Development

‘Tell them Newt asked you to help’

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Fundraising pitches by House Speaker Newt Gingrich drew unprecedented media coverage and helped to boost March pledge receipts at WPBA, Atlanta, home-town public TV station for the powerful Georgia Republican who has vowed to end federal aid for public broadcasting. Gingrich taped a series of spots urging national and local viewers to “open your wallets” and support public television. “Tell them Newt Gingrich asked you to help make sure that PBS stays on the air and Channel 30 stays strong because more than ever it’s going to need our support as individuals to make sure it has the funding it needs,” the congressman said in a self-scripted 45-second message for Atlanta viewers. Late last week, only a handful of stations elsewhere had begun to use national versions of the spots in their on-air campaigns. WCET, Cincinnati, reported that viewers had responded negatively to its use of the pitch.

Development

Pressler stocking up on ammunition

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An inquiry by Sen. Larry Pressler last week put public broadcasters on notice that they face hostile scrutiny during Senate consideration of CPB’s reauthorization. The South Dakota senator’s office sent a 16-page, single-spaced questionnaire to CPB and other major pubcasting organizations seeking a myriad details about the field’s finances and program policies, as well as the political contributions of those working within the field and personal data about all members of NPR’s staff. [Later article on the responses.]

Pressler later withdrew a handful of the more than 200 questions after CPB Chairman Henry Cauthen advised him that answering them would violate individuals’ rights to privacy. People for the American Way also criticized Pressler’s inquiry as a attempt to “chill political speech … not seen since the era of Sen. Joseph McCarthy.”

People

Orlando Bagwell: History-teller takes his craft into new realm

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In many ways, Orlando Bagwell’s work announced his arrival as a notable creative talent years ago, when he and a handful of mostly inexperienced, young producers collaborated with Henry Hampton on Eyes on the Prize, the civil rights series that made television history in 1987. The opportunity to work as a member of Hampton’s team “changed my whole life,” Bagwell recalled. A young father who made his living primarily as a cameraman for public broadcasting stations and producers, Bagwell had come to believe that path would take him through life — until Hampton offered him the chance to produce and direct his own films on the civil rights movement. Now, less than a decade after Eyes premiered, the 43-year-old producer’s credits include some of the most important films dealing with African-American history and culture that have aired on public television — most recently, “Frederick Douglass — When the Lion Wrote History” and “Malcolm X — Make It Plain.”

Bagwell finds himself at another crossroads, seeking and embracing new challenges so that he will continue to find gratification in his work. Having learned his craft in historical documentaries, Bagwell is stepping into performing arts programs, a form he explored as a producer/director for WNET’s Dancing miniseries.

Programs/Content

Goal for Ready to Learn: engage kids and parents

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On July 11, PBS begins beaming its long-anticipated Ready to Learn service to 11 pilot stations, embarking on what planners acknowledge will be a bumpy journey toward better TV for early childhood learning. What comes off the bird will essentially be an expanded, repackaged version of the existing children’s service that, with the help of new educational break messages, will offer a learning-friendly environment for kids. Off-air, outreach activities will target the audiences most critical to the task of preparing children for school–parents, teachers and child-care providers. The on-air and off-air prongs of public TV’s Ready to Learn strategy are scaled-back versions of proposals that PBS floated at last year’s annual meeting. The estimated $72 million needed to launch a comprehensive national service has not as yet materialized.

Programs/Content

FDR defenders enlist TV critics to refute Holocaust film

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Weeks before the debut of an American Experience film on the U.S. response to the Holocaust, defenders of President Franklin Roosevelt undertook a quiet campaign to influence and later discredit historical analysis presented in “America and the Holocaust: Deceit and Indifference.” In the disturbing film, aired April 6, 1994, producer Marty Ostrow argued that the Roosevelt Administration knew that the Nazis were systematically slaughtering Jews and followed a policy of not rescuing them. The critics’ complaint, in the words of William vanden Heuvel, president of the Franklin and Eleanor Roosevelt Institute, was that the film was “one-sided and grossly unfair, indifferent to the truth and deceitful in concept.” But when series producers sat down to evaluate the advance criticism with Ostrow and his team of historical advisors, they came to a different conclusion. “We came out of those meetings with confidence that the film was not only accurate, but it said what the authors of the film wanted it to say, and that they were on good ground,” said Judy Crichton, executive producer.

Programs/Content

Review finds factual flaws in ‘The Liberators’

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After a seven-month investigation of the factual accuracy of ”Liberators: Fighting on Two Fronts in World War II,” WNET announced Sept. 7, 1993, that some portions of the documentary were ”seriously flawed” and that the New York station would continue to withhold the film from PTV distribution until it is corrected. Judging by the producers’ reactions, the film is unlikely to return to the public airwaves. In a statement issued by Bill Miles and Nina Rosenblum, the filmmakers stood by the oral testimony presented in ”Liberators,” criticized WNET’s review for not being conducted independently, and accused WNET and PBS of censorship. Miles Educational Film Productions holds the copyright to the film.

Development

Twentieth Century Fund panel seeks more federal aid for PTV, but would halt CPB grants to stations

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With the warning that public television must “reinvent itself” if it is to “meet the needs of the American public in the 21st century,” a task force appointed by the Twentieth Century Fund recommended fundamental restructuring of the existing public television system in a report issued [in July 1993]. [Task force members included former PBS President Lawrence Grossman; Ervin Duggan, soon to be appointed to head PBS later in 1993; and other prominent national-level figures in media and finance.]

Completing what task force members characterized as a reexamination of the basic purpose and principles of public broadcasting on the 25th anniversary of the field’s creation, the 21-member group envisioned a significant role for public television in the multichannel environment of the future — one that calls for an expansion of educational programming, strengthening of its mission at all levels, and a redirection of federal funds toward diversified national programming. Most controversial among the panel’s recommendations is a proposal to cut off federal funding to local stations within three years and aggregate those dollars for national programs.
“A feeling of ‘entitlement” is rampant within the system,” wrote Richard Somerset-Ward. “There are 351 local stations to be accommodated, and they (or their 175 licensees who receive [grants] from the CPB each year) effectively hold most of the purse strings.” That would mean the end of the Community Service Grants (CSGs) to public TV stations, which consumed half of CPB’s federal appropriation in 1992 and amount to 13.5 percent of the public TV system’s total income, according to the report.

Programs/Content

Advocates of free time for candidates are many — those who try it are few

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Though the 1988 campaign prompted many calls for television networks to let candidates talk directly to the voters, candidates again this season have to buy time or squeeze through the media filter to get on the air. That’s not to say that some producers aren’t trying the idea; the ones who do, however, are finding that their success in presenting candidates in an unedited, nonconfrontational format hinges on the political considerations of candidates, networks and viewers. Voices of the Electorate, the two-part series produced by Alvin Perlmutter’s Independent Production Fund (IPF) and two minority citizens’ groups, is the most visible recent example (Current, Sept. 21). The series aired last month after PBS and the American Program Service ordered last-minute cuts to eliminate Democratic candidate Bill Clinton’s unedited comments, which both distributors deemed ”inappropriate.” APS said Clinton’s remarks didn’t respond to the minority issue discussed in the program.