Every year radio documentary makers and editors gather for four days of listening, discussion, and socialising at the International Features Conference. Versatile radiomaker Connor Walsh of In The Dark was among them and sends this dispatch.
The International Features Conference (IFC) started 39 years ago in Berlin, and while it has grown greatly since then, it is still primarily a European gathering – indeed the European Broadcasting Union is a lynchpin. This year 108 people went to Bergen, on the west coast of Norway. The event is hosted by the local broadcaster – in this case NRK, and superbly so. Delegates from outside Europe this year included two regulars from the US – Julie Shapiro of the Third Coast Festival and Jesse Dukes of Big Shed. From Canada, CBC Out Front legend Steve Wadhams returned after a few years away. From the ABC in Australia, Kirsti Melville and others. Two staff from China National Radio observed, and the big breakthrough was sound artist and producer Joaquin Cofreces from the southern tip of Argentina.
Producers submit programmes for consideration and a committee commissioning editors (and that sort of level) from across Europe selects and schedules about 20 features for listening.
The whole conference is very sociable, with official events every night, and lots of groups dining and drinking together. This actually affects the conference in a couple of direct ways, which I'll elaborate on later.
The selection of programmes this year was particularly strong ('particularly' being relative of course, as this is only my third IFC). They are grouped by theme or idea, and all the participants listen together, with the trademark transcripts. Ah, the transcripts – you see, the features can be in any language at all. So the producer provides a transcript in both the original language and English. Everyone grabs a bunch of transcripts before the listening session begins, and then settles down to listen and read along.
Time is limited, so no programme goes beyond about 25 minutes. For many traditional public broadcasters a feature is 45, 50, or even 55 minutes long. Often they select the beginning, or the beginning and end.
The exception is the BBC where most documentaries are 27:30, and the whole thing can be squeezed in.
With a brief introduction from the producer, the pieces are played consecutively. Then a quick break – tea or coffee, fruit or cake, analysis or flirting.
And then comes the discussion session. The participants are divided into groups, which then alternate so you are with some people all week, some people for just one day. The producer of a piece under discussion is usually in one group or another – maybe yours.
