executive producer/editor/author – has been working in Polish Radio at the Regional Broadcasting Station Radio Lublin S.A. since 1996. She is still amazed at the world and she approaches each story with curiosity and humility. She is convinced that human beings give soul and body to all disasters, wars, political decisions and social issues. A drop reflects the ocean. Co-founder and board member of the Audionomia Foundation.
She is the winner of the Silver Medal URTI/UNESCO 2022, Prix Europa 2019 – Special Commendations 2016 and 2021, Prix Bohemia 2017 and Grand Press Radio 2015 amongst others.
Familiar surroundings transform and friends and acquaintances turn into enemies.
Contains content that listeners may find distressing.
Sniper was the winner of the 1993 Prix Italia for Documentary.
In the transcript for the Prix Italia the producers described the process of making this feature –
“While researching Sniper, Stephen Schwartz discovered that while plenty of people talked about snipers, very few had actually talked to a sniper. So he got in touch with a colleague, Boro Kontic, in Sarajevo via the EBU satellite, which was the only secure line into the radio station in Sarajevo, and asked him to do the interviews with the snipers. When the tapes were ready they were smuggled out by an Irish TV man, who mailed them from Frankfurt during a stop-over. Much of the live sound in this programme was taken from TV coverage of the war in Sarajevo. The sounds were then processed digitally – like the rest of the programme.”
Directed by Stephen Schwartz
Recordings in Sarajevo by Boro Kontic
Sound by Frank Lindeskov
Translation by Jonathan Sydenham
Stephen Schwartz was born in Detroit, Michigan in 1940, but moved to Denmark from 1961. He died in 2013. His programmes include ‘We People’ – a feature series from 1964 to 1979 – The Mind’s Eye (winner of the Prix Italia, 1982), Notes from a City Dump, The Amber Gatherer, Clouds in Flight and The Night Watchman – the documentary where he pioneered his landmark interview technique known as the ‘moments interview’ or the ‘full Schwartz’. You can learn more about it here.
Made in 1929 to accompany silent movies, with 913 pipes and 66 registers, it was the biggest cinema organ in Germany.
But the organ’s grandeur wasn’t celebrated for long. Soon after its construction, sound film took over and the Babylon’s instrument became superfluous. Now, almost a century later and thanks to a dedicated team, Kino Babylon in Berlin Mitte has become a haven for lovers of silent film.
But it takes more than outdated technical equipment to experience this fading art in an authentic way. It requires quick fingers and the ability to improvise in real-time with a myriad of keys and buttons. A rare skill – and one that Babylon has found in the organist Anna Vavilkina.
Featuring Timothy Grossman, managing director of Babylon, and the organist Anna Vavilkina. Recorded in November 2018.
Phoebe McIndoe and Marta Medvešek are audio producers from the UK and Croatia, living and working in Berlin. They love producing creative, cutting-edge documentaries as well as poetic sound meditations. Most of all, they like to play. They say that collaborating helps them remove the pressure and allows them to have fun in the process.
This was created as part of the audio artist Axel Kacoutié’s live In The Dark event – an evening of magical audio, conjuring aural visions to transport you through time, and space, returning you back to yourself and the world.
It was heard before their documentary A Mother Tongue, which can be listened to – with subtitles – here.
Max-Lena Vanden Eynde’s grandfather grew up in a family of fifteen children. In 1940, the two eldest sons – Pol and Louis – were called up as reserve recruits. Only one of the two brothers returned home after the war. Any clue to Louis is lost. Together with the third son – her grandfather – Max-Lena goes looking for him. Since his disappearance, the family has been silent. His name is not spoken, nor the grief surrounding it.
Featured at IFC AudioDocs 2022
Max-Lena Vanden Eynde: researcher, interviewer, editor
Brecht Mertens: music composer
Wederik De Backer: editor-in-chief
Simon Kremar: mixer
Pieter Serrien and Geert Lecompte: historical researchers
Max-Lena Vanden Eynde is a radio documentary maker. She works as a maker and editor-in-chief for the production house The Podcast Planet. You can follow her work on her personal Instagram as well as The Podcast Planet.
Story by Ross Sutherland
Translated by Cristina Marras
Performed by Cristina Marras and Ross Sutherland
Additional voice acting by Andrea de’Cesco, Gianfranco Bitti, Fausta Laddomada
Original music by Jeremy Warmsley
Produced by Ross Sutherland
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For further listening on a similar theme, listen to Cristina’s story “Games We Play in the Dark”
Plunge into the sonic landscape of the jackal, as they stalk around a human settlement. Listen as voices from the Anthropocene emerge from busted radios, talking into the night.
Directed by Saška Rakef
Script by Saška Rakef and Tina Kozin
Music by Bojana Šaljić Podešva
Sound Design by Matjaž Miklič
Dramaturgy by Pia Brezavšček
Field recording, ambience and effects by Matjaž Miklič and Martin Florjančič
Expert collaborator: Petra Veber
Thanks to Sebastijan Lamut, MSc; Miha Krofl, ScD and Tomaž Grušovnik, PhD
Produced by RTV Slovenia, Radio Slovenia, Program Ars and Društvo Za Umetnost Avgus, Ljubljana