The “A’s” (Source: NET microfiche, unless listed)

Aaron Copland Meets the Soviet Composers (1959) Initial Broadcast: N/A Number of programs: 1 Origin Format: Undetermined Running time: 30 minutes

AARON COPLAND MEETS THE SOVIET COMPOSERS is a half-hour studio production kinescope of an interview between Copland and six Soviet musicians, musicologists and/or composers who were travelling in the US. My impression is that this was a visit in return for one made to the USSR by an American group earlier that included Menned (?), Sessions, Harris and Kay (?).

The setting for the interview is a recreated concert hall stage with the guests sitting in players’ chairs and Copland and his translator located where a solo instrumentalist would be seated.

The questions appear to have been scripted in advance – and scripts placed on the music stands. The responses from the Soviets appear to have been ad lib.

Copland’s questions were translated into Russian by an American (?) of Russian origins, Nicholas Slonimsky, himself a musician.

The Soviets spoke in Russian and were heard through simultaneous translation. The translator was unseen and uncredited.

The Soviet guests include (in order of answering questions): Dmitri Kabalevsky, Boris Yarustovsky, Tikhon Khrennikov, Dmitri Shostakovich, Konstantin Dankevich and Fikret Amirov.

Kabalevsky was asked about the knowledge of American music in the USSR; Yarustovsky on the influence of American music on Russian music; Khrennikov on the reactions of Soviet musicians to the visit of four American musicians earlier (in the exchange program?); Shostakovich on American jazz and its influence; Dankevich on younger Soviet composers and Amirov on the adaption of native musical types to series music. Follow-up questions were added to fill the program to a half-hour including Copland to Shostakovich on American understanding of his music as compared to Soviet understanding of it (approx. 865 feet in). This latter segment may be useful as an outtake.

The film appears to be a reasonably good quality kinescope with adequate sound.

Executive producer was David Davis. Produce: Jordan Whitelaw Director: Paul Noble

No copyright date

1043 feet, optical sound

Aaron Copland: Music in the Twenties (1965) NET first broadcast week: June 6, 1965 Number of Programs: 12 Origin format: Videotape B&W or Color: B&W Running time: 30 minutes

Series Description: The 1920’s was an era charged with creative activity. In literature the names of Hemingway, Fitzgerald, Joyce, Stein, and Eliot were being heard for the first time. In music, it was Schoenberg, Stravinsky, Bartok, Satie, Milhaud, Hindemith, Ives, Bloch, and others that were part of a vast creative explosion – an explosion which set the pace in series music for the century.

MUSIC IN THE 20’s, America’s most renowned composer, Aaron Copland, pays tribute to this remarkable era of music. Acting as series host and frequently as conductor, Copland is joined by outstanding guest soloist including the great singer Lotte Lenya, harpsichordist Sylvia Marlowe, the members of the Juilliard String Quartet, soprano Bethany Beardslee, baritone Donald Gramm, violinist Tossy Spivakovsky, controversial avant-garde pianist David Tudor and others. The Cambridge Festival Orchestra is guest orchestra for the series.

Each of the 12-half hour programs is divided between live performances of works and Mr. Copland’s comments and anecdotes on the people and the music of the period. As is suggested by the individual program titles, each half-hour illustrates a special phase or trend “Jazz and Jazz Influence,” “New Movements in Opera,” “Paris: Neo-Classicism and Stravinsky.”

AARON COPLAND: MUSIC IN THE 20’S is being produced for NET by WGBH, Boston’s educational station. David Davis of WGBH is producer-director. Associate producer is David Sloss. James Perrin of NET is the executive producer.

Notes on Aaron Copland: “Aaron Copland is without question North America’s leading composer. He has a flavor which is at once personal and American … he can be grand solemn or gay – bleak or ‘juicy’. As a teacher, public lecturer, author, pianist and conductor, Copland has had the greatest influence of any composer now active in the United States.” (From Music Today, Dr. Carleton Sprague Smith)

The composer of “Appalachian Spring,” “Rodeo,” and “Billy the Kid,” was born in Brooklyn, New York in 1900 where he attended the local public schools and studied piano. In his early twenties he left for Paris, then the focal point for the post-war upsurge in the arts. There he studied at the newly established Fontainebleau School of Music and subsequently became a pupil of the great Nadia Boulanger. Four years later he returned to the United States where he was the first composer to be awarded a Guggenheim fellowship.

Today Copland’s music has been heard in performance by leading orchestras throughout the world. Highlights in his career include the 1945 premiere of “Appalachian Spring,” a favorite in the ballet repertoire of Martha Graham, for which he received the Pulitzer Prize. The following year marked the premiere of his “Third Symphony,” which was awarded the New York Music Critic Circle Award. He has also written the score for several films, among them “Of Mice and Men,” “Our Town,” “North Star,” and “Something Wild.”

In recent years, Copland has also gained an important reputation as a conductor and as an author and lecturer on music. He has led more than thirty major symphony orchestras in Europe, Scandinavia, Eastern Europe, the Soviet Union, and the Far East. He is the author of four books on music, What to Listen for in Music, Our New Music, and Music and Imagination, Copland on Music.

Program 1: Background 1910-1919 This premiere program features the music of Arnold Schoenberg and Igor Stravinsky, with soprano Bethany Beardslee, violinist Robert Koff, and Aaron Copland conducting.

Stravinsky and Schoenberg, the two dominant musical personalities of the twenties, both made their initial appearances in the early teens, setting the stage for the post-war revolution in music. Stravinsky’s “neo-classicism,” a style which he continued to develop for the next thirty years, broke with the then prevalent 19th century Wagnerian romanticism. Schoenberg was the leader of an even more radical revolution which he called “the emancipation of dissonance.” He emerged in the mid-twenties, with a new method of composition – his now famous twelve-tone system.

The program features:

“Pierrot Lunaire,” by Arnold Schoenberg, a pre-twelve tone composition which is a setting of 21 poems by Belgian poet Albert Guiraud. Bethany Beardslee performs seven of the poems. Robert Koff is violinist-conductor.

“The Story of a Soldier,” by Igor Stravinsky (1918). The first three sections are performed.

Notes on Bethany Beardslee: American soprano Bethany Beardslee studied music at Michigan State University and subsequently won a three-year scholarship at Juilliard. She has received international acclaim for her premieres of the works of Stravinsky, Berg, Babbitt, Schoenberg, Webern, Krenek, and many major American composers. Her repertoire is both modern and classic. She has been the featured soprano with the New York Pro Musica, has sung Bach with the Boston Symphony at Tanglewood, and has performed the major Oratorio works of Handel and other Baroque masters.

Program 2: Paris: Les Six Aaron Copland talks about Paris in the twenties, the famous Group Six (composers Poulenc, Durey, Honneger, Tailleferre, Milhaud, Aurio) and their patron-philosopher Erik Satie. Copland plays Poulenc. Guest Pianist Paul Jacobs plays Honneger. Copland conducts.

In Paris of the twenties, “The Six” typified the Twentieth Century “type” of composer. Their compositions seemed to signify the end of the Germanic and solemn approach to music. It was Erik Satie, their “musical godfather,” who stressed the anti-grandiose, anti-impressionistic, and anti- impressive in music. Copland plays a piece by Francois Poulenc, Satie’s most direct musical heir, whose music is bright, witty, impertinent, and thoroughly French in character, according to Copland. The two most important members of “The Six” were, however, Arthur Honneger and Darius Milhaud. Here pianist Paul Jacobs illustrates Honneger with “Concertino for Piano and Small Orchestra.”

Program: Poulenc, “Mouvement Prepetual” (1919), Aaron Copland, piano Honneger, “Concertino for Piano and Small Orchestra,” Paul Jacobs, piano

Program 3: Jazz and Jazz Influence Aaron Copland talks about a major innovation of the 1920’s – the introduction of jazz elements in serious music. European composers like Igor Stravinsky and Darius Milhaud, rather than Americans, were the innovators. Here Copland conducts the Cambridge Festival Orchestra in a complete performance of Milhaud’s “The Creation of the World.”

During the first part of the program Copland seeks the reason why jazz, its mood, its new rhythms, and its new dry sound appealed to the composers of the twenties. He traces back its first appearances to the turn of the century, compositions of Ravel, Debussy, and Stravinsky. Copland has chosen to illustrate the trend with Darius Milhaud, “the man who really understood what jazz was all about best.” Milhaud wrote his “The Creation of the World” in 1923 for the Ballet Suedios in Paris, based on a story by French novelist Blaise Cendrars and produced that year amidst great scandal.

Program 4: Neo-Classicism Part of the great musical revolution of the 1920’s was “neo-classicism,” when the avant-garde composers began to cast an eye backwards to the 18th century. Stravinsky was the leader. Others were Hindemith, de Falla, Villa Lobos, and in America, Sessions and Piston. Here Copland talks about Stravinsky and neo-classicism. Sylvia Marlowe, the celebrate harpsichordist, plays Manuel de Falla’s “Harpsichord Concerto,” one of the milestones in neo-classicism. She is accompanied by the Cambridge Arts Ensemble.

Copland talks about the emergence of neo-classicism with the 1923 premiere of Igor Stravinsky’s “Octet,” a work with modern sonority and rhythm, yet strikingly classical in form and texture. This was a new “objective” kind of music in direct opposition to the lush romanticism of the 19th century. After “Octet,” composers throughout the world followed Stravinsky’s lead. The neo-classic influence was particularly strong in the work of Spanish composer Manual de Falla. His “Harpsichordist Concerto,” one of the most important in the neo-classic tradition, was written for the great harpsichordist Wanda Landowska. It is set for solo harpsichord, flute, oboe, clarinet, violin and cello.

Program 5: Central Europe: 12-Tone Revolution The twelve-tine music of Arnold Schoenberg and his famous pupils Anton Webern and Alban Berg was one of the radical innovations in the music which emerged during the 1920’s. Aaron Copland explains the technique of this revolutionary atonal music. Members of the Julliard String Quartet illustrate with performances of works by Berg and Weber.

Paris was not the only center of musical activity during the twenties. In Vienna and Berlin Arnold Schoenberg and later Anton Webern and Alban Berg took a bold new leap in music abandoning the traditional harmonies of western music. The techniques they developed are illustrated by the Julliard String Quartet in two works: Alban Berg: “Lyric Suite,” Movements 2 and 3 (1925); Anton Webern: “Quartet for Violin, Clarinet, Saxophone, and Piano,” Opus #22 (1930).

Notes on the Juilliard String Quartet: Musicians: Robert Mann … Violin Isadore Cohen … Violin Raphael Hillyer … Viola Claus Adam … Cello

The Juilliard String Quartet, quartet-in-residence at the Juilliard School of Music in New York, was established in 1946 by William Schuman. In 1962 the group was also appointed quartet-in-residence at the Library of Congress in Washington. Since the quartet began its career nearly twenty years ago, it has built up a repertoire of 135 works ranging from the classics of Haydn, Mozart, Beethoven and Schubert – to the moderns, Bartok, Webern, Schoenberg, and Ravel. They are particular champions of contemporary American composers – Copland, Schuman, Sessions, and Piston. Highlights in their career include appearances in every major American city and at every major American music festival. They have also toured abroad, including Europe, the Soviet Union, and the Far East. They are currently on a two-month return tour to the Soviet Union.

