Abstract:
This paper aims to contribute towards the development of a radio feature language a crucial
link in the development of a radio feature critical culture. Using the work of radio producer
Tony Barrell as afocus the author suggests that an almost complete lack of critical literature
addressing the radio feature form has allowed radio makers a 'freedom" of sorts from the
arguments surrounding the area offilm documentary, where demands for authenticity have
dominated.. But does the "ephemeral" rather than "visual" nature of radio allow for wider
interpretation of "documentary"? It is proposed that Barrell's radiofeature "hybrid" form
be examined in the light of a new "postdocumentary" culture.
