This is a famous broadcast of Orson Welles's radio play - an adaptation of HG Wells's science-fiction novel of the same name. It is a text of historical significance due to a long-running debate over the effect the broadcast had over audiences at the time.
Narrative and background
War of the Worlds, a science-fiction novel by author HG Wells, was first published in 1898. It is a story of alien invasion and war between mankind and an extra-terrestrial race from Mars.
The original 1938 Orson Welles broadcast is available here:
In particular, focus on the following extracts:
Opening: 0.00 – 4.00
Development: 10.00 – 13.00
Emergence of alien: 17.00 – 19.00
Middle section: 39.00 – 41.00
Ending: 57.00 – end
Think about these questions while you listen:
- How does the radio play seek to engage the audience?
- What effect do you think this may have had on radio audiences in 1938?
Hybrid genre
Orson Welles was initially reluctant to adapt War of the Worlds, describing it as 'boring'. He was persuaded by the prospect of using recent developments in radio news reporting to create a hybrid-form radio play designed to sound like a real breaking news story. The broadcast begins with a music performance that is increasingly interrupted by breaking news of martians invading New Jersey.
Historical context
In 1938, the world was on edge as Germany mobilised to invade Europe and populations feared gas attacks from another world war. In the weeks leading up to the 1938 broadcast, American radio stations had increasingly cut into scheduled programming to bring news updates from Europe on the chances of war. This meant Welles's use of radio news conventions had more of an impact on listeners who were unaware that it was a fictional radio play.
Media effects theories
The War of the Worlds radio play has become a much-studied text with regards to media effects theories. The initial reported reaction from audiences provided evidence for the Frankfurt School's Hypodermic Needle theory which suggests people believe whatever they see or hear in the media. Orson Welles himself, speaking to the BBC in the 1950s, said that he wanted the broadcast to be a lesson to audiences that they shouldn’t believe everything they hear.
We can also apply Gerbner's Cultivation Theory, the two-step flow model and Stuart Hall's Reception Theory to Orson Welles's War of the Worlds broadcast. For example, what was Welles’s preferred reading for the broadcast?
Audience reaction: exaggerated?
Although War of the Worlds is a brilliant case study in audience effects theory, it may also be an example of the way media industries respond to competition in the media marketplace.
Indeed, later studies suggested the audience reaction was exaggerated by the newspaper industry (under threat from radio at the time) and that audiences are more sophisticated consumers of media than first thought.
Radiolab podcast on War of the Worlds
The American podcast Radiolab looked back on the significance of the 1938 broadcast of War of the Worlds and later attempts to recreate the effect. It's a brilliant summary of the context and reaction from the audience alongside clips from the broadcast and transcripts from interviews at the time. In particular, make sure you listen to the first 30 minutes and the last 10 minutes as these sections are absolutely perfect for A Level Media students.
You can listen to the Radiolab podcast here.
War of the Worlds: Blog tasks
Media Factsheet
Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:
1) What is the history and narrative behind War of the Worlds?
2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?
3) How did the New York Times report the reaction the next day?
4) How did author Brad Schwartz describe the the broadcast and its reaction?
5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?
6) How did world events in 1938 affect the way audiences interpreted the show?
7) Which company broadcast War of the Worlds in 1938?
8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?
9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?
10) How might Gerbner's cultivation theory be applied to the broadcast?
11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?
12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?
Analysis and opinion
Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:
1) What is the history and narrative behind War of the Worlds?
2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?
3) How did the New York Times report the reaction the next day?
4) How did author Brad Schwartz describe the the broadcast and its reaction?
5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?
6) How did world events in 1938 affect the way audiences interpreted the show?
7) Which company broadcast War of the Worlds in 1938?
8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?
9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?
10) How might Gerbner's cultivation theory be applied to the broadcast?
11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?
12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?
Analysis and opinion
1) Why do you think the 1938 broadcast of War of the Worlds has become such a significant moment in media history?
2) War of the Worlds feels like a 1938 version of 'fake news'. But which is the greater example of fake news - Orson Welles's use of radio conventions to create realism or the newspapers exaggerating the audience reaction to discredit radio?
3) Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?
4) Has the digital media age made the Hypodermic Needle model more or less relevant? Why?
5) Do you agree with George Gerbner's Cultivation theory - that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.
6) Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?
Extension task: Media Magazine article on War of the Worlds
Read this excellent article on War of the Worlds in Media Magazine. You can find it in our Media Magazine archive - issue 69, page 10. Answer the following questions:
1) What reasons are provided for why the audience may have been scared by the broadcast in 1938?
2) How did newspapers present the story?
3) How does the article describe the rise of radio?
4) What does the article say about regulation of radio in the 1930s?
5) How does the article apply media theories to the WOTW? Give examples.
6) Look at the box on page 13 of real newspaper headlines. Pick out two and write them here - you could use these in an exam answer.
Due date on Google Classroom