Program 6: Central Europe: New Movements in Opera During the 1920’s young German composers if the post-war period turned their backs on the grandiose music of the Nineteenth Century. In opera, a new light satirical tone emerged in works like Kurt Weill’s “Three Penny Opera,” Ernst Krenek’s “Jonny Spielt Auf,” and Paul Hindemith’s “Hin und Zuruck.” Here Aaron Copland talks about the new trends; the famous Lotte Lenya sings songs of Kurt Weill; and Hindesmith’s “Hin und Zuruck” is performed by The Boston Opera Group.

The music of Kurt Weill with its famous librettos written by Bertold Brecht is a cross between social drama, musical revue, and live opera. Lotte Lenya, Weill’s widow and the original performer of his most important roles, sings two of his songs: “Havana Song” from the opera “Mahogonny,” and “Sunabaya Johnny,” from “Happy End.” The conductor for Miss Lenya is Milton Rosenstock, currently conductor of Broadway’s “Funny Girl.”

Paul Hindemith’s “Hin und Zuruck,” which typifies modern chamber opera is another off-shoot of grand opera. The work is performed here in its entirety by the Boston Opera Group under the direction of Sarah Caldwell. Beverly Sills and Davis Cunningham are the principals. “Hin und Zuruck” (translated “There and Back”) is based on an unusual musical joke – at the halfway point in the piece, the music reverses itself. Special backward videotape effects are used during the performance to capture parts of the reverse action.

Program 7: Nationalism: European Style The music of Hungarian composer Bela Bartok illustrates a major trend in the serious music of the 1920’s – the introduction of national themes and rhythms. Violinist Tossy Spivakovsky and pianist Arthur Balsam play Bartok’s “Second Sonata for Violin and Piano.” Composer Aaron Copland comments on the nationalistic trend in music.

In the opinion of Aaron Copland, Bartok’s “Second Sonata,” composed in 1922, is one of the most beautiful pieces of the twenties. Copland ranks Bartok, along with Stravinsky and Schoenberg, as the “third of a trio of brilliant figures who dominated the music of the twenties.”

Notes on Tossy Spivakovsky: Tossy Spivakovsky, born in Russia and educated in Berlin, has since his American debut in 1943, been acclaimed as one of the most brilliant contemporary violin virtuoso and masterful performances with such comments as “One of the most commanding and masterful performances within memory” (Musical America), and “An occasion that endorsed Mr. Spivakovsky’s right to be reckoned in the forefront of violinists.” (Taubman, The New York Times)

Program 8: Nationalism: New World Style Aaron Copland conducts his 1925 work “Music for the Theatre,” and a work by Brazilian composer Heitor Villa-Lobos “Suite for Voice and Violin” in a program illustrating the American character that found new expression in the music of the twenties. Guest soloists are Brazilian soprano Lauracy de Benevides and violinist Robert Brink.

Composer Copland talks about the young composers of the twenties – both North and South American – who began to affirm their national identity in their music. “The first significant nationalist break-through in the writing of both Latin American and North American music came at the beginning of the twenties… There was something about the twenties… that tended in the phrase of Alfred Stieglitz, the photographer, ‘To make us want to affirm America’.”

Notes on Lauracy de Benevides: Lauracy de Benevides, the young Brazilian coloratura, has won several music scholarships including a four-year scholarship by the Callaway Foundation to study in New York City. She is a successful concert artist in her own country and had performed in several concerts in this country.

Notes on Robert Brink: Robert Brink, who comes from a long line of musicians, received his first formal violin instruction at the age of seven. He has appeared as soloist with the Boston Pops Orchestra, and in concerts in Town Hall in New York City, Jordan Hall in Boston, and in many other cities across the country. He has also toured Europe as a member of the Brink/Pinkham Violin and Harpsichord Duo. He is currently concert master of the Cambridge Festival Orchestra, the orchestra which performs throughout “Music in the 20s.”

Program 9: Nationalism: New Faces Two of the most important new figures in the music of the 1920’s were Paul Hindemith and Sergei Prokofieff. Aaron Copland tells anecdotes about the two composers and provides an insight into their peculiar styles. The musical illustrates are Hindemith’s “Third String Quartet” and Prokofieff’s “Quintet for Oboe, Clarinet, Violin, Viola, and Double-Bass.”

The German composer Paul Hindemith and the Russian, Sergei Prokofieff, cannot be thought of as revolutionary in the sense of Stravinsky or Schoenberg, according to Aaron Copland. Both men composed lyrical, haunting works, each marked with a personal style. “The twenties proved that you didn’t have to be an innovator or a path breaker in order to have your music remembered,” says Copland. “You did have to have a personality of your own, of course, and produce a considerable amount of music.” Such was the case of Hindemith and Prokofieff.

Program 10: American Music in the 20s Portions of Virgil Thompson’s opera “Four Saints in Three Acts” with libretto by Gertrude Stein, and Roy Harris’ “Concerto for Piano, Clarinet, and String Quartet” are performed in a tribute to the great American composers of the 1920’s. Luise Vosgerchien, pianist, and Felix Viscuglia, clarinetist, are guest soloists. Alfred Nash Patterson conducts the Thomson work.

American music came of age in the 1920’s, according to Aaron Copland. The works of American men of music like Carl Ruggles, Charles Ives, Roger Session, Walter Piston, Henry Cowell, Marc Blitzstein, as well as Harris and Thomson, were played for the first time in small concert halls across the country. One of the most successful works of that decade was “Concerto for Piano, Clarinet, and String Quartet” by Roy Harris whom Copland describes as a “thoroughly original character.” Harris, a westerner, “seemed not so much a composer as a farmer or truck driver who had suddenly taken it into his head to write symphonies.” Virgil Thomson’s “Four Saints in Three Acts” is another outstanding work of the period, according to Copland. “The opera, if one can call it that,” he says, “Concerns itself, as far as locale goes, with saints of Spain, mostly Saint Teresa of Avila and Saint Ignatius Loyola. Miss Stein invented a few saints of her own because she liked the names Saint Settlement and Saint Chavez.

Notes on Alfred Nash Patterson: Alfred Nash Patterson, who prepared and conducts Thomson’s “Four Saints in Three Acts” for “Music in the 20’s,” is well-known to New England concert audiences. He is founder and conductor of the Chorus Pro Musica of Boston, music director of the Worcester Festival, conductor of the Worcester Oratorio Society, a member of the Choral Conducting Faculty of Tanglewood, organist and choir director at Old South Church in Boston, conductor of choruses for the Boston Symphony Orchestra, and guest conductor of choruses and special concerts in and about New England.

Program 11: Experimental Attitudes I In the 1920’s "anything goes" typified the mood in music and the arts in general. Two composers who represented the experimental trend in music at its best were Americans, Charles Ives and Carl Ruggles, selections of whose works are played and discussed on this program. Donald Gramm, bass-baritone and pianist Richard Cumming, are guest soloists. Aaron Copland conducts the Cambridge Festival Orchestra.

On this program, the first two half-hours devoted to the experimental music of the 1920’s. Aaron Copland talks about the inventive young composers of the decade – men like George Antheil from Trenton, New Jersey, who shocked all of Paris with the 1924 premiere of his “Ballet Mecanique,” a work set for eight pianos, a player piano, xylophone, drums, a variety of percussion instruments, and an airplane propeller. One of the best of the young innovators was Charles Ives, who had been writing music for over twenty years, but was “discovered” in the twenties. Carl Ruggles, another composer willing to defy the musical conventions of the day, was also a discovery of the twenties.

Music: Charles Ives The Unanswered Question Two Little Flowers Serenity Charles Rutledge Carl Ruggles Portals

Notes on Donald Gramm: Bass-baritone Donald Gramm is a distinguished American concert and opera singer. He has performed with major symphony orchestras throughout the country and in 1964 made his debut at the Metropolitan Opera where he sand the leading roles in Menotti’s “The Last Savage” and Richard Strauss’ “Ariadne auf Naxos.” Following a sellout recital in New York several seasons ago, NY Herald Tribune wrote of Gramm: “He communicated each work with what can only be termed ravishing expressivity.” The NY Times called the performance, “impeccable, distinguished artistry.”

Notes on Richard Cumming: Richard Cumming is both a noted pianist and a recognized composer. He has toured the United States, Canada, Europe, and the Far East (he was born in Shanghai) as a solo pianist and as accompanist for many leading singers including Donald Gramm. His musical compositions have been performed throughout the world by noted concert artists. He has also been musical director for many productions in summer theater and in New York City, and was an assistant conductor for the Santa Fe Opera Company for several summers.

Program 12: Experimental Attitudes II Works by composers Henry Cowell, Edgar Varese, and Leo Orenstein, typifying the so-called “ultra- modernists” of the 1920’s, are performed. Avant-garde pianist David Tudor is guest soloist. Aaron Copland is host and conductor.

In this second half-hour program devoted to the experimentalists of the 1920’s, Aaron Copland has selected three of the most daring composers of the day – Leo Orenstein, an American who was considered “something of a boy wonder, both as a pianist and composer,” “Henry Cowell, famous for his innovations in piano-writing, and Edgar Varese, the French-born composer whose dual training in music and the sciences led to a music which prefigured the electronic music of the 1950’s and 1960’s. Performers for the Varese are the Manhattan School of Music Percussion Ensemble under the direction of Paul Price.

Music Leo Orenstein The Wild Men’s Dance Henry Cowell Advertisements The Banshee Aeolian Harp Tiger Edgar Varese Ionization

NET Opera: Abduction from the Seraglio (1970) [DID THIS AIR UNDER FANFARE #2] Initial Broadcast Date: October 18, 1970 (Aired as Special of the Week #235 on May 28, 1973) Number of programs: 1 B&W or Color: Color Running time: 90 minutes (with a 30 minute companion piece) Contractor/Producer: NET

Program Description: This opera, written originally in German, will be presented in a slightly abbreviated 90-minute English version. The production is fanciful, with abstract sets and muslin costumes painted in delicate shades by designer Robert Israel.

Composed in 1782by Wolfgang Amadeus Mozart, “the Abduction of Seraglio” is a buoyant “Singspiel” based on a Turkish theme – a popular one in an age when Turkish brigands still sailed the Mediterranean. The work anticipates Mozart’s later operatic achievements – “Don Giovanni,” “The Marriage of Figaro,” and “The Magic Flute.” It was commissioned by Emperor Joseph II of Austria in a year when policy dictated music of a German – rather than Italian – character.

It was composed in the full romantic glow of Mozart’s 25th year. He was finally free of his father’s artistic bondage, and he was waiting to marry Konstanze Weber (for whom the heroine of this opera is ostensibly named). About the opera, Carl Maria von Weber, who conducted it 36 years later in Dresden, wrote: “I venture to say that in ‘The Seraglio” Mozart attained the peak of his artistic experience, to which only experience of the world had to be added later. Mankind was entitled to expect from him several more operas like ‘Figaro’ and ‘Don Giovanni’; but with the best will in the world he could never have written another ‘Seraglio.’”

