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

To empower active citizens with knowledge, locally as well as nationally

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When President Clinton had just taken office in 1993, Current asked an assortment of outside-the-Beltway people connected with public broadcasting to write open letters to him about the field’s public-service potential. One was Bill Kling, president of Minnesota Public Radio in St. Paul and founder of American Public Radio. Dear President Clinton:

I know that as a listener to public radio around the country, you know its national programming well. At a time when the spirit of a new national agenda is high, the mission of public radio fits well into the public understanding and assimilation of that agenda just as it has for every administration since Lyndon Johnson’s.

Programs/Content

This time we let our listeners hear directly from candidates

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In fall 1992, a number of public broadcasting’s gatekeepers opened their gates to give candidates unedited, unmediated “free time” to talk with the electorate over the air. Here’s a first-hand report on the experience, from two public radio program directors — Dave Becker of WDUQ, Pittsburgh, and Dave Kanzeg of WCPN, Cleveland. We’re here to confess to breaking a few broadcasting rules. They’re not in any FCC handbooks or federal code, but they seem to be universal anyway:

Never break your regular format for politics. Never give up control of your station’s sound to politicians.

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.

Programs/Content

Frontline: an ‘essential’ mechanism for telling serious stories

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Frontline sometimes comes on like a multimedia prosecutor, revealing the evidence in pictures, voices and logic, and driving toward a conclusion. It’s usually a very sobering conclusion, too, because the series has increasingly specialized in reminding us of our society’s worst failings — war, cheating and lying in high places, racism, crime and predation of all kinds. On Nov. 5, [1991], Charles Stuart’s “Don King, Unauthorized” went after the boxing promoter — a man with two killings in his little-known past, who has collaborated with the media to paint himself as a harmless jokester with a funny haircut. On Nov.