DOCSLIB.ORG

Margaret Bourke-White: a Fearless News Photographer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Margaret Bourke-White: a Fearless News Photographer Margaret Bourke-White: A Fearless News Photographer Download MP3 (Right-click or option-click the link.) I'm Barbara Klein. And I'm Steve Ember with PEOPLE IN AMERICA in VOA Special English. Today we tell about photographer Margaret Bourke-White, one of the leading news reporters of the twentieth century. A young woman is sitting on her knees on top of a large metal statue. She is not in a park. She is outside an office building high above New York City. The young woman reached the statue by climbing through a window on the sixty-first floor. She wanted to get a better picture of the city below. The woman is Margaret Bourke-White. She was one of the leading news reporters of the twentieth century. But she did not write the news. She told her stories with a camera. She was a fearless woman of great energy and skill. Her work took her from America's Midwest to the Soviet Union. From Europe during World War Two to India, South Africa and Korea. Through her work, she helped create the modern art of photojournalism. In some ways, Bourke-White was a woman ahead of her time. She often did things long before they became accepted in society. She was divorced. She worked in a world of influential men, and earned their praise and support. She wore trousers and colored her hair. Yet, in more important ways, she was a woman of and for her times. She became involved in the world around her and recorded it in pictures for the future. Margaret Bourke-White was born in New York City in nineteen-oh-four. When Margaret was very young, the family moved to New Jersey. Her mother, Minnie Bourke, worked on publications for the blind. Her father, Joseph White, was an engineer and designer in the printing industry. He also liked to take pictures. Their home was filled with his photographs. Soon young Margaret was helping him take and develop his photographs. When she was eight years old, her father took her inside a factory to watch the manufacture of printing presses. In the foundry, she saw hot liquid iron being poured to make the machines. She remembered this for years to come. Margaret attended several universities before completing her studies at Cornell University in Ithaca, New York in nineteen twenty-seven. She studied engineering, biology and photography. She married while she was still a student. But the marriage only lasted one year. Margaret took the name Bourke-White, the last names of her mother and father. In nineteen twenty-eight, she began working in the midwestern city of Cleveland, Ohio. It was then one of the centers of American industry. She became an industrial photographer at the Otis Steel Company. In the hot, noisy factories where steel was made, she saw beauty and a subject for her pictures. She said: "Industry is alive. The beauty of industry lies in its truth and simpleness. Every line has a purpose, and so is beautiful. Whatever art will come out of this industrial age will come from the subjects of industry themselves…which are close to the heart of the people." Throughout America and Europe, engineers and building designers found beauty in technology. Their machines and buildings had artistic forms. In New York, the Museum of Modern Art opened in nineteen twenty-nine. One of its goals was to study the use of art in industry. Bourke- White's photographic experiments began with the use of industry in art. Bourke-White's first pictures inside the steel factory in Cleveland were a failure. The difference between the bright burning metal and the black factory walls was too extreme for her camera. She could not solve the problem until she got new equipment and discovered new techniques of photography. Then she was able to capture the sharp difference between light and dark. The movement and power of machines. The importance of industry. Sometimes her pictures made you feel you were looking down from a great height, or up from far below. Sometimes they led you directly into the heart of the activity. In New York, a wealthy and influential publisher named Henry Luce saw Bourke-White's pictures. Luce published a magazine called Time. He wanted to start a new magazine. It would be called Fortune, and would report about developments in industry. Luce sent a telegram to Bourke-White, asking her to come to New York immediately. She accepted a job as photographer for Fortune magazine. She worked there from nineteen twenty-nine to nineteen thirty-three. Margaret Bourke-White told stories in pictures, one image at a time. She used each small image to tell part of the bigger story. The