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FALLACIES by John Chancellor BERT R DIRECTING MET: Kirk Browning FIRST AMENDMENT FREEDOMS: Bob Packwood THE DOCUDRAMA DILEMMA: Douglas Brode GRENADA AND THE MEDIA: John Chancellor IN AWORLD OF SUBTLETY, NUANCE, AND HIDDEN MEANING... "Wo _..,". - Ncyw4.7 T-....: ... ISN'T IT GOOD TO KNOW THERE'S SOMETHING THAT CAN EXPRESS EVE MOOD. The most evocative scenes in recent movies simply wouldn't ha tive without the film medium. The artistic versatility of Eastman color negative films lish any kind of mood or feeling, without losing believability. x Film is also the most flexible post -production medium. When yá ,;final negative imagery to videotape or to film, you can expect exception ds and feelings on Eastman color films, the best medium for your 'magi ó" Eastman film. It's looking Eastman Kodak Company, 1982 we think international TV Asahi Asahi National Broadcasting Co., Ltd. Celebrating a Decade of Innovation THE JOURNAL OF THE VOLUME XX NUMBER IV 1984 NATIONAL ACADEMY OF TELEVISION ARTS AND SCIENCES S'} TELEVI e \ QUATELY CONTENTS EDITORIAL BOARD EDITOR 7 VIDEO VERITÉ: DEFINING THE RICHARD M. PACK DOCUDRAMA by Douglas Brode CHAIRMAN HERMAN LAND 27 THE MEDIA AND THE INVASION MEMBERS OF GRENADA: FACTS AND ROYAL E. BLAKEMAN FALLACIES by John Chancellor BERT R. BRILLER JOHN CANNON 39 THERE WAS "AFTER" JOHN GARDEN BEFORE SCHUYLER CHAPIN THERE WAS ... by John O'Toole MELVIN A. GOLDBERG FREDERICK A. JACOBI 51 PROTECTING FIRST AMENDMENT ELLIN IvI00RE IN THE AGE OF THE MARLENE SANDERS FREEDOMS ALEX TOOGOOD ELECTRONIC REVOLUTION by Senator Bob Packwood 61 THE "CRANIOLOGY" OF THE 20th CENTURY: RESEARCH ON TELEVISION'S EFFECTS by Jib Fowles 75 CALLING THE SHOTS AT THE GRAPHICS DIRECTOR METROPOLITAN OPERA ROBERT MANSFIELD Kirk Browning -interviewed by Jack Kuney 93 REVIEW AND COMMENT: Three views of the MacNeil/Lehrer S. BUSINESS MANAGER NewsHour by Bernard Redmont, TRUDY WILSON Jim Snyder and George Rosen Television Quarterly is published quarterly by he National Academy of Television Arts and Sciences. 110 West 57th Street. New York. New York. 10019 (212) 765-2450. Members of the National Academy of Television Arts and Sciences receive TELEVISION QUARTERLY as part of membership services. Inquiry regarding membership should be directed to the office of The National Academy of Television Arts and Sciences. BUSINESS ADVERTISING OFFICES: Television Quarterly, 110 West 57th Street. New York. NY 10019 (212) 765-2450. EDITORIAL OFFICE: Television Quarterly, same address and phone. The subscription rates for non-members. libraries and others is $14.00 a year and $3.50 a copy in the United States: $18.00 a year and $4.00 a copy in all other countries. Special Student Subscription $12.00. Subscription orders should be sent to TELEVISION QUARTERLY. The National Academy of Television Arts and Sciences. 110 West 57th Street. New York. New York 10019. The opinions expressed herein are solely those of the authors and do not necessarily represent those of The National Academy or the members of the Editorial Board of Television Quarterly. Copyright E 1983 by The National Academy of Television Arts and Sciences. RCA has peen awarded another Ef+î« for technolosical achievement-this one for the developrr.ent of IiAWKEYE. the system that fi -st put the camera and the recorder toçjetheà-. RCA pioree-ed this half-inch syste-rx introduced the first commercial products; had the first"in Lse" systems in broadcast and teieproduction facil ties. The EMMY a-.vard for this outstanding development is most appreciated ... and we thank The National Academy of Te evision Art; and Science. the broadcasters and telaproducers_ who encouraced us n tie early developmental stacca, and, riostcf 311, our many flAWKEYE customers. RCA, Bui=ding 2-2, Camden, NJ O3102 IIAWKEYE ... The f-.21í Inch System That !laces The Difference! RCA Entertainment For The World FROM ENTERTAINMENT M111TY LEXINGTON BROADCAST'S `4TH NETWORK' "...Lexington Broadcast Services has quietly moved into position as an authentic commercial -tv alternative (advertiser -sponsored syndication) to the three networks." VARIETY JUNE 29, 1983 DRAMA MUSIC MAGAZINE /TALK Fame America's Top 10 Richard Simmons Family LBS Summer Rock Breakaway How the West Was Won CHILDREN'S In Search of LBS Movie of the Month Superfriends Woman to Woman COMEDY Inspector Gadget The Health Field Too Close For Comfort LBS Children's Theatre SPORTS Hee Haw Sarajevo '84 Laugh -In The Golden Link MORE NATIONAL TV ADVERTISERS REACH MORE VIEWERS ON LBS PROGRAMS THAN ON PROGRAMS FROM ANY OTHER SOURCE EXCEPT THE 3 BIG NETWORKS. AMERICA'S LEADING TELEVISION SYNDICATION NETWORK LEXINGTON BROADCAST SERVICES COMPANY, INC. 777 Third Avenue New York, N.Y. 10017 (212) 838-1185 Telex 640818 VIDEO VERITÉ: DEFINING THE DOCUDRAMA The docudrama is an increasingly popular television format. Does it hype history and distort reality? Is it really an art form? her love affair with a commoner. The BY DOUGLAS BRODE Saudis charged the film falsified the sit- uation, fabricated 'witnesses,' and failed On April 10, 1980, the London to convey the strict religious framework