Brief Synopsis of the opera: The opera is set primarily in the palace and gardens of Pasha Selim. It is in this palace that Constanze is held captive, with her maid Blonde and her manservant Pedrillo. The Pasha has become attracted to Constanze, but he does not attempt to force her to become a member of his harm. Meanwhile, Osmin, the Pasha’s head gardener and factotum, is making advances to Blonde – a fact that infuriates her admirer Pedrillo.

As the opera begins, the nobleman Belmonte has just arrived from across the sea. His goal is to abduct his beloved Constanze. However, Osmin bars the way to him. The Turk becomes even more incensed in a subsequent scene with Pedrillo (“I shall labor night and day, / Till I see you on the gallows …”), his rival for Blonde’s affections.

In the garden, Belmonte reveals himself to Pedrillo, who agrees to conspire in the ladies’ rescue. The servant then interrupts the Pasha’s courtship of Constanze to introduce “a distinguished architect from across the sea.” This visitor is, in fact, Belmonte. Through this ruse, he gains access to the palace, though Osmin remains suspicious of him.

In the following scene, Osmin orders Blonde to ignore “that rascal Pedrillo.” She seizes this occasion to advise him on courtship, Western-style (“With tenderness and coaxing, / Devoted love and rapture. / A Mill will surely capture / A gentle maiden’s heart.”). But Osmin, she sings, is guilty of “abusive vulgar crudeness.”

Constanze, alone with the Pasha, sings of her resolve in the famous aria “Marten aller Arten” (“Torture past endurance.”).

When Blonde is alone, Pedrillo apprises him of the plot: that night he will drug Osmin, and the abduction can proceed. It appears that Pedrillo will succeed, for Osmin is enticed into drinking the wine (“Viva Bacchus”) which contains the sleeping potion.

At the appointed hour, Pedrillo serenades the ladies, who finally appear. But their ascent of the wall is barred by the alert Osmin, who has survived the potion and now promises death for the abductors.

In a dungeon together, Belmonte and Constanze profess their love for each other. They are then summoned by the Pasha, who learns that Belmonte is the son of his hated enemy, Prince Lostados. But the Pasha is a noble man, who chooses mercy rather than revenge. Constanze and Belmonte, Pedrillo and Blonde – all are freed to return to their native land.

Cast list (in alphabetical order) Constanze – Elaine Cormany Belmonte – Grayson Hirst Pasha Selim – Michael Kermoyen Pedrillo – John Lankston Osmin – Spiro Malas Blonde – Carolyn Smith-Meyer

Also: guards and harem girls

Producer – Peter Herman Adler Director – Kirk Browning Scenic and costume designer – Robert Israel

NET Fanfare – “The Abduction from the Seraglio” is an NET production, produced by the NET Opera Theater under the artistic and musical direction of Peter Herman Adler. Associate producer: David Griffiths Lighting designer: Bob Davis Assistant conductors: Martin Smith and John L. DeMain Staging associate: Rhoda Levine Scenic coordinator: Francis Mahard Audio producer: John Pfeiffer Associate director: Alan Skog Produced through the facilities of WGBH, Boston

NET Opera: Abduction from the Seraglio (1970) [Companion piece] A 30-minute discussion accompanies the performance of “The Abduction of the Seraglio.” Moderator is Peter Herman Adler, music and artistic director of the NET Opera Theater; guests are mezzo-soprano Rise Stevens, who has been co-general manager of the Metropolitan Opera National Company since 1964, and Alan Jay Lerner, who has written the book and lyrics for such musical successes as “My Fair Lady,” “Brigadoon,” and “An American in Paris.” After watching a tape of “The Abduction,” the two guests offer their critique of the NET production. They discuss the question: “Can television save opera?” They also consider how the introduction of video cassettes would affect television opera. And they weigh the merits of translating opera into a native language.

NET Special: The ABM Question (1969) Initial Broadcast Date: March 13, 1969 Number of programs: 1 B&W or Color: Color Running time: 60 minutes Contractor/Producer: NET

Program Description: Hubert Humphrey is featured in this program which offers a review of the controversy surrounding the proposed Sentinel anti-ballistic missile system, an explanation of how the system would work, and for the major portion of the program, a discussion between persons for and against the ABM. The program is being telecast on the eve of the day when President Nixon is expected to announce whether the US will go ahead with development of the ABM.

Humphrey is opposed to the Sentinel system. Taking the same view tonight will be Dr. George B. Kistiakowsky, Harvard chemistry professor, who acted as a science advisor to President Eisenhower and was involved in the development of the atomic bomb.

Speaking in favor of the ABM will be Dr. Charles Herzfeld, former director of the Pentagon’s Advance Research Project Agency, who worked on missile projects for the government between 1961 and 1966. He is now employed with IT&T. Dr. Herzfeld will be joined by another “pro” guest, as yet unnamed. The moderator is Dick McCutchen.

“The ABM Question” is a NET production. Executive Producer: Ned Schnurman

About Ceramics (1962) First NET Showing: August 26, 1962 Number of programs: 6 Origin Format: Videotape B&W or Color: Color Running time: 30 minutes Contractor/Producer: WGTV

General Description of Series: ABOUT CERAMICS explores the role of the potter in contemporary society. Once the main supplier of functional clay objects, the potter has now become an artist. He works in the shadow of a huge ceramic industry which overpowers him in production but cannot compete with his quality and creativity. Professor Earl McCutchen, in a series of lecture-demonstrations, shows the artist’s work in clay and other materials and discusses the aesthetic principles and skills involved in ceramics.

Featured Personality: Earl McCutchen is a professor of art at the University of Georgia and one of America’s foremost ceramists. He received his bachelor’s and master’s degrees in Ceramic Art from Ohio State University, and he studied ceramics for a year at Florence, Italy, under a Sarah H. Moss Fellowship. Professor McCutchen has taught at the University of Georgia for 18 years. His works are represented in collections of the Cleveland Museum of Art, the Cooper Union Museum of Decorative Arts, the Corning Museum of Glass, the International Business Machines Collection, and the Institute of Art Museum in Florence, the Institute of Art Museum in Florence, Italy. In addition, his work has been exhibited throughout this country. Professor McCutchen has also authored articles in the Journal of American Ceramic Society and Craft Horizons. Throughout the series, Professor McCutchen is assisted by Miss Shirley Slater.

Program 1: Clay: Fountainhead of the Potter’s Art In general, this program serves as an introduction to the world of ceramics. Professor McCutchen explores the ceramist’s work, his skills, and his aesthetic values. Most of the program is devoted to the actual creation of a ceramic object. In addition, a number of technical details – the firing operation, temperatures required and the dry process – are described.

Program 2: Forms: Product of Man and Material Professor McCutchen discusses the problems of practical use and visual quality. The visual quality tends to vary more than the functional value in a ceramist’s work. As technique becomes comfortable the potter begins to think about shape and idea. Variations in shape can enlarge an idea without changing its functional value. Decoration can emphasize that shape. The potter is not only a technician, but an artist as well.

Program 3: Forms: Need They Be Round Professor McCutchen continues his discussion of the technique of pottery making. The wheel method, discussed in earlier programs, stresses perfect shape. Here, he deals with the coil method, the pinching method, and the free method. All three of the methods have advantages and disadvantages. The coil method shows the benefit off hand crafting procedure. The pinching method illustrates freedom in shaping the rim of the pot. The free method is the most “artistic.” Thus far, he points out, American pottery, in using many sources as the basis of its style, has not yet developed a personal language.

Program 4: Ornament: Clothing for Ceramic Forms The conception, application and the techniques of ornamenting prove to be the most intriguing. Coupled with the idea of enhancing pottery forms, these techniques become more meaningful as a part of the whole design problem. Glazing, at once a basic ceramic process and a versatile means of ornamentation, is discussed.

Program 5: Glass: Sister Material of Clay Professor McCutchen explores the importance of glass in the ceramist’s work. Briefly tracing the early origins of glass, he shows how designs are transferred to flat glass, how glazes are accomplished, and how glass under extreme heat is used to produce colors.

Program 6: The World of Today’s Potter Since the potter works by himself, his production is limited. Factories, on the other hand, are capable of turning out hundreds of thousands of object daily. The great contrast between individual and mass production is Professor McCutchen’s subject here. Mass production concentrates on great numbers of identical pieces produced at low cost. The potter works as an individual in all respects. Through his personal experience he gradually matures as a craftsman and an artist.

ABOUT CERAMICS was produced by WGTV in Athens, Georgia Directors: Gene Michelson and Sam Dress Production Supervisor: Hill Bermont

About People (1963) First NET Showing: December 8, 1963 Number of programs: 9 Origin Format: Videotape B&W or Color: Color Running time: 30 minutes

General Description of Series: Intended for the layman, this series of half-hour programs deals with problems in human relations and mental health that at one time or another confront virtually every person. These include problems of adolescence, marriage, parenthood, and old age, and various problems that beset people at almost any period in their lives. The series seeks to promote in the viewer a deeper understanding of himself, his family, and his neighbors; to dispel harmful prejudices against the emotionally disturbed; and to explain practices in the treatment and cure of mental illness.

Each program opens with a short dramatic scene that illustrates a particular conflict. Then Dr. Maria Piers, the brilliant and personable series host, talks about the problem in a warm, informal, and direct manner. The discussion is constructive and positive, emphasizing human assets, weighing human needs, and suggesting solutions wherever possible.

Featured Personality: Maria W. Piers, noted clinician in psychotherapy and the gentle, good-natured host of ABOUT PEOPLE, has devoted a lifetime to the better understanding of the human mind.

After graduating with honors from the Kindergartenbildungs Anstalt of the city of Vienna, she went on to earn her doctorate in anthropology and psychology at the University of Vienna. Since then she has taken postgraduate courses at the Vienna Psychoanalytic Institute, the University of Basel, Northwestern University, and the Chicago Institute for Psychoanalysis.

Dr. Piers is currently a lecturer in child development in the University of Chicago’s Department of Psychiatry and supervisor of the Child Care Program of the Chicago Institute for Psychoanalysis. She also has been on the faculties of the University of Illinois School Of Social Service and the Chicago Medical School, and has been affiliated with the Illinois Society for Mental Hygiene, and the Association for Family Living.

She has contributed numerous articles to Imago, The Nervous Child, Parents Magazine, Child Study, Child Craft, and other publications. In addition, she has been active in the work of the Mental Health Society of Greater Chicago and the Welfare Council of Greater Chicago, and at one time was chairman of the Aid for Dependent Children Committee.

Dr. Piers was the featured personality on the thirty-nine program National Educational Television series entitled “Children Growing,” which was produced in the late 1950’s by WTTW, Chicago. It was then that she established her warm and simple style of communicating with television audiences, a style that makes the viewer feel he is listening to a friend.

Dr. Piers is married to Dr. Gerhart Piers, director of the Chicago Institute for Psychoanalysis. They have two children.