technique became known as the photographic essay. Other magazines and photographers used the technique. But Bourke-White – more than most photographers – had unusual chances to develop it. In the early nineteen thirties, she traveled to the Soviet Union three times. Later she wrote: "Nothing invites me so much as a closed door. I cannot let my camera rest until I have opened that door. And I wanted to be first. I believed in machines as objects of beauty. So I felt the story of a nation trying to industrialize – almost overnight – was perfect for me." On her first trip to the Soviet Union, Bourke-White traveled on the Trans-Siberian Railway. She carried many cameras and examples of her work. When she arrived in Moscow, a Soviet official gave her a special travel permit, because he liked her industrial photographs. The permit ordered all Soviet citizens to help her while she was in the country. Bourke-White spoke to groups of Soviet writers and photographers. They asked her about camera techniques, and also about her private life. After one gathering, several men surrounded her and talked for a long time. They spoke Russian. Not knowing the language, Bourke-White smiled in agreement at each man as he spoke. Only later did she learn that she had agreed to marry each one of them. Her assistant explained the mistake and said to the men: "Miss Bourke-White loves nothing but her camera." By the end of the trip, Margaret Bourke-White had traveled eight thousand kilometers throughout the Soviet Union. She took hundreds of pictures, and published some of them in her first book, "Eyes on Russia." She returned the next year to prepare for a series of stories for the New York Times newspaper. And she went back a third time to make an educational movie for the Kodak film company. Bourke-White visited Soviet cities, farms and factories. She took pictures of workers using machines. She took pictures of peasant women, village children, and even the mother of Soviet leader Joseph Stalin. She took pictures of the country's largest bridge, and the world's largest dam. She used her skill in mixing darkness and light to create works of art. She returned home with more than three thousand photographs – the first western documentary on the Soviet Union. Margaret Bourke-White had seen a great deal for someone not yet thirty years old. But in nineteen thirty-four, she saw something that would change her idea of the world. Fortune magazine sent her on a trip through the central part of the United States. She was told to photograph farmers – from America's northern border with Canada to its southern border with Mexico. Some of the farmers were victims of a terrible shortage of rain, and of their own poor farming methods. The good soil had turned to dust. And the wind blew the dust over everything. It got into machines and stopped them. It chased the farmers from their land, although they had nowhere else to go. Bourke-White had never given much thought to human suffering. After her trip, she had a difficult time forgetting. She decided to use her skills to show all parts of life. She would continue taking industrial pictures of happy, healthy people enjoying their shiny new cars. But she would tell a different story in her photographic essays. Under one picture she wrote: "While machines are making great progress in automobile factories, the workers might be under-paid. Pictures can be beautiful. But they must tell facts, too." We will continue the story of photographer Margaret Bourke-White next week. This program was written by Shelley Gollust. It was produced by Lawan Davis. Our studio engineer was Tom Verba. I'm Steve Ember. And I'm Barbara Klein. Join us again next week for PEOPLE IN AMERICA in VOA Special English. Margaret Bourke-White Helped Create Modern Photojournalism Download MP3 (Right-click or option-click the link.) I'm Barbara Klein. And I'm Steve Ember with PEOPLE IN AMERICA in VOA Special English. Today we tell complete our report about photographer Margaret Bourke- White. She helped create the modern art of photojournalism. Margaret Bourke-White began her career as an industrial photographer in the early nineteen thirties. Her pictures captured the beauty and power of machines. They told a story – one image at a time. The technique became know as the photographic essay. In nineteen thirty-six, American publisher Henry Luce started a new magazine, called Life, based on the photographic essay. In this magazine, the pictures told the story. Bourke-White had worked as a photographer for one of Luce's other magazines called Fortune. Luce chose her to work on his new magazine. Margaret Bourke-White took the picture that appeared on the first cover of Life magazine.
