Documentaries
For doc funders, broadcast on public TV remains key
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Foundation funders have plenty at stake in PBS’s pending decisions about scheduling and promoting independent films.
Current (https://current.org/tag/pov/page/2/)
Foundation funders have plenty at stake in PBS’s pending decisions about scheduling and promoting independent films.
Representatives from PBS spurred discussion about promotion, distribution and scheduling of independent films on public TV.
Any benefits from the town-hall-style “listening tour” that stopped here Monday courtesy of PBS and several other public media organizations were strictly therapeutic.
A dustup between independent filmmakers and the New York City station has co-opted a national “listening tour.”
This week, we contemplate how much children’s public television has changed since Fred Rogers’ day, and the news isn’t all bad — far from it, in fact.
The discussion was friendly, but emotions ran high as filmmakers and public TV executives examined their often stormy relationship.
Tweets from the Jan. 17 meeting at the San Francisco Public Library.
New York’s WNET is reversing its decision — at least temporarily — to shift independent documentaries from primetime on its main channel to the secondary WLIW on Long Island, which reaches a far smaller audience.
The station later delayed its plans.
Asking interviewees to consider their status as white Americans takes them, and viewers, into uncomfortable territory.
At least two public television networks opted not to air this week the POV documentary After Tiller, which profiles four late-term abortion providers and prompted a campaign among anti-abortion organizations. POV’s plans to air the film’s national broadcast premiere at 10 p.m. Sept. 1 spurred an Aug. 27 online statement from Judie Brown, president of the American Life League, who called the documentary “nothing short of pure propaganda intended to demonize the entire pro-life movement and drum up support for late-term abortion.” Several other anti-abortion websites urged visitors to contact PBS headquarters or PBS Ombudsman Michael Getler to protest stations airing the film. South Carolina ETV in Columbia and Mississippi Public Broadcasting in Jackson declined to air After Tiller.
Plus: A controversial film spurs letters to PBS’s ombud, and Cookie Monster stars in a new app.
Plus: NPR explains its analytics dashboard, and the Knight Foundation’s interest in digital storytelling.
The grant will allow the PBS program to fund new projects and a digital technology fellowship.
• The standoff at Pacifica’s headquarters in Berkeley, Calif., got coverage on a local news program on Oakland’s KTVU. Executive Director Summer Reese is defying the board’s efforts to dismiss her and has camped out at the office, with supporters and even her mother in tow. Watch KTVU’s video and see the barricaded door, an air mattress used by the holed-up staff, and more trappings of this unusual episode. The report also features Pacifica Board Chair Margy Wilkinson, who is trying to fire Reese. Wilkinson alleges that at some point employees were shredding documents, which Reese denies in an oddly clipped statement in the segment.
A Pittsburgh-area theme park is swapping out Mister Rogers for Daniel Tiger.
• WNYC/New York Public Radio is receiving the largest grant ever given to a public radio station, it announced today. The pubcaster will use the $10 million from the Jerome L. Greene Foundation for digital innovation and to support its Jerome L. Greene Performance Space, keeping ticket prices low for events there. Also today, the station introduced a new Discover feature to its WNYC app, allowing listeners to create and download curated playlists with a function that “blends personal preferences with an element of surprise,” it said in the announcement. • POV’s new online documentary collaboration with the New York Times kicked off over the weekend with an in-depth look at a group of developmentally challenged men who survived decades of neglect in a small Iowa town. The Men of Atalissa, produced by the Times, was posted on both websites March 8.
After plumbing the global repercussions of America’s war against terrorism, documentary filmmaker Laura Poitras helped expose how that war has stripped away the privacy of U.S. citizens.
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.
The National Endowment of the Arts announced $4.68 million in funding to 76 media-arts projects April 23, including new grantees such as the Online Video Engagement Experience (OVEE) developed with CPB funding, a new initiative from the Association of Independents in Radio called Spectrum America and Sonic Trace, a multimedia production at KCRW in Santa Monica, Calif., that was created through AIR’s recently concluded Localore project. For a second year, the NEA will continue to support projects that use digital technologies to go beyond traditional broadcasting platforms. In its announcement, the endowment highlighted a $100,000 grant to OVEE, a digital platform that allows web users to interact while watching PBS and local station content. The Independent Television Service developed the technology with support from CPB. AIR also received $100,000 for Spectrum America, a project that will pair media artists with public stations as they experiment with “new approaches to storytelling.”
Sonic Trace, a co-production at KCRW initiated through AIR’s 2012–2013 Localore initiative, received a direct NEA grant of $75,000 to continue exploring the experience of Latino immigrants. NEA also backed digital media projects at NPR, providing $100,000 for music programming and multimedia content.