Program 1: What is Normal? The dramatic vignette shows a young man who has lost his job a few weeks before his marriage. His reaction and the reactions of his finance and parents illustrate the variance in behavior patterns among individuals, and lead Mrs. Piers to a discussion of the wide range of so-called “normal” reactions.

Program 2: Adolescence A group of young people, not juvenile delinquents, have been brought into a police station on a trespassing charge. Dr. Piers comments on the very different attitudes of the accuser, the police officer, and a high school teacher, pointing out that the example of the adult is in large part responsible for the development of the teenager. She concludes: “It takes an adult to make an adult.”

Program 3: Aging Two elderly Jewish gentlemen playing cards reveal their attitudes towards life, loneliness, and the younger generation. Reflecting on their conversation, Dr. Piers asserts that the greatest evil dealt to the elderly in modern times is the prevalent notion that an old person is functionless. She advocates reestablishing the natural roles of grandfathers and grandmothers in family life. In normal circumstances, she points out, occasional avoidance of conflict between parents and grandparents is a false independence. More often than we are willing to realize today, says Mrs. Piers, having an old person as a useful participant in a domestic situation is mutually beneficial to child, parent, and grandparent.

Program 4: Being in Love Here the dramatic episode is a restaurant meeting between two brothers, one of whom is planning to divorce his wife to marry a woman he has met in business. Dr. Piers discusses the possibilities for success of such a second marriage, and questions whether the man is mature in his attitudes. Moving into a more general discussion of love, she explains the normal and pathological attachments and attractions, the interconnection between mind and body, and the varying love needs of individuals.

Program 5: Marriage Problems The dramatic vignette shows two sisters, one recently married, the other about to have her second child. Their conversation reveals that neither is happily married. The pregnant woman resents her husband; her sister fears infertility. Mrs. Piers uses their situation to point out that young couples are often the victims of their own unrealistic expectations. She further discusses the need for both mutuality and independence in a good marriage.

Program 6: Counsel of Fear Two members of a trade union talk together about a coming election in the union. One of the men is aggressive towards his opponent and his fellow union members, and this aggressiveness may jeopardize his chance of winning the election. Here Dr. Piers talks about the difference between real and unreal fears and about the way in which neurotic fear can interfere with a person’s effectiveness.

Program 7: Guilt Feelings In the dramatic vignette, a young art salesman feels that a new man in the firm is becoming more successful than he. When the newcomer gets an important contract the salesman has a dream in which he sees his competitor in a coffin. The next day he overcompensates by being unnaturally friendly. Here Mrs. Piers discusses the strange ways in which feelings of guilt can affect human beings and emphasizes the importance of differentiating between bad thoughts and bad deeds.

Program 8: Emotional Illness The episode concerns a young husband whose wife has suddenly had a nervous breakdown and must be hospitalized. Dr. Piers discusses his reactions of fear and guilt, and also explodes some of the destructive myths about mental disturbance and psychiatry. She gives answers to such questions are: Can a psychiatrist change your personality? Is sex the main concern of psychiatry? Is insanity hereditary? Are psychiatrists racketeers? Does psychiatric treatment ruin artistic creativity? She defines neurotic, psychotic, and psychosomatic disorders and discusses psychosomatics in terms of the interrelationship of mind and body.

Program 9: Psychoanalysis This program offers an unusual dramatic portion in which two Chicago psychoanalysts enact episodes from several analytic sessions. The patient in question is convinced that he is becoming a failure in life, and the viewer observes the psychoanalyst getting to the root of the problem. Mrs. Piers explains the change in the patient’s attitudes as the months pass and the treatment progresses.

ABOUT PEOPLE: a 1963 National Educational Television production, produced for NET by WTTW, Chicago. Producer: Lloyd Ellingwood Underwritten by the Grant Foundation

NET Festival #134: About the White Bus (1970) Initial Broadcast Date: August 25, 1970 Number of programs: 1 Origin format: Film B&W or Color: B&W Running time: 60 minutes

Program Description: Director John Fletcher followed the making in 1966 of “The White Bus” by filmmaker Lindsay Anderson from script stage to finished print to capture the creative process of movie-making. “The White Bus” was intended to be part of a Woodfall Films trilogy entitled, “Red, White and Zero,” based on the writings of Shelagh Delaney. The other contributions were “Red and Blue” by Tony Richardson and “The Ride of the Valkyrie” by Peter Brook, but the trilogy was never released. “The White Bus” has subsequently been shown at various international festivals.

Filmed in cinema verite style with sequences from the movie itself, the study, “About the White Bus,” captures the complexity, tedium, and frustration in bringing together the components which comprise the final product. The tremendous amount of detail and technical work involved in the process and the daily obstacles and the strenuous role that a director must endure are all too apparent.

Anderson is seen arranging for Czechoslovakian cameraman Miroslav Ondricek’s visas and passport, discussing the script with Delaney, casting extras with Miriam Brinkman, consulting with Ondricek (who later worked with Anderson on “If”), preparing locations in the streets of Manchester, taking and re- taking scenes, editing with Kevin Brownlow, working on the score with composer Mish Donat, and adding on final sound effects.

The documentary also conveys the strain, boredom, and weariness of the actors and the technicians awaiting their calls often in bitter cold weather – the star Patricia Healey fainted at one point – as production proceeds. The first day of shooting brought in 7 ½ seconds of screen time.

The narration quotes from Anderson’s writings about the art of the cinema as well as from other free cinema directors such as Francois Truffaut and Alain Resnais.

“About the White Bus” was hailed by the British papers as “one of the best films about a film one has ever seen” (The Times) and “the first film which truthfully conveys the intensive and perfectly unglamorous work of making a film …” (Financial Times).

NET FESTIVAL – “About the White Bus” is an NET presentation, produced by Dateline Productions Limited. Director: John Fletcher Edited and produced by Marlene Fletcher Written by Howard Thompson Producer for NET: Mary Feldbauer

Realities #31: Above All Liberties (1970) Initial Broadcast Date: July 5, 1971 Number of programs: 1 Origin format: Film B&W or Color: Color Running time: 55 minutes Contractor/Producer: WNET

Program Description: This docu-drama, shot on location at Independence Hall in Philadelphia, examines the concept of freedom of speech and the right to dissent as envisioned by the nation’s founding fathers and as interpreted through history by individuals, legislators, judges and juries, and ultimately, by the US Supreme Court. The theory and practice of freedom of speech is illustrated through dramatizations of the thoughts of historical personages. They include the founding fathers – George Washington, Benjamin Franklin, Alexander Hamilton, James Madison and Thomas Jefferson; US Supreme Court Justices – Oliver Wendell Holmes Jr., Hugo Black, William O. Douglas, Felix Frankfurter, Fred Vinson, and Earl Warren; English philosopher John Stuart Mill; and President Woodrow Wilson. Actor Larry Blyden is the program host.

The intentions of the drafters of the first amendment to the Constitution (which reads, in part, “Congress shall make no law … abridging the freedom of speech”) are examined in a discussion among Hamilton, Madison, Franklin and Washington. Hamilton argues in favor of the amendment, but Franklin questions the dangers of unrestricted freedom of speech (“Speech may be harmless after all, but at some point does it lead to action. Surely the government has a right to protect itself.”) However, Franklin acquiesces in the end, and the amendment is adopted.

Congress, however, was not always as open-minded about free speech as the founding fathers, and the Supreme Court was slow to accept the concept of protected speech. In several Supreme Court decisions during this century on dissent during wartime, and on the advocacy of overthrow of the government, the Court reaffirmed the government’s right to punish dissenters. However, the minority decisions by Justices Holmes, Brandeis, Black and Douglas set the stage for a landmark decision in 1957 which virtually wiped out the restrictions on speech upheld in the previous decisions.

Suggested Newspaper Listing: Realities – “Above All Liberties” – A docu-drama examining the concept of freedom of speech and the right to dissent as envisioned by the nation’s founding fathers and as interpreted by the US Supreme Court.

Realities – “Above All Liberties” is an NET presentation of the NET Division, Educational Broadcasting Corporation, produced by WNET/Channel 13, New York. Produced and written by: Lee Hayes Director: Ken Rockefeller Legal consultant: Professor Norman Dorsen of NYU Law School Program host: Larry Blyden Cast: John Harkins, Peter Masterson, Addison Powell, William Roerick, and Charles White The program was made possible by a grant from the National Endowment for the Humanities. The program is transmitted nationally by PBS, the Public Broadcasting Service.

NET Playhouse Biography #4: Abraham Lincoln (1972) Initial Broadcast Date: February 2, 1972 Number of programs: 1 B&W or Color: B&W Running time: 90 minutes Contractor/Producer: NET Division, EBC

Program Description: D. W. Griffith’s first talking picture, “Abraham Lincoln,” recreates the life of America’s 16th President – from his legendary birth in a Kentucky log cabin to his assassination in Ford’s Theatre – with Walter Huston in the title role.

Film critics voted Griffith the honor of “Best Director of the Year” for this 1930 effort, which proved to be the silent screen master’s only significant “talkie.” Una Merkel co-stars in the tragic role of Ann Rutledge, Lincoln’s fiancée who dies suddenly of illness, and Kay Hammond co-stars as Mary Todd, who becomes Mrs. Lincoln. Jason Robards Sr. plays a supporting role.

Griffith assembled a distinguished group of artist for the production of “Abraham Lincoln.” The poet Stephen Vincent Benet wrote the screenplay, and William Cameron Menzies, the Academy Award- winning designer of “the Thief of Bagdad,” who would later win another Oscar for “Gone with the Wind,” did the sets. In addition, Griffith employed Karl Struss, one of Hollywood’s finest cameramen, and Hugo Risenfeld wrote an orchestral score incorporating Civil War tunes and old marches.

Griffith, who by this time has produced such classic silent films a “Birth of a Nation,” “Orphans of the Storm,” “Intolerance,” and “Way Down East,” was honored in 1935 by the Academy of Motion Picture Arts and Sciences with a special award in recognition of his achievements as a producer and director.

The Cast list (in order of appearance) Tom Lincoln – W.L. Thorne Mid-wife – Lucille Laverne Nancy Hanks Lincoln – Helen Freedman Offut – Otto Hoffman Abraham Lincoln – Walter Huston Armstrong – Edgar Deering Ann Rutledge – Una Merkel Lincoln’s employer – Russell Simpson Sherriff – Charles Crockett Mary Todd Lincoln – Kay Hammond Mrs. Edward – Helen Ware Stephen Douglas – E. Alyn Warren Herndon – Jason Robards Sr. Tad Lincoln – Gordon Thorpe John Wilkes Booth – Ian Keith John Hay – Cameron Prudhomme General Scott – James Bradbury Sr. Young soldier – Jimmie Eagle Secretary of War Stanton – Oscar Apfel General Sheridan – Frank Campeau General Lee – Hobart Bosworth Colonel Marshall – Henry B. Walthall

“NET Playhouse Biography” is a production of NET Division, Educational Broadcasting Corporation. “Abraham Lincoln” was produced and directed by DW Griffith and released by United Artists. Acquisition of this film was made possible by grants from the National Endowment for the Humanities and The Andrew W. Mellon Foundation. Transmitted nationally by PBS, the Public Broadcasting Service.