Load more

Recommended publications
  • ' , We -Property of the a Comparative Analysis of The
    ' , WE-PROPERTY OF THE ~~,%RSITYOF DELAWARE A COMPARATIVE ANALYSIS OF THE COMMUNICATION FLOW BETWEEN THE U.S.I.A. AND THE ADMINISTRATION DURING THE ADMINISTRATIONS OF KENNEDY AND JOHNSON 4- MAUREEN LYNN WYLLIE A thesis submitted to the Faculty of the University of Delaware in ~artialfulfillment of the requirements for of Master of Arts in Speech-Communication. June, 1976 A COMPARATIVE ANALYSIS OF THE COMMUNICATION FLOW BETWEEN THE U.S.I.A. AND THE ADMINISTRATION DURING THE ADMINISTRATIONS OF KENNEDY AND JOHNSON MAUREEN LYNN WYLLIE Approved: Advisory Committee \ Approved: Approved: Dean of the College o TABLE OF CONTENTS CHAPTER I . INTRODUCTION .............. Purpose of Study ................ Scope of Study ................ Type of Study ................ Related Research ................ Footnotes .................... CHAPTER I1 . HISTORY AND DEVELOPMENT OF THE U .S .I .A . EarlyHistory .................. Private International Broadcasting ........ Government Operated International Broadcasting . Functioning of U.S.I.A. ............. Organizational Chart ............... Summary ..................... Footnotes .................... CHAPTER I11 . THE KENNEDY ADMINISTRATION The Role of Edward R . Murrow ........... The Role of John F. Kennedy ........... The Kennedy Charisma ............... The Relationship Between Kennedy and Murrow ... International Factors .............. Conclusion .................... Footnotes .................... iii CHAPTER IV. THE JOHNSON ADMINISTRATION ....... 98 Appointment of a New Director .......... 104 ~ohnson'sView
    [Show full text]
  • Loomis-Henry.VOA .Toc .Pdf
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series HENRY LOOMIS Interviewed by: —Cliff“ Groce Initial interview date: March, 1987 Copyright 010 ADST TABLE OF CONTENTS Loomis oad to VOA Director The Early Problems at USIA Exclusion from access to NSC papers Soviet Propaganda Loomis goes to )hite House 195, Loomis as-ed to return to USIA as Director 195. eorgani/ation of engineering department )or-ings of Voice Transmitter upgrading Spot transmitter conditions Congressman ooney eorgani/ation of language service 0ajor crises dealt 1ith during Loomis era The Lebanese landing 2roadcasts to Latin America a1ay from )alter Lemmon 2ay of Pigs Invasion 1931 Cuban 0issile Confrontation Emphasis on broadcasting in English Changing 0unich radio center to 0unich program Origin on VOA charter elationship 1ith Ed 0urro1 elations bet1een VOA and Policy offices, Dept. of State and USIA 1 The 7Pajama Parties8 Stanton Commission eport Safari Hungarian Uprising 1953 etrospective INTERVIEW HENRY LOOMIS: DIRECTOR OF VOICE OF AMERICA Loomis‘ Road To VOA Director &: How did you get to be named VOA Director, LOO0IS9 I 1as assigned to be one of the t1o CIA staff members to the President:s Committee on International Information Activities -- called the Jac-son Committee. Abbott )ashburn 1as the deputy director. I 1ent there for an entirely different subject for CIA, and 1hen the committee made the policy decision that they didn:t 1ant to get involved in that issue, I said, 7Fine, I:ll go bac- to the CIA,8 but they said, 7)ait a minute. There:s a thing called IIA,8 and I said, 7)hat in the 1orld is that?8 and they said, 7It:s the propaganda part of the State Department, and 1e have to loo- at that.
