'An Old Hullo Out of the Dark': Radio Echoes between Samuel Beckett and Harold Pinter.
Radio provided Samuel Beckett and Harold Pinter with new ways of experimenting with voice, silence, and absence. As they maximised radio's potential to explore the ephemerality of language and non-linear narratives, the works they created were concerned with the medium itself. On radio, Beckett's si...
| Publicado en: | Historical Journal of Film, Radio & Television Vol. 40; no. 3; pp. 516 - 533 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Sep2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=145471202&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 145471202 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01439685 HFT jtl: Historical Journal of Film, Radio & Television issn: 01439685 maglogo: N pubinfo: dt: Sep2020 vid: 40 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 145471202 10.1080/01439685.2020.1778322 ppf: 516 ppct: 17 formats: fmt: @attributes: type: P size: 207KB tig: atl: 'An Old Hullo Out of the Dark': Radio Echoes between Samuel Beckett and Harold Pinter. aug: au: Jeffery, Lucy su: Beckett, Samuel, 1906-1989 Pinter, Harold, 1930-2008 Radios Radio dramas Seaver, Richard sug: subj: Beckett, Samuel, 1906-1989 Pinter, Harold, 1930-2008 Radios Radio dramas Seaver, Richard ab: Radio provided Samuel Beckett and Harold Pinter with new ways of experimenting with voice, silence, and absence. As they maximised radio's potential to explore the ephemerality of language and non-linear narratives, the works they created were concerned with the medium itself. On radio, Beckett's silences and Pinter's pauses create a heightened sense of uncertainty and ambiguity. Their medium-conscious works also provided them with a platform through which they could experiment with their shared frustration with the inaccuracies of language. The article explores Pinter's interest in Beckett's work by drawing on Pinter's letters to Richard Seaver, Patrick Magee, and Mick Goldstein from the Harold Pinter Archive. It then shows how Pinter's own work is intermedial in its experimentation with new technologies such as radio. By pointing to examples within Pinter's Landscape (1968) that speak to moments in Beckett's Embers (1959), the parallels between these writers in their use of radio are identified. Finally, the article suggests that Pinter's work is not merely derivative of Beckett's but demonstrates how the radio drama of both writers is underwritten by an intermedial creative process. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Historical Journal of Film, Radio & Television is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Historical Journal of Film, Radio & Television holder: Taylor & Francis Ltd dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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