NET Playhouse Executive Producer: Jac Venza

NET Playhouse: Acquit or Hang (1967) Initial Broadcast Date: May 12, 1967 Number of programs: 1 Running time: 30 minutes

Program Description: “Acquit or Hang” is a play by Stanley Miller, based on actual records, about the five-and-a-half day court martial of ten of the “Bounty” mutineers, held aboard the HMS Duke in Portsmouth harbor from September 2, 1792 – three years and four months after the mutiny. The ten men being tried were the group left in Tahiti by Fletcher Christian and the others who went to Pitcairn Island. According to the naval regulations at that time any man who made no attempt to prevent a mutiny was as guilty as an active mutineer – and there was only one penalty: death.

William Bligh, captain of the Bounty, has accused midshipman Peter Heywood and certain of his officers and men of mutiny. As witnesses and the men themselves take the stand, the true story of the terror and confusion aboard the ship unfolds. It is then for the court to determine – out of this confusion – which of the men did in fact mutiny and whether the actions of the others represented opposition to or encouragement of the mutiny.

Six men are eventually sentenced to death. One man, Muspratt, successfully appeals. Recommendations of mercy are entered on behalf of two others, Heywood and Morrison, and they are pardoned. Indeed Heywood is given a post under Hood, the chairman of the court. The other three men – Burkitt, Millward and Ellison – are to be hanged.

The Cast

The Accused:

Peter Heywood – John Hurt Morrison – Michael Beint Burkitt – Roy Patrick Ellison – Nicholas Evans Muspratt – Peter Jeffrey Byrn – Kim Peacock Millward – William Marlowe Norman – Peter Ellis Coleman – Phil Arthurs McIntosh – James Fitzgerald

The Witnesses:

Mr. John Fryer – John Slater Mr. William Purcell – Kevin Stoney Lt. Thomas Ward – David Pinner Lt. John Hallett – Richard O’ Sullivan

The Court:

Lord Hood – Derek Francis Capt. Sir Andrew Snape Hammond – Robert Perceval Capt. John Colpoys – Weyman Mackay Capt. George Montagu – Geoffrey Toone Capt. Albermarle Bertie – Donald Hewlett Capt. John Bazely – Glynn Edwards Capt. Sir Roger Curtis – Jack Rowlands Capt. Sir Andrew Douglas – Greville Steel Capt. Richard Keats – Cyril Cross

The Lawyers:

Mr. Greetham, Judge Advocate – Peter Howell Mr. Graham – Hugh Cross Mr. Barney – John Bryning Marine Officer – John Quayle Flag Lieutenant – Gilbert Wynne Voice of Capt. Bligh – Derek Guyler

ACQUIT OR HANG is a National Educational Television presentation. A production of Rediffusion Television, London Director: Cyril Coke Designer: Fred Pusey

NET Playhouse #154: Across the River (1968) Initial Broadcast Date: October 4, 1968 [rebroadcast September 11, 1969] Number of programs: 1 B&W or Color: B&W Running time: 90 minutes

Suggested Newspaper Listing: NET Playhouse – “Across the River”: a feature film starring veteran Broadway actor Lou Gilbert in the story of a gentle rag picker on the Manhattan waterfront whose attempt to help an abandoned girl leads to his own destruction.

Program Description: The scene is the waterfront “across the river” from New York City. There, in the shadow of the Queensborough bridge, in a rickety, cluttered shack, lives a cheerful bearded old rag picker named Obadiah, who has created a comforting little hermit world of his own. His companions are his pushcart, a goat that gives him milk, a strawberry patch, and above all, his blissful innocent dreams. Life for Obadiah is a fragile, though contented, withdrawal from the harsh realities of the outer world.

But into his simple and apparently happy life comes a girl, a poor young abandoned creature whose entrance into his existence unwittingly admits disaster. Obadiah rescues her when a man in a car tries to molest her, and he takes her home to his shack. They live idyllically side by side until the basic things she needs exceed Obadiah’s meager earnings. Then slowly, inexorably, the world intrudes in the tenuous fabric of his life.

Because he looks suspicious, a policeman takes his money, gotten from junk sales, and he steals a coat for the girl. One thing leads to another until one night, a band of neighborhood derelicts, who have become increasingly hostile to the old man and his ward, attack the girl and the goat as the two take a short walk outside the shanty. The girl escapes, but the goat is slaughtered and Obadiah watches in mute anguish.

The veteran character actor Lou Gilbert plays the role of the almost inarticulate, unworldly old man Obadiah, and Kay Doubleday plays the girl, Monica.

NET Playhouse – “Across the River” is a National Educational Television presentation. It is a Debema Production, directed by Stephen Sharff; written by Mr. Sharff and Ed Sherin. It was produced by Noel Marechal. Music is by Charles Gross. Producer for NET is Kay Chessid.

NET Festival #93: Act Now (1969) Initial Broadcast Date: October 28, 1969 Number of programs: 1 B&W or Color: Color Running time: 60 minutes Contractor/Producer: KQED for NET

Suggested Newspaper Listing: NET Festival – “Act Now” – a behind the scenes look at the famous professional training program of William Ball’s American Conservatory Theatre (ACT) showing how seasoned performers pass along their experience to young actors.

Program Description: This documentary, which is part of the Theatre America series, was designed to be shown in conjunction with the NET Playhouse production of ACT’s “Glory! Hallelujah!” Its purpose is to show the dual aspects of the American Conservatory Theatre’s activities: its professional training program as well as the finished performance.

ACT was founded in 1965 in Pittsburgh by William Ball, and from the beginning it has emphasized a training program in connection with performance. This groundwork and discipline have resulted in one of the finest ensemble repertory groups in the country. The diversity and range of ACT require artistic versatility and skill in many different performance styles, and the large repertory provides an unparalleled opportunity for actors in the company to make practical use of the methods and techniques learned in their daily training sessions.

“ACT Now” is a behind the scenes look at this famous professional training program. (The word “conservatory” in the group’s name refers to this intrinsic activity.) The heart of the conservatory notion is that the old pass their skills on to the young. The film shows how ACT carries this out: experienced actors teaching the novices. The students in the program range from youngsters fresh out of college to senior members of the acting company.

The film attempts to capture the many activities of the actor-student as he prepares for the stage: classes in movement (African dance, mime, modern dance, and fencing); vocal training (singing, speech, rhetoric, scansion, Restoration comedy); classes in acting (commedia dell’Arte, Shakespearean acrobatics). There are lessons in make-up and instruction on the guitar. Sequences show discussion sessions between the novice and actors and older members of the company, including one involving their roles in “The Three Sisters” production.

William Ball is seen in his many roles as teacher, director, and spokesman of the company and nearly all of its members are shown in one activity or another: Paul Shenar teaches scansion; Ken Ruta teaches Restoration comedy; Ed Mock, African dance teacher, studies acting; and Robert Goldsby, the Conservatory Director, talks about the aims of the training program.

NET Festival – “ACT Now” is a National Educational Television production, produced for NET by the KQED Film Unit, San Francisco. The film was made by Fred Cohn, Richard Moore and Rita Broder Howard.

Action at Law (1958) Initial Broadcast Date: January 19, 1958 Number of programs: 5 Origin format: Kinescope B&W or Color: Color Running time: 30 minutes

General Description of Series: “Action at Law” is a documentary-drama on the trial of a civil lawsuit. It is based on an actual local automobile injury case tried in the St. Louis Circuit Court and follows events from the moment of the accident on through to the trial and jury verdict. Produced by KETC, St. Louis, “Action at Law” was written and produced by Ralph J. Tangney who is now Program Manager of WQED, Pittsburgh. Aiding Tangney in the careful documentation of the project were legal consultants Benjamin Roth and Herold C. Gaebe of the Bar Association of St. Louis. “Action at Law” answers for the viewer such questions as: “Have you ever wondered what you would do if involved in an automobile accident? Would you say and do things which might boomerang against you in a law suit? How would you go about obtaining a lawyer? What would h charge? What would he do for you? What are your rights?” The series was almost a year in the making and features nine studio sets including a full courtroom scene. The complete cast numbers 39 and includes a 12-man jury.

Participants: MILTON D. GREEN, Dean of the Washington University School of Law, serves as series commentator, supplying background information on the legal process and linking together the dramatic episodes.

NANCY GOLDRING plays the role of 11-year-old Judy Martin, the young plaintiff and victim of the automobile accident. This is her television debut. She is an accomplished pianist and flutist and likes to paint, swim, ride and dance. She was recommended for the role by her speech teacher.

AL CHOTIN plays Al Sharp, the defendant. He has been a free-lance actor for twenty years and served as master of ceremonies in St. Louis’ first big local hour-long television show, “It’s a Hit,” over commercial station KSD-TV in 1946. He is a veteran of radio, television and little theater groups.

Other principal actors include JOHN SHEA as Frederick Winston, attorney for the plaintiff; DAVID LEWIS as John Avery, attorney for the defendant; VALERIE HAYNES as Helen Martin, Judy’s mother; TILLMAN HARDY as Frank Martin, Judy’s father; and DR. PARK J. WHITE as the judge.

Program 1: The Accident “Action at Law” begins with two versions of the automobile accident out of which grew the law action. First is shown the accident as seen through the eyes of the victim, 11-year-old Judy Martin; second, the version remembered by the driver of the car, Alfred Sharp, a used car dealer. The girl’s parents finally decide to seek legal counsel when Judy’s injury does not heal properly. The program shows how a suit is filed and then the serving of the summons and petition on the defendant, Alfred Sharp.

Program 2: The Witnesses to the Accident Defendant Alfred Sharp’s first meeting with his lawyer is shown along with the filing of an answer to the plaintiff’s petition. The lawyers for the plaintiff and the defendant take depositions of the principle to the dispute and record the statements of the witnesses.

Program 3: Preparing for the Trial Both sides prepare for the trial of the civil suit. This includes final checks on witnesses, conferences between the lawyers and their clients, and intensive research into the decisions of the Courts in related cases.

Program 4: The Trial: The Case for the Plaintiff The trial begins. Prospective jurors are questioned to determine possible bias. The jury is finally selected and sworn in. Both lawyers make opening statements to the jury on what their evidence will show. Direct and cross examination of all witnesses in the case for the plaintiff follows.

Program 5: The Trial: The Case for the Defendants This is defendant Alfred Sharp’s day in court. There is direct and cross examination of all witnesses in the case for the defendant. The jury is instructed on the law by the court and final arguments by the lawyers follow. The jury retires for its deliberation and returns with its verdict. The action at law has run its course.

Actor’s Choice: Lewis Carroll (1970) Initial Broadcast Date: November 26, 1970 (This airdate is for NET Playhouse #215) Number of programs: 1 B&W or Color: Color Running time: 90 minutes Contractor/Producer: WNET

Playhouse #215, presents “Actor’s Choice: Lewis Carroll,” featuring Gwen Verdon and Cyril Ritchard reading selections from Carroll’s works. “Actor’s Choice: Lewis Carroll” is from a series of half-hour programs titled “Actor’s Choice” and produced by Channel 13 in New York. Hal Holbrook is host for the series. In the Lewis Carroll program, Ritchard and Miss Verdon read “The Hunting of the Snark,” “Jabberwocky” and selections from “Alice in Wonderland.”