    [Show full text]
  • Refer To: HIPA
    Addressing the Quiet Crisis: Origins of the National Environmental Policy Act of 1969 By Richard F. Weingroff One option not available is to disassociate and insulate our activities from the sweep of events in America today. To pretend otherwise would be the depth of self- delusion. Lowell K. Bridwell Federal Highway Administrator December 1968 The Sixties When historians give a nickname to a decade, such as the Roaring 20’s, the nickname usually doesn’t apply from the first day of the decade to the last. That is the case with “The Sixties.” That nickname evokes images and ideas that evolved during the decade. Perhaps, “The Sixties” began with the shock, sadness, and outrage following the death of President John F. Kennedy. On November 22, 1963, the American people lost, or may have lost, their faith that the United States was a Nation under vigorous leadership marching toward a New Frontier, as Kennedy had called it. Instead, the Nation was engaged in a complex detective story—who really killed the President?—with no quick end in sight. The search for the truth would contribute to a growing sense that our leaders cannot be trusted. Or perhaps “The Sixties” began, less than 3 months after the assassination, when the Beatles appeared on “The Ed Sullivan Show” on February 9, 1964, and two succeeding Sundays, their first live television performances in the United States. The appearances continued rock and roll’s assault on the generational divide that had begun when Elvis Presley appeared on the same show on October 28, 1956, demonstrating to millions of teenagers that their parents were not reliable music critics.
    [Show full text]
  • Interview with Mr. Henry Loomis , 2011
    Library of Congress Interview with Mr. Henry Loomis , 2011 The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series HENRY LOOMIS Interviewed by: “Cliff” Groce Initial interview date: March, 1987 Copyright 2010 ADST HENRY LOOMIS: DIRECTOR OF VOICE OF AMERICA Loomis' Road To VOA Director Q: How did you get to be named VOA Director? LOOMIS: I was assigned to be one of the two CIA staff members to the President's Committee on International Information Activities — called the Jackson Committee. Abbott Washburn was the deputy director. I went there for an entirely different subject for CIA, and when the committee made the policy decision that they didn't want to get involved in that issue, I said, “Fine, I'll go back to the CIA,” but they said, “Wait a minute. There's a thing called IIA,” and I said, “What in the world is that?” and they said, “It's the propaganda part of the State Department, and we have to look at that. The two people from the State Department aren't much help because one is a policy planner and one is a Soviet expert, and not from IIA. So I was assigned to that full-time for the next six months, with free access to all papers and all individuals in and out of government — and had the awful experience of watching the Voice disintegrate under McCarthy. I also had to work with the Interview with Mr. Henry Loomis , 2011 http://www.loc.gov/item/mfdipbib001715 Library of Congress Fulbright Committee, particularly Carl Marcy, who was the staff director.
    [Show full text]
  • Groce, Claude
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series CLAUDE "CLIFF" GROCE Interviewed by: Jack O'Brien Initial interview date: February 8, 1988 Copyrig t 1998 ADST TABLE OF CONTENTS Entrance into OA (Through the Department of State) 1950 Early Assignment: Special Events Office in (ashington while OA Headquarters (as Still in New ,or- .roce Transferred to Motion Picture Service. 1uits .overnment (or- Significant Special Assignments Preceding 2esignation Interlude as .raduate Student 3Music 4SA5 6 Means of 2eaching ,outh in 4SS2 Director .eorge . Allen7s desire for E8panded English 9anguage :roadcasting :irth, Nature, and Purpose of Special English The 3Forum5 Program 1958: Munich 2adio is Changed from Direct Program Origination and :roadcasting to a Program Center 2eturn to OA: Deputy Chief, Program :ranch, English 9anguage Division Turf :attles between Program 4nits New Show: The 3Have ,ou :een Told5 Program :eamed to 4SS2. Ed Murrow Spices 4p First :roadcast Murrow7s Deputies (ere a Trial for OA 1 OA During Cuban Missile Crisis 1962 OA on Occasion of Aennedy Assassination .roce :ecomes OA Deputy Program Manager Special 3Characters5 in OA Special Monitoring of OA 9anguages Problem of Mi8ing Foreign Service and Civil Service Personnel in OA Bobs Effect of OA of Policy Changes Made by Changing Personnel at Top of 4SIA and OA Misunderstandings 9eading to .roce7s Departure from OA Acting Director of T Service From T to Press Service Discussion of (hether OA Should be Independent INTERVIEW %: Cliff, if you will begin, please, by identifying yourself, your full name, address, serial number, and anyt ing else t at establis es w o you are.
