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Public TV was less visible at this year’s American Film Institute documentary festival. Yet several of the 10 films that had received financial support from public TV grant-makers or broadcast commitments from PBS stood out among the 53 documentaries in the lineup. One even took the top prize.
As part of its annual “Documentary Fortnight,” the Museum of Modern Art (MoMA) in New York City is celebrating 25 years of the icon public TV documentary series POV with a six-day showcase.
Wendy Levy, the director of arts consultancy group New Arts AXIS, called for documentary filmmakers to embrace big data tools as a permanent part of their storytelling process during the keynote address at the Media That Matters Conference, held Feb. 15 in Washington, D.C.
The storyline of a Canadian film coming to public TV stations this month has all the trappings of a gripping yarn: intrigue, spies, an exotic locale, terrified hostages, Hollywood glamour.
Crowdfunding website Kickstarter announced Thursday that independent film projects on its site had passed the $100 million mark in pledges since its 2009 launch, with $42.6 million of that total pledged to documentaries — the largest share of any film genre. Many Kickstarter-funded documentaries find their way to larger success, whether through film festivals, theatrical distribution or airings on networks like PBS. This year, three Kickstarter-assisted documentary features shortlisted for a Best Documentary Oscar nomination will also air on PBS in 2013: The Waiting Room, Detropia and Ai Weiwei: Never Sorry.
PBS documentary filmmaker Ken Burns, whose extensive credits include The Civil War, Baseball and the upcoming The Dust Bowl, authored an editorial in Tuesday’s USA Today in which he said that Republican presidential candidate Mitt Romney “knows the price of things, but he clearly doesn’t know their value.” Romney has attracted the ire of the pubcasting community for frequently stating throughout his campaign that he would cut funding to CPB, and he reiterated his intent to do so during last week’s presidential debate. Burns recalled filming The Civil War in the late 1980s, during which time he visited then-President Ronald Reagan in the White House. At the time, according to Burns, Reagan expressed his support and admiration for both the National Endowment for the Humanities and CPB, two government-funded entities that backed the film. “Reagan put both hands on my shoulder and said, ‘That’s it!
George Stoney, a pioneering documentarian widely regarded as the father of public-access television, died July 12 at his Manhattan home, days after celebrating his 96th birthday. Stoney was a prolific filmmaker and longtime New York University professor, and was active on the boards of Manhattan Neighborhood Network, a public-access channel, and the Alliance for Community Media. He co-founded the Alternate Media Center, the organization that gave birth to public-access television. “A catalyst, that was the word for George,” said Barbara Abrash, former director of public programs at the Center for Media, Culture and History at NYU, and a longtime colleague and friend. “He inspired people to do what they could do best and was full of ambition, but only for worthwhile pursuits.”
Stoney was born July 1, 1916, in Winston-Salem, N.C., and his career ran the gamut: In addition to his work as a filmmaker, professor, and journalist, he served as a photo intelligence officer during WWII.
Producers of the documentary As Goes Janesville found themselves, quite by accident, in the midst of three national news stories during filming.
The Arts on Radio and Television fund of the National Endowment for the Arts, a source of millions of programming dollars for public media, is distributing matching grants to a wider range of recipients this year — from a smaller pool of money. Pubcasters are anxious about the plunge in funding to flagship programs and independent projects now that the Endowment’s revamped Arts in Media fund also supplies cash to digital-game designers, app designers and artists working on web-based interactive platforms.
In 2011, almost all of the grants went to public TV and radio programs. This year about half did. The number of grantees was up from 64 to 78 and the total amount committed was down from $4 million to $3.55 million. In the past, two major beneficiaries of NEA funding are the PBS arts showcases American Masters and Great Performances, both produced by New York’s WNET. The biographical documentary series and the performance strand each received $400,000 from the NEA last year.
The projects will help reimagine how local public broadcasters serve and engage their communities.
A movement against hate crimes called Not In Our Town, spawned by a 1995 documentary on PBS, has come to represent many things. To the executive producer, NIOT is a way to help viewers counter incidents of bigotry and violence. Public broadcasting stations use it to reach into diverse communities in meaningful ways. A media scholar sees NIOT as a laboratory to breed and study methods of engagement. Most importantly, to citizens frustrated by community issues that seem impossible to resolve, NIOT suggests a way to make a difference in the lives of their neighbors.
Independent journalists in public media are having an increasingly tough time earning a living as producers for public TV and radio, according to a survey commissioned by the Association of Independents in Radio and the Independent Television Service. Over the past three years, 66 percent of radio indies who responded to the survey reported worsening financial problems.
The survey by Market Trends Research, backed by CPB, drew responses from 206 indies who have created content for public TV, radio or affiliated websites in the past two years. The income outlook among radio indies, who made up 75 percent of survey respondents, is somewhat brighter than for those working in television, film and web production. Forty-one percent of TV and film indies said they expect to work with nonprofits and foundations as a source of future income, and nearly one-third see opportunities in education. Radio indies participating in the survey expressed optimism about their ties to local stations.
The departure of the entire four-person faculty from Maine’s small but influential Salt Institute for Documentary Studies has caused concern among the school’s alumni, many of whom found their way into public radio via Salt’s unique classes in audio production. The teachers who left have either declined to discuss their resignations publicly or said their reasons for leaving were personal and unrelated. The executive director of the Portland-based school and its board of trustees echo those accounts. That has done little to assure alums, however, who fear that the close timing of the departures suggests problems behind the scenes. “It’s a pretty clear picture that there’s an underlying issue and a reason they all decided to leave,” says Jen Dean, a photographer and Salt grad who has represented alumni in meetings with Salt leadership.
John Kaplan was scared. He’d been diagnosed with not one but two types of lymphoma, and chemotherapy had begun to ravage his once-thick head of hair. So he did what came naturally when confronted with human drama: Kaplan, a photographer and teacher of photography, picked up a camera and began to shoot. “For me initially, it was a way to cope with fear,” Kaplan says. He assigned the story to himself and went to work.
In the beginning, there was CBS Reports. Then came Bill Moyers. It was 1976. Executive Producer Howard Stringer wanted to show the world that the hour documentary was still viable despite the gaggle of magazine-style news shows pushing their way to the screen. Accountants had discovered there was profit in the magazine format and wise men in good-looking suits informed us we were behind the times.
David Fanning, the founding executive producer of PBS’s Frontline series, gave this talk in 2009 as the annual James L. Loper Lecture in Public Service Broadcasting sponsored by the University of Southern California’s Annenberg Center on Communication Leadership & Policy. Thank you, Geoff Cowan and Dean Wilson, for your kind words, and especially for your invitation to come here to the Annenberg School to give the annual Loper Lecture. This also gives me a chance publicly to thank Jim Loper, for the years of work he gave not just to KCET but as a leader in public broadcasting. It’s an honor to be invited in his name. I would also like to thank Mr. Russell Smith for his sponsorship of this lecture.
A haze of assumptions hung over the film. “Nobody would go near the show,” Schwarz says. “This was the height of the drug war,” Pollan recalls.
Few docs as substantial as The Principal Story, which airs on P.O.V. Sept. 15, are funded in full by a single angel, but this one was. The Wallace Foundation didn’t choose to cover the whole cost to make independent producers’ lives easier, though the grant did that.
Too many couples were splitting up before the offspring came along. Or they lived together grumpily, keenly aware they shouldn’t have had that second date. Ellen Schneider and her crew saw it was time for an intervention. Schneider’s San Francisco company, Active Voice, has published a 25-page booklet to turn things around: “The Prenups: What Filmmakers and Funders Should Talk About Before Tying the Knot.”
Following a very public dustup, Frontline and correspondent T.R. Reid have parted ways. The split leaves series producers and freelance on-air correspondents examining their complex and sometimes contentious relationship.