NET Playhouse is a presentation of NET. Actor’s Choice: Lewis Carroll was produced by WNET. Producer and Director: Glenn Jordan Script: David Novak NET Executive producer: Jac Venza

Playhouse New York #109: Acts Before Dying (1972) Initial Broadcast Date: December 2, 1972 Number of programs: 1 B&W or Color: Color Running time: 90 minutes Contractor/Producer: WNET

Maureen Stapleton and Eileen Heckart return to the Playhouse New York in WNET’s 1966 Emmy winner, “Save Me a Place at Forest Lawn,” when the series presents “Acts Before Dying.”

Also included in the 90-minute prospectus on death are the British import, “Whose Life is it Anyway?” and Leonard Wilson’s “Wandering.”

In Lorees Yerby’s sentimental comedy “Save Me a Place at Forest Lawn,” the Misses Stapleton and Heckart recreate their Emmy-winning performances as two eighty-year olds on the brink of final judgment. “I thought I’d be ready,” confides Gertrude (Maureen Stapleton) to her friend Clara (Eileen Heckart), “but I’m not old enough, not sick enough, not tired enough.” The more practical Clara prepares for death with all the aplomb she applies to more mundane tasks: “I’ve bought a place at Forest Lawn,” she confesses. “Everyone deserves a day in the country.” Glenn Jordan is producer- director of “Save Me a Place at Forest Lawn,” which originally aired on WNET’s “The New York Television Theater” in 1966.

Miss Heckart’s Broadway appearances include “Barefoot in the Park,” “Picnic,” “Dark at the Top of the Stairs,” and “The Bad Seed.” Her film performances include “The Bad Seed,” “Bus Stop,” “Hot Spell,” “Somebody UP There Likes Me,” and “Miracle in the Rain.”

Maureen Stapleton has just opened on Broadway in “The Secret Affairs of Mildred Wild.” Past Broadway performances include “The Glass Menagerie.” Tennessee Williams’ “The Rose Tattoo,” “Toys in the Attic” and “Orpheus Descending.” Her motion pictures include “Lonelyhearts” and “The Fugitive Kind.”

“Whose Life is It Anyway?” airs the case of Ken Harrison. Completely paralyzed from a recent automobile accident, Harrison (played by the British actor Ian McShane) is totally dependent upon hospital technology to remain alive. “If I cannot be a man, I do not wish to be a medical achievement,” he argues with Dr. Joan Scott (Suzanne Neve) who is part of the hospital team keeping him alive.

The play concerns Harrison’s conflict with hospital authorities to obtain his freedom of choice between life and death. The drama culminates in a courtroom scene at the patient’s bedside where a High Court judge makes the final decision.

“Whose Life is it Anyway?” is written by Brian Clark and directed by Richard Everitt for Granada Television in England.

“Wandering” is Lanford Wilson’s three-minute kinetic collage on life and death. WNET produced it originally on Playhouse New York’s “The New Theater for Now” in 1968.

Playhouse New York is a production of WNET, transmitted nationally by PBS, the Public Broadcasting Service. Executive producer: Jac Venza

NET Special: Adieu De Gaulle (1969) Initial Broadcast Date: April 28, 1969 Number of programs: 1 B&W or Color: Color (with black and white segments) Running time: 60 minutes Contractor/Producer: NET

Suggested Newspaper Listing: Filmed highlights of de Gaulle’s career followed by an assessment of the president’s resignation and its Robert Triffen, French TV correspondent Jacques Sallebert, others. David Schoenbrum moderates.

Program Description: On the evening following French President Charles de Gaulle’s resignation (Monday, April 28), NET’s special-projects unit presents a review of the general’s career on film and an assessment of what his leaving office at this time will mean for France and the rest of the world, especially with regard to a possible monetary crisis.

The film segment will be no more than 15 minutes long. It will be followed by a panel moderated by David Schoenbrum. As of midday, two panelists are confirmed – Professor Robert Triffen, a Yale economist whose books include “The World Money Maze: National Currencies in International Payment” (1966), and who has proposed an alternative to the gold standard, and Jacques Sallebert, chief correspondent in America for the French television network, ORTF. Two other panelists will be added.

NET Special – “Adieu de Gaulle” is a production of National Educational Television’s special-projects unit. Producer: John Richard Starkey Executive producer: Ned Schnurman

The Adventures of Danny Dee (1960) Initial NET Showing: March 13, 1960 Number of Programs: 40 Origin format: Film Running time: 30 minutes

General Description of Series: Danny and Debbie Dee, Filbert the Dinosaur and Pancake the Magician, are the cartoon creations of Roy Doty. In these sterilized adventure for children under 10, the four friends find themselves in various surprising situations, ranging from a voyage to the moon to a trip to the prehistoric world. While each program ends on a note of suspense, all the sections, which consists of five programs each, end the adventures happily. Within each program the format remains the same: first, a brief recapitulation of the previous program (save at the beginning of a new series) followed by the presentation of drawing which young viewers have sent to Mr. Doty. The story section, which consists of narration by Mr. Doty accompanied by chalk-drawn cartoons of the characters and situations in the story, runs for approximately 15 minutes. Mr. Doty draws the cartoon on sheets of black paper which have been pre- designed so that cut-outs which appear behind the cartoons give the effect of animation. The story is followed in turn by Mr. Doty’s presentation of the “Shapes for Imagination.” He draws a shape on the paper – a letter of the alphabet or a simple geometric form – and shows how drawings can be based on this shape. He encourages the viewers to paint or draw their own pictures, based on the Shape for Imagination. Although Mr. Doty does show pictures drawn by young artists, at no time does he request viewers to send in their drawings. Finally, Mr. Doty talks for about three minutes on a topic related to an episode in the story segment. The program is broken by at least one, and sometimes two or three public service spot messages, varying in length from twenty seconds to a minute.

NOTES: This series of children’s program which has been done on film was previously broadcast on WABD (now WNEW-TV) Channel 5 in New York. Some of the spots were produced by stations to lengthen the program to fit within the NET time slot for the series.

Featured Personality: Roy Doty’s facility with children’s programs may be due in part to his experience with his own three children. His cartooning facility comes from a variety of experiences including work with the Army’s newspaper Stars and Stripes, the magazines Popular Science, Sports Illustrated, Esquire, Ladies’ Home Journal, and the Saturday Evening Post. He has also illustrated books for Henry Holt and Company, Simon and Schuster, and Random House, to name a few. And what time he has free after these activities is occupied by appearances at children’s programs in museums and church groups.

Note: Each complete adventure consists of five chapters. Each adventure, of which there are eight, occupies one page of the IPD, and the chapters in each series are numbered consecutively, one through five.

Section Number I: Giants of Gandor

Program 1 Shape for Imagination: a diamond. Mr. Doty tells about Gulliver in Lilliput.

Danny Dee wants to be bigger. A stranger gives him a bottle of pills which will make him taller than anyone else. Danny takes a pill, and suddenly discovers that he has grown to giant size. He becomes worried by this and wanders into New York City, where he leans against the Empire State Building and weeps, his tears flooding the city.

Spot 1: Couple (:60) Spot 2: Susie Scout – Egg (:60) Spot 3: Smokey Bear – Space Age (:10) NET Tail (:10)

Program 2 Shape for Imagination: a wheel with spokes. Mr. Doty describes the Colossus of Rhodes.

Army bombers fly towards giant-sized Danny, thinking he is the enemy. He escapes to the Grand Canyon with his three friends Debbie, Pancake and Filbert for a private talk. Pancake tries a magic spell to make Danny smaller which turns him into a concrete statue. Danny escapes from the concrete and decides to swim to Gandor, source of the magic pills, to find a cure.

Spot 1: Couple Spot 2: WKNO #2 – I’m a Litter Bug (:60) Spot 3: Susie Scout – Camera (:60) NET Tail (:10)

Program 3 Shape for Imagination: a teardrop. Mr. Doty tells about Ulysses and Cyclops.

Danny, carrying his friends, swims across the ocean to Gandor, a land which floats above the earth like a cloud. There Danny meets a real giant, who challenges him to a test of strength, which Danny wins. They go in search of the giant Din Dun who can make Danny small again. On their way they are attacked by a charging bull.

Spot 1: Fire Prevention – Keep Children from Fire (:45) Spot 2: WKNO #4 – I’m a Never Neat (:60) Spot 3: Fire Prevention – Fireman is your Friend (:50) NET Tail (:10)

Program 4 Shape for Imagination: T. Mr. Doty tells some of the exploits of Hercules.

Pancake the Magician distracts the charging bull by waving flags, and they proceed to Din Dun’s house. The giant invites them in, and Danny’s friends creep into the castle while Danny explains that he wants to be small again. Din Dun challenges Danny to a wrestling match, saying that only if Danny wins will he be made small again.

Spot 1: Couple Spot 2: Smokey – Trees Take Time (:60) Spot 3: Susie Scout – Poison (:60) NET Tail (:10)

Program 5 Shape for Imagination: the figure “ten.” Mr. Doty turns from the large to the small, and tells some tales of leprechauns.

Danny Dee wins the wrestling match thanks to a bit of help from Pancake. Din Dun and the four friends go to the palace of Gandor, where the Princess promises to help Danny if he will wrestle the three- headed giants. Once again Pancake saves the day. Small again, Danny and his friends return triumphantly home.

Spot 1: Smokey – Forest Care (:20) Spot 2: Susie Scout – Star (:60) Spot 3: Fire Prevention – Red Riding Hood (:60) NET Tail (:10)

Section Number II: Dinosaur Baths of Egypt (The Egyptian)

Program 1 Shape for Imagination: parallel lines. Mr. Doty tells how pyramids were built..

Filbert has rheumatism, and his friends try to cure him. They call in Professor Picard Snarch who recommends the dinosaur baths of Egypt. They all go there, and on their arrival they begin excavations. Suddenly they receive a mysterious message: “You have offended Decil DeCille III.” As they wonder who he is, a sphinx breathes flame at them.

Spot 1: Couple Spot 2: Susie International (:60) Spot 3: Fire Prevention – Nero (:60) NET Tail (:10)

Program 2 Shape for Imagination: a word, not a linear shape. The word is “wet.” Mr. Doty describes how papyrus – the first paper – was made.

The fire-breathing sphinx was a stage prop used by the great movie maker Decil D. DeCille. While they are learning this, Filbert disappears. Searching for him, they discover a door into a pyramid. Inside it, they wake a sleeping guard who is summoned by King Farouk the Slender, who inhabits the pyramid. Pancake offers to take the guard’s punishment for sleeping. A basket is brought in, music begins, and an asp crawls out of the basket.

Spot 1: Couple Spot 2: Couple Spot 3: Smokey Bear – Junior Ranger (:20) NET Tail (:10)

Program 3 Shape for Imagination: Y. Mr. Doty tells about Egyptian mummies.