    [Show full text]
  • The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series EISENHOWER SYMPOSIUM
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series EISENHOWER SYMPOSIUM —IKE AND ME“ Edited by: Hans N. Tuch and G. Lewis Schmidt Copyright 199 ADST TABLE OF CONTENTS Preface Introduction by Abbott Washburn emarks by Barry Zorthian emarks by Burnett Anderson emarks by $ames Halsema emarks by Hans Tuch After Dinner Section%Introduction by Abbott Washburn emarks by Henry Loomis Comment by Frank Shakespeare Comment by $ames (eogh Letter from Arthur Larson Preface In commemoration of e)-President Dwight D. Eisenhower.s 100th birthday in October 11102 the 3.S. Information Agency Alumni Association 43SIAAA5 and the Public Diplomacy Foundation2 both of Washington2 D.C.2 sponsored a symposium and dinner on October 112 1110 to recall the President.s creation of the 3.S. Information Agency and his interest throughout his presidency in what is now called public diplomacy. 1 His e)ecutive order establishing 3SIA in 1178 was one of the President.s first acts of reorgani9ing the 3.S. :overnment after his election because2 as he said so often2 it was of utmost importance to the nation that the 3nited States government communicate with foreign publics and effectively tell America.s story abroad. The commemorative event took place at Fort McNair in Washington2 D.C.--the symposium in the Arnold auditorium of the National Defense 3niversity2 and the dinner and subsequent program at the Officers Club. It brought together retired veterans and current staffers and spouses of 3SIA and related organi9ations involved in the 3.S. :overnment.s public diplomacy. Many of those who attended served in 3SIA here and abroad during the Eisenhower presidency.
    [Show full text]
  • ALFRED LEE LOOMIS November 4, 1887-August 11, 1975
    NATIONAL ACADEMY OF SCIENCES A L F R E D L E E L OOMIS 1887—1975 A Biographical Memoir by L U I S W . A L V A R E Z Any opinions expressed in this memoir are those of the author(s) and do not necessarily reflect the views of the National Academy of Sciences. Biographical Memoir COPYRIGHT 1980 NATIONAL ACADEMY OF SCIENCES WASHINGTON D.C. ALFRED LEE LOOMIS November 4, 1887-August 11, 1975 BY LUIS W. ALVAREZ HE BEGINNING of this century marked a profound Tchange in the manner in which science was pursued. Before that time, most scientists were independently wealthy gentlemen who could afford to devote their lives to the search for scientific truth. The following paradigms come to mind: Lord Cavendish, Charles Darwin, Count Rumford, and Lord Rayleigh. But after the turn of the century, university scien- tists found it possible to earn a living teaching students, while doing research "on the side." So the true amateur has almost disappeared—Alfred Loomis may well be remembered as the last of the great amateurs of science. He had distinguished careers as a lawyer, as an Army officer, and as an investment banker before he turned his full energies to the pursuit of scientific knowledge, first in the field of physics, and later as a biologist. By any measure that can be employed, he was one of the most influential physical scientists of this century. In support of that assessment, one can note: (1) his election to this Academy when he was 53 years old, (2) his honorary degrees from prestigious universities, (3) his crucial wartime role as director of all NDRC-OSRD ra,dar research in World War II, and (4) his exceedingly close personal relationships with many of the leaders of American science and govern- ment in the mid-twentieth century.