Daily Mail carried a front page within which the princess had been tried banner reading: "Saudi Arabia and executed. threatening to break off diplo- Thomas insisted he had researched matic relations with Britain." To head off thoroughly before shooting a single foot a crisis, foreign Secretary Lord Carring- of film, changed the names of Saudi in- ton recalled from vacation England's terviewees only to protect the people from ambassador to that country and sent him governmental retaliation, and ulti- to Jeddah to appease King Khaled, while mately assumed as his interpretation that Carrington himself mailed personal the princess had been executed not for messages of apology to the monarch. sexual misconduct, but for her anti -Es- Despite such precautions, word spread tablishment, Antigone -like flaunting of that Saudi Arabia planned to halt oil her crime, purposefully drawing atten- supplied to Britain and embargo English tion to it rather than hiding her actions, imports. Within two weeks, Saudi Ara- after being affected by the Western fem- bia had recalled all members of its royal inist movement. But the significant point family from England, requested the im- remains that it was the dramatization of mediate withdrawal of the British am- an actual incident in documentary -style bassador, and banned flying of British that produced the outrageously escalat- Airways Concordes over Saudi territory. ing political and economic tensions. Finally, after more than three months of For now, Death of a Princess may rep- diplomatic negotiations, the two coun- resent the extreme example of contro- tries announced they had achieved an versy surrounding a television 'amicable settlement' and were restor- docudrama, but the kind of debate the ing full diplomatic relations. genre kindles is indigenous to the form. But an amicable settlement to what? In fact, when Princess was exported to One might guess the spark that ignited the United States for broadcast on PBS, such an international explosion to be it also caused a lot of flack and fury. something on the order of a political as- As Communications Review noted: sassination, an economic upheaval, or "PBS was heavily pressured by private a military incident. In fact, it was none industry and citizen groups. Exxon and of these: it was the broadcast on April 9 Mobil, both partners in an Arabian - of Death of a Princess, Anthony Thomas' American oil company, contacted PBS. film for television about the real -life ex- The two firms, multi -million dollar con- ecution several years earlier of a royal tributors to public television, urged that Saudi woman, ostensibly as a result of the 'extremely unfortunate' program - 7 ming decision to broadcast the show be an American audience would not toler- 'reviewed'. Citizen groups, working ate a film about the execution unless the through the U.S. Courts alternately show was cleverly contrived to spark no sought to block or force the showing of controversy, while still leaving the au- the program. ..." The U.S. State De- dience with the impression it had seen partment also tried to influence PBS not a film which dared to face a serious is- to air the program. sue. To achieve this end, Eddie Slovik was characterized (by Martin Sheen) as a loser Princess and the other British exam- who self -destructively brings about his ples of this form are more correctly own death sentence by failing to legally referred to as "dramatized -documen- argue for his life with any great passion. tary"; the thrust of these English pro- The military officers in the case are de- grams is to make a documentary but, picted as weighing Slovik's case with since there are certain incidents that ob- deep concern. At the end, then, we feel viously cannot receive on -the -spot doc- none of the anger toward the system umentation, the 'documentary film' can which killed Slovik that we do, say, to- only be completed if that scene is dra- ward virtually the same kind of system matized after the fact. On the other hand, when it executes three soldiers at the in the case of the American cousin (where end of Stanley Kubrick's theatrical film the hybrid form is popularly known as Paths of Glory (1957). "docudrama") what we experience is, Kubrick portrayed his victims as des- essentially, a work of drama, though perate to live, the officers as callous and owing both to its content (reality) and cynical. The ending of that film angered technique (video -journalism) the rever- and upset audiences; in Slovik, the char- sal of adjective and noun is necessary. acter's death comes as a kind of relief. Besides, if the American counterpart Likewise, Slovik continually empha- often seems more balanced than the sizes the fact that the execution was the British, it is largely because our com- only one of its kind, thereby reducing the mercially produced, ratings -conscious case to an aberration within the system filmmakers and the networks shy away rather than as a source for condemna- from the strong partisan positions ("pro- tion of a corrupt system, as Paths of Glory gressive realism" is the term critic John did.
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