Pancake chases the snake away and offers to help King Farouk the Slender – who is very fat – to reduce. He builds a reducing machine which makes the King fatter. Incensed, the King sends them to the dungeon to be mummified. They are saved by the providential arrival of Filbert, but are captured again by the King. He still wants to be thin, so Pancake conjures up reducing pills which Farouk does not trust. He threatens the fiends.

Spot 1: WKNO #8 – Sleep (:20) Spot 2: Girl Scouting – Plants (:60) Spot 3: Fire Prevention – Robin Hood (:60) NET Tail (:10)

Program 4 Shape for Imagination: E. There is no concluding talk by Mr. Doty.

Our friends escape and Filbert explains that he had disappeared through a trap door in the sand. Pancake finds one and descends into it. He finds Farouk, now happily thin thanks to Pancake’s pills. He explains how to find the dinosaur baths: “Follow a camel through a needle’s eye.” They fear this is impossible, but Professor Snarch remembers that one kind of needle is Cleopatra’s needle – the obelisk. They find one and catch a camel to go through the eye.

Spot 1: Couple Spot 2: Fire Prevention – Camp fire (:50) Spot 3: WKNO #10 – Cross Street (:20) NET Tail (:10)

Program 5 Shape for Imagination: a banana. Mr. Doty describes obelisks and how they are made.

The friends go through the needle and find that the baths are buried under a mountain. Filbert, to the amazement of all, suddenly blows a huge bubble, and asks Pancake to make rain. Pancake complies, because the mountain is made of soap, and the rain makes it melt. Filbert bathes and is cured of his rheumatism. In great delight all go home.

Spot 1: Couple Spot 2: Couple Spot 3: WKNO #7 – We’re Not Dogs (:20) NET Tail (:10)

Section Number III: The Other Side of the Moon

Program 1 Shape for Imagination: a triangle balanced on a vertical line. Mr. Doty describes the surface of the moon.

Filbert the Dinosaur has disappeared and his three friends search for him on their magic carpet. They fall off of it into a hay cart in Mexico. There they hear of a bullfight starring Filberto. Hoping that this is their friend, they go to the arena. Pancake conjures the doors to open and inside they find Filbert in the midst of battle.

Spot 1: Couple Spot 2: USDA #1267-1 – A Toast to Smokey (:60) Spot 3: WKNO #1 – Buckey and Ginger (:60) NET Tail (:10)

Program 2 Shape for Imagination: a word, rather than a line figure. The word is “soft.” Mr. Doty describes methods of getting to the moon.

To escape the bullring, the four friends climb a moonbeam. At the end of it, they meet Queen Constance, who makes them perform three tasks. The first is to wash the face of the moon. As they start, they are captured by King Luno the Mooney. Danny foils him and they perform their task. After it is done, they are trapped again by King Luno. They King turns them into bowling pins. As the program ends, the Mooneys, circular of form and sinister of nature, come rolling at them.

Spot 1: WQED #1 – Do you have Telephone (:60) Spot 2: WQED #6 – Are you a Growler (:60) Spot 3: USDA #1110-1 – Old MacDonald (:60) NET Tail (:10)

Program 3 Shape for Imagination: two circles joined by a horizontal line. Mr. Doty continues to describe how man will get to the moon.

The four friends escape and return to the palace of Queen Constance. She tells them that they must capture the flying moon monster. The monster swoops down on them and stings Filbert and Pancake, both of whom float in the air as a result of the sting. Danny ties them down and climbs into the electric light tree where he is trapped by the monster.

Spot 1: WKNO #5 – Boy in Closed Packed Room (:60) Spot 2: Smokey Bear – Lonesome Road (:50) Spot 3: Couple NET Tail (:10)

Program 4 Shape for Imagination: a star. Mr. Doty describes the lunar landscape.

The moon monster is stunned by the electric light tree and our friends take it back to the queen. Their last task is to destroy King Blaeda’s crying machine. As they approach their goal the Blockhead people capture them and put them in jail. The King threatens our friends and sets them to work shoveling snow into the machine.

Spot 1: USDA #1322-1 – Clean Picnic Grounds (:60) Spot 2: WKNO #3 – Two Kinds of Matches (:60) Spot 3: WKNO #9 – Eat Vegetables (:30) NET Tail (:10)

Program 5 Shape for Imagination: a combination of S and T. Mr. Doty tells some legends about the moon.

When our friends have finished shoveling snow, they are sent back to prison. There they discover and enter the room of the crying machine. Danny switches its wires and turns it into a laughing machine. All the Blockhead people begin to laugh and free their friends, who return to Queen Constance. She holds a parade in their honor, gives them souvenirs, and sends them home on a moon beam.

Spot 1: USDA #1429-1 – Smokey Smeller (:60) Spot 2: WQED #8 – Thank you (:30) Spot 3: WQED – Do you have a Postal Zone (:60) NET Tail (:10)

Section Number IV: A Million Years Ago

Program 1 Shape for Imagination: a circle with a line through it. Mr. Doty explains how this planet may have been formed.

Danny’s friend, Professor Picard Snarch, wants to read some prehistoric hieroglyphics. Filbert the Dinosaur cannot help him, so they return to the prehistoric world for a translation. There they save a rabbit’s life, and are attacked by a giant bee.

Spot 1: Scouting is Dandy (:60) Spot 2: Fire Prevention – Burning House (:50) Spot 3: WQED #7 (:30) NET Tail (:10)

Program 2 Shape for Imagination: L. Mr. Doty describes some different kinds of dinosaurs.

An axe sails through the air and kills the giant bee. The axe was thrown by Ogar, a reporter for the local Stone Age newspaper. They all visit the cave where the newspaper is carved. Pancake saves them all from a fire and Ogar invites them home to his cave. Their tea party is interrupted by the roar of a large and dangerous dinosaur.

Spot 1: Smokey Bear – Flood Story (:60) Spot 2: WKNO #6 – Brushing Teeth (:20) Spot 3: Couple NET Tail (:10)

Program 3 Shape for Imagination: lima bean. Mr. Doty continues with his description of dinosaurs.

Filbert defeats the other dinosaur. The friends hear the earth rumbling and come to an erupting volcano. Ogar the journalist carves the story on his tablets as Pancake stops the explosion by capping the cone of the volcano with a huge ball of magical ice cream. On their way home they pass a cave from which comes a loud roar.

Spot 1: Smokey Bear – Forest Blessing (:60) Spot 2: WQED #5 – Jay Walking (:30) Spot 3: Smokey Bear – Obey Fire Laws (:60) NET Tail (:10)

Program 4 Shape for Imagination: crosshatch. Mr. Doty discusses and draws whales.

The animal in the cave is a whale with feet, whose feet hurt. Danny suggests that he might prefer to swim, rather than to walk. The whale tries this and finds the most enjoyable. The friends proceed to the newspaper cave, where they discover that the carved news tablets have disappeared. One of the missing tablets is located in the Terrible Valley. The thieves, a group of angry young men – reporters for a rival newspaper – attack Danny’s party.

Spot 1: Couple Spot 2: WQED #4 – Tooth Brush (:30) Spot 3: Couple NET Tail (:10)

Program 5 Shape for Imagination: 3. Mr. Doty tells how the wheel may have been invented.

Pancake’s magic impresses the enemy so much that they join forces with Ogar in publishing the newspaper. This finally appears and the five friends discover that the editorial page is in fact the stone carving which puzzled Professor Snarch at the beginning of the trip. Pancake triumphantly transports them to the 20th Century, where Professor Snarch astounds the scientific world with his interpretation of the hieroglyphics and all ends happily ever after.

Spot 1: Smokey Bear – Don’t Blame Lightning (:60) Spot 2: Couple Spot 3: WQED #3 – What Kind of a Home do you Live In (:60) NET Tail (:10)

Section Number V: Stuporman

Program 1 Shape for Imagination: two dots and some straight lines. Mr. Doty announces that he will end each program in this series with a description of an American “Superman” and begins with a story about the railroad hero John Henry.

Danny and Debbie lose a glider in a tree. Suddenly they see the tree shaking. Stuporman, a muscular hero, who has torn a hole in his suit, falls from the tree. The friends take him to the Wonder Weaver. There they discover that his muscles are sewn into the suit, and are not really his own. As they learn this, the Weaver rushes in to announce that the suit with the muscles has disappeared.

Spot 1: Smokey Bear – Space (:60) Spot 2: WQED – Thank you (:30) Spot 3: Scouts – Poison Ivy (:60) NET Tail (:10)

Program 2 Shape for Imagination: two dots and some straight lines. Mr. Doty tells stories about the sailor Old Stormalong.

Pancake tries and fails to conjure up a new suit for Stuporman. As they begin the search for the suit, the great detective William Screwdriver enters and volunteers to help. But Screwdriver’s files have been stolen by the thief, who stole Stuporman’s suit, and the false Stuporman, armed with the sewn-in muscles, lifts the file cabinets out of the window and drops them on Detective Screwdriver.

Spot 1: Scouts – Star (:60) Spot 2: WQED #4 – Tooth Brush (:30) Spot 3: Smokey Bear – Forest Friends (:60) NET Tail (:10)

Program 3 Shape for Imagination: H. Mr. Doty describes some the exploits of Johnny Appleseed.

Pancake saves William Screwdriver and discovers a clue. This takes the friends to the Zippety Doughnut Factory, where they are engulfed in doughnut dough. They emerge to learn that the false Stuporman has made off with all the bank buildings in town. The villain swoops down at them as the program ends, cackling, “You can’t stop me, heh, heh, heh.”

Spot 1: Scout – Star (:60) Spot 2: Smokey Bear – Trees Take Time #7 (:60) Spot 3: WKNO #4 – I’m Never Neat (:60) NET Tail (:10)

Program 4 Shape for Imagination: H. Mr. Doty tells about Paul Bunyan’s adventures.

Screwdriver attacks the villain, who snatched up the detective and carries him away. Pancake’s magic transports them to the false Stuporman’s hideout. There they find Stuporman the thief, who has just stolen Fort Knox. He wants the gold, among other reasons, to make a solid gold bathtub. Annoyed by Pancake’s defiance, he picks up the magician and throws him in the air like a glider.

Spot 1: WKNO #2 – I’m a Litter Bug (:60) Spot 2: Fire Prevention – Fireman is Your Friend (:52) Spot 3: Scout – Camera (:60) NET Tail (:10)

Program 5 Shape for Imagination: H. Pecos Bill, the Cowboys is the subject of Mr. Doty’s talk.

Our friends find William Screwdriver and Pancake, who produces a magical moth. He aims the moth at the Stuporman suit with the build-in muscles, and in a matter of moments the suit is destroyed so that Screwdriver can arrest the false Stuporman. The real Stuporman, still without his magical suit, is persuaded to be a clown since he has a clown suit, and all live happily ever after.