    [Show full text]
  • Recommending Political Warfare—The Role of Eisenhower's
    Recommending Political Warfare—The Role of Eisenhower’s Presidential Committee on International Information Activities in the United States’ Approach to the Cold War Sonya Lynn Finley Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Planning, Governance, and Globalization Gerard Toal (Committee Chair) Jay M. Parker Joel Peters Giselle Datz September 22, 2016 Alexandria, Virginia Key Words: Cold War, Jackson Committee, Strategy, Political Warfare, Psychological Warfare, Social Constructivist Discourse Analysis Copyright 2016 By Sonya Lynn Finley Recommending Political Warfare—The Role of Eisenhower’s Presidential Committee on International Information Activities in the United States’ Approach to the Cold War Sonya Lynn Finley ABSTRACT In 1953 President Dwight D. Eisenhower charged an ad hoc advisory group with assessing the current U.S. Cold War effort and offering recommendations for an “unified and dynamic” way forward. This work investigates the case of Eisenhower’s Presidential Committee on International Information Activities and its role in the United States’ approach to the Cold War. Problematizing that which is often taken for granted, this empirical, interpretive study uncovers the discursive conditions of possibility for and the discursive activities taking place within Jackson Committee decision making processes. Employing a constructivist discursive framework, this project builds on an understanding of policy making as a process of argumentation in which actors intersubjectively define problems and delimit policy and strategy options. Revealing discursive conditions of possibility enables a deeper understanding of the substance, tensions and discursive maneuvers informing subsequent U.S.
    [Show full text]
  • Hydra: Research Methods Hydra: Research Methods
    Hydra: Research Methods Hydra: Research Methods Edited by Howard M. Lenhoff University of California Irvine, California SPRINGER SCIENCE+BUSINESS MEDIA, LLC Library of Congress Cataloging in Publication Data Main entry under title: Hydra: research methods. lncludes bibliographical references and index. 1. Hydra. 1. Lenhoff, Howard M. QL377.H9H93 1982 593.7'1 82-24648 ISBN 978-1-4757-0598-0 ISBN 978-1-4757-0596-6 (eBook) DOI 10.1007/978-1-4757-0596-6 Cm·cr photo courtesy of Regula Bănninger and Prof. Pierre Tardent, Zoologica! Institute, University of Zurich, Switzerland. <c; 1983 Springer Scicncc+Busincss Media New York Originally publishcd by Plcnum Prcss, New York in 1983 Ali rights reserved No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mecilanical, photocopying, microfilming, recording, or otherwise, without written permission from the Publisher Contributors Richard S. Blanquet, Department of Biology, Georgetown University, Washington, D.C. 20057 Hans R. Bode, Developmental Biology Center and Department of Developmental and Cell Biology, University of California, Irvine, California 9271 7 Patricia M. Bode. Developmental Biology Center and Department of Developmental and Cell Biology, University of California, Irvine, California 9271 7 Richard D. Campbell, Department of Developmental and Cell Biology, University of California, Irvine, California 92717 Jean Danner, Biochemistry Section, NIOSH, Morgantown, West Virginia 26505 Charles N. David, Department of Molecular Biology, Albert Einstein College of Medicine, Bronx, New York 10461 Robert M. Day, Department of Developmental and Cell Biology, University of California, Irvine, California 92717 John F. Dunne, Developmental Biology Center, University of California, Irvine, California 92717 Kristine M.
    [Show full text]
  • Interview with Ms. Ruth Walter Crook
    Library of Congress Interview with Ms. Ruth Walter Crook The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series RUTH WALTER CROOK Interviewed by: Cliff Groce Initial interview date: January 7, 1987 and September 18, 1990 Copyright 2009 ADST 1939: Entrance Into U.S. Government InformationWork—The Original U.S. Information Service Q: Ruth, how did you first get into the international information operation? CROOK:: I began working for the U. S. information program in May of 1941. At that time it was the Office of Government Reports, headed by Lowell Millett, and I was hired by Reed Harris as an information clerk. He was the acting director of the OGR for New York State. Our office was located in the RCA building, down on the Concourse, and the part I played was information clerk with the original U. S. Information Service. It had been created in 1939 for the Federal building at the World's Fair at Flushing Meadows, New York. The information clerks answered questions about the U. S. Government. We were dressed in Air Force blue uniforms, with a shield on the left breast pocket which had on the top, “U. S. Information Service.” When I first went to work for the organization, I wore a uniform every day. Interview with Ms. Ruth Walter Crook http://www.loc.gov/item/mfdipbib001534 Library of Congress We never had time for lunch because the lunch hour was the most critical time when people just poured in to ask questions about the government, particularly, as it was then quickening toward the war.
