ABSTRACT
This chapter investigates and discusses the relationship between sound and vision with how digital multimedia has expanded the possibilities of greater interactivity for listeners. There is an analysis of examples of radio plays transferring to theatre, television, and film such as the BBC’s Dad’s Army, Lucille Fletcher’s Sorry Wrong Number, and Jeremy Sandford’s research and writing of the life of Nigerian migrant David Oluwale in the early 1970s. What was gained and lost with Orson Welles’s introduction of radio drama techniques of narrative and sound in the film Citizen Kane? Interactivity actually brings in the audience to contribute authorship and make their own choices when offered a contingency of narrative options.