Spot 1: Scout Egg (:60) Spot 2: Smokey Bear #9 – Break Matches (:50) Spot 3: Fire Prevention – Red Riding Hood (:50) NET Tail (:10)

Section Number VI: Pancake’s Box

Program 1 Shape for Imagination: a curlicue. Mr. Doty talks about pirates.

Pancake learns that there is a box for him at the railroad station, and he and Danny and Debbie and Filbert rush to get it. But they discover they cannot open it. They try to hammer it open with an old pistol, which is loaded and fires. The four frightened friends run away and as they cower in a doorway, an arm with a hook at the end is waved at them.

Spot 1: WKNO #1 – Buckey & ginger (:60) Spot 2: Scouts International (:60) Spot 3: Smokey Bear #6 – Toast to Smokey (:60) NET Tail (:10)

Program 2 Shape for Imagination: X. Mr. Doty draws and show some pirate things.

There are pirates in the neighborhood and our friends track one to the end of a pier. There, the ghost of a mournful pirate appears and tells them that his ship has been stolen by Short John Copper, a notorious pirate who has also stolen Pancake’s box. Pancake conjures up a ship to follow the pirates, but the pirate ship Seahawk sees them following and fires its cannon at them.

Spot 1: WKNO #3 – Two Kinds of Matches (:60) Spot 2: Smokey Bear #13 – Green Thumb (:20) Spot 3: WQED #5 – Jay Walking (:30) NET Tail (:10)

Program 3 Shape for Imagination: a door. Mr. Doty tells the tale of Captain Kidd.

The pirates sink Pancake’s ship, but the friends manage to board the Seahawk. There they see the pirates with Pancake’s box, which they believe contains a treasure map. The pirates find them and threaten to hang them. Filbert heroically offers to walk the plank to save his friends and since Pancake is too seasick to save him magically, this is what he does.

Spot 1: WQED #1 – Telephone (:60) Spot 2: WKNO #8 – Sleep (:20) Spot 3: Smokey Bear #2 – Smoke Smeller (:60) NET Tail (:10)

Program 4 Shape for Imagination: V. Mr. Doty tells about a good pirate, Jean Laffite.

Danny and Debbie, looking over the side of the ship, are delighted to see Filbert, who did not drown and who rescues his friends. They go to an island where they find a little old man with a long white beard. He fears Short John Cooper, who is looking for treasure on the island with his men, but the four friends promise to protect him. Nonetheless, the pirate chief prepares to blow them up.

Spot 1: Smokey Bear #3 – Clean Picnic Ground (:60) Spot 2: WQED #7 – Eye Sight (:30) Spot 3: Scouts – Dandy (:60) NET Tail (:10)

Program 5 Shape for Imagination: C. Mr. Doty tells about the pirates of Tripoli.

The pirates’ ship is exploded by the keg of dynamite with which they planned to blow up our friends. The pirates’ approach, unable to open Pancake’s box, and trap the friends in the treasure cave. Pancake cleverly tricks the pirates into returning his box, in return for the treasure, and then lets them sail off on a magical leaky raft. Back on the island, Debbie manages to open Pancake’s box, and finds in it a medal for Pancake, “The World’s Greatest Magician.”

Spot 1: Smokey Bear #4 – Lonesome Road (:60) Spot 2: WKNO #9 – Eat Vegetables (:30) Spot 3: WQED #2 – Postal Zone (:60) NET Tail (:10)

Series Number VII: Muffin, Waffle and Tart

Program 1 Shape for Imagination: a flag. Mr. Doty tells about alchemists, the early magicians.

Pancake’s three young magician-nephews, Muffin, Waffle and Tart, come to visit him, arriving in a flying bubble. Pancake shoots the bubble down, but the nephews have disappeared and do not emerge from the tree in which they have been hiding until Pancake promises to take them to the zoo. At the zoo, the three young magicians, and all the lions disappear.

Spot 1: Smokey Bear #5 – Old MacDonald (:60) Spot 2: Fire Prevention – Robin Hood – Fred Fireman (:60) Spot 3: Smokey Bear #14 – Alouette (:60) NET Tail (:10)

Program 2 Shape for Imagination: a word, not a linear form. The word is “music.” Mr. Doty tells Paracelsus, who first distinguished between magic and medicine.

Pancake finds the errant trio and as punishment makes them take baths. They, however, escape. Pancake, Debbie, Danny and Filbert discover that they have gone to the land of Wonton, to steal the watch of the invisible wizard. Pancake transports his friends and himself to Wonton, where magic spells do not work properly. To prove this Pancake conjures up a butterfly which fiercely pursues the magician.

Spot 1: WKNO #5 – Boy in Closed Packed Room (:50) Spot 2: Smokey Bear #16 – Smokey’s Flood Story (:60) Spot 3: WKNO #6 – Brushing Teeth (:20) NET Tail (:10)

Program 3 Shape for Imagination: K. Mr. Doty tells stories about the wizard, Merlin.

Muffin, appearing in a magical boat, rescues Pancake and takes them all off to the Wizard’s castle. (Muffin’s magic, incidentally, works much better than Pancake’s.) Two rifles aim at Pancake from the castle, but they shoot chocolate bullets, thanks to Muffin’s magic. Our friends follow the Wizard’s footprints. They come upon a bottle, out of which pops a huge watch, with Waffle and Tart tied to the hands.

Spot 1: Fire Prevention – Burning House (:45) Spot 2: Couple Spot 3: Smokey Bear #1 – Junior Ranger (:20) NET Tail (:10)

Program 4 Shape for Imagination: 8. Mr. Doty tells how crystal ball predictions originated.

The Wizard appears and puts a spell on the friends, snatching away Danny and Muffin. To save the situation, Filbert gallops up and tells Pancake how his magic should work. Wonton means “not now” and incantations work if they include a date or time which is not now. The friends pursue the Wizard and find Danny. But as they are conversing, the earth falls from beneath their feet.

Spot 1: Smokey Bear #17 – Forest Friends (:60) Spot 2: Couple Spot 3: Fire Prevention – Campfire Spot (:50) NET Tail (:10)

Program 5 Shape for Imagination: trace around a common object and use it as the basis of a picture. Mr. Doty concludes by describing the magic of science.

In the fall, Pancake disappears. Danny, searching for him, finds the three nephews and rescues them from the watch. They find Pancake and the Wizard defying one another. They are chased out and find a note from Debbie and Filbert, inviting them to tea at the castle. Filbert has made the Wizard happy and in gratitude he helps them return home. Pancake, in turn, sends his mischievous nephews back to their home.

Spot 1: Fire Prevention – Fred Fireman – Nero (:60) Spot 2: Couple Spot 3: Smokey Bear #9 – Break Your Matches (:50) NET Tail (:10)

Series Number VIII: Muffin, Waffle and Tart

Program 1 Shape for Imagination: a square. Mr. Doty discusses a Rembrandt painting.

Filbert takes Danny, Debbie and Pancake to an art museum. Pancake’s attention is attracted to a painting of a barn which he believes is magical. As the four friends watch, the barn door opens and a cow moos inside. They decide they must help her, so Pancake makes them tiny and they climb into the picture. They comfort the cow, who continues to moo sadly. Danny notices the cause of her distress: a fire-breathing dragon is lurking nearby.

Spot 1: WQED #3 – The Home You Live In (:60) Spot 2: Fire Prevention – Keep Children from Fire (:45) Spot 3: Smokey Bear #12 – Obey Fire Laws (:60) NET Tail (:10)

Program 2 Shape for Imagination: a triangle. Mr. Doty shows some artistic picture frames.

Pancake saves his friends from the dragon. The Untalented Witch of Wooz enters. She has a magic paintbrush, which paints things that subsequently become alive. She paints a lion which chases our friends. Pancake laughs at her, which makes her very and she camps out threatening revenge. The friends rush to find the brush maker who made the brush, only to find that his home has burned down.

Spot 1: WKNO #4 – Never Neat (:60) Spot 2: Fire Prevention – Fireman Nero (:60) Spot 3: WKNO #7 – We’re Not Dogs (:20) NET Tail (:10)

Program 3 Shape for Imagination: D. Mr. Doty shows some art on playing cards and in tapestries.

Pancake magically rebuilds the brush maker’s house and the latter invites them in. He says that the power of the brush can be stopped if the Witch paints a self-portrait. They search for the Witch and meet a man who announces that the Witch has disappeared and they can go home. Pancake recognized that this is one of the Witch’s creations and turns the man into a mouse. Suddenly they hear the Witch singing. Pancake laughs, indiscreetly and the angry Witch paints a giant mole to undermine the hill on which they are standing.

Spot 1: Smokey Bear #11 – Forest Blessings (:60) Spot 2: WQED #6 – You’re Not a Growler (: 60) Spot 3: Smokey Bear #14 – Alouette (:60) NET Tail (:10)

Program 4 Shape for Imagination: X. Mr. Doty describes and show the work of the modern artists.

Pancake the indispensable thwarts the mole and the Witch menaces them again. Pancake saves them and conjures up a broomstick to follow the Witch. They arrive at the barn where the adventure started and find beside it a castle. To persuade her to paint a self-portrait, Pancake tries to convince the Witch of his affection and serenades her. Suddenly a large snake appears over the castle wall.

Spot 1: WKNO #2 – Litter Bug (:60) Spot 2: Fire Prevention – Robin Hood (:60) Spot 3: WKNO #5 – Boy in Closed Packed Room (:50) NET Tail (:10)

Program 5 Shape for Imagination: S. Mr. Doty shows how the viewer can have fun with art.

The Witch, entranced by Pancake’s serenade, stops the snake. Pancake flatters her and gives her a gift, in return for which she paints a self-portrait. This spoils the magic of the brush, which makes her weep such a pool of tears that she is in danger of drowning. To apologize for tricking her, Pancake saves her and transforms her into a beautiful young lady. Pleased by the happy end to this adventure, the four friends leave the picture and return to the museum gallery.

Spot 1: WKNO #10 – Crossing Streets (:20) Spot 2: Smokey Bear #15 – Don’t Blame Lighting (:60) Spot 3: WKNO #1 – Buckey & Ginger (:60) NET Tail (:10)

Adventuring in the Hand Arts (1958) First NET showing: Fall 1958 Number of Programs: 10 Running time: 30 minutes

Series Description: This series deals with the creativity of man through the medium of his hands. The vivacious Shari Lewis guides viewers through a ten-week exploration of the uses which man has found for his hands down through the ages. Each week Miss Lewis is joined by a different guest expert and film visits to primitive cultures are a highlight of this series.

Featured Personality: Shari Lewis Shari Lewis was interested in the creative arts from the time she was just a child. This interest led to her current career on TV. As hostess for “Shariland,” Shari was awarded two Emmys this year, one of which named her New York’s “Most Outstanding Female Personality.” A former Girl Scout, Shari is an author, ventriloquist, dancer, actress and juggler.

Program 1: Hands of Man – Adventuring in Pottery Special Guest: William Daley of the Philadelphia Museum of Fine Arts

William Daley and Shari Lewis discuss the capacity of man’s hands and the way hands in many parts of the world today still remain the primary means by which useful and beautiful objects are created to fill people’s needs. Pottery, as created by primitive people of the American continