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.
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.”