    [Show full text]
  • POST-PRESIDENTIAL PAPERS, 1961-69 1967 PRINCIPAL FILE Series
    EISENHOWER, DWIGHT D.: POST-PRESIDENTIAL PAPERS, 1961-69 1967 PRINCIPAL FILE Series Description This series constitutes the main office file of Dwight D. Eisenhower’s Gettysburg Office. It is divided into two subseries. The first is a forty-five box subject file arranged by categories, such as appointments, foreign affairs, gifts, invitations, messages, public relations, publications, speeches, servicemen, and trips. The second subseries is a twelve-box alphabetical file arranged by the name of the individual or organization corresponding with Eisenhower. Documentation in this series includes correspondence, memoranda, transcripts of interviews, drafts of books and articles, statements, messages, schedules, and reports. Eisenhower’s small office staff was inundated with over sixty thousand letters and cards a year. The bulk of the correspondence related to routine matters, including appointments, invitations, autograph requests, etc. General Eisenhower and Colonel Schulz developed a set of guidelines, policies, and rules which the staff followed in handling this correspondence. Autograph seekers were limited to one Eisenhower autograph. Eisenhower did not autograph books he did not write, currency, items not related to him, or likenesses of himself. The ex-president did not write forewords to books, fill out questionnaires, or agree to interviews over the telephone. He declined to comment publicly on the literary efforts of other writers. Requests for financial help were generally turned down by his staff, and most requests for personal items for charity auctions and benefits were also denied. Memberships and honorary positions in numerous organizations and projects were declined by Eisenhower, if he felt he would be unable to participate actively or at least keep informed about it.
    [Show full text]
  • Public Broadcasting and the Problem of Government Influence: Towards a Legislative Solution
    University of Michigan Journal of Law Reform Volume 9 1975 Public Broadcasting and the Problem of Government Influence: Towards a Legislative Solution Oscar G. Chase Brooklyn Law School Follow this and additional works at: https://repository.law.umich.edu/mjlr Part of the Communications Law Commons, First Amendment Commons, and the Legislation Commons Recommended Citation Oscar G. Chase, Public Broadcasting and the Problem of Government Influence: owarT ds a Legislative Solution, 9 U. MICH. J. L. REFORM 62 (1975). Available at: https://repository.law.umich.edu/mjlr/vol9/iss1/3 This Article is brought to you for free and open access by the University of Michigan Journal of Law Reform at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in University of Michigan Journal of Law Reform by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. PUBLIC BROADCASTING AND THE PROBLEM OF GOVERNMENT INFLUENCE: TOWARDS A LEGISLATIVE SOLUTION I. THE DEVELOPMENT OF THE PUBLIC TELEVISION SYSTEM ............................................ 66 II. THE PUBLIC BROADCASTING ACT OF 1967 ................. 69 A. An Outline of the Act .............................. 69 B. Statutory Limits on CPB Independence ................ 71 1. Board of Directors .............................. 71 2. Auditing and Reporting Requirements .............. 72 3. Limits on Freedom in Program Developm ent ................................... 72 4. Inadequate Funding ............................. 75 III. POWER AND ITS ABUSE ................................ 76 A. The Concentration of Power Under Current Organization of the PTV System .................... 76 1. Program Production ............................ 77 2. Operationof the Interconnection ................... 78 B. The Misuse of Federal Power Over PTV ............... 82 1. The Origins of the Power ........................
    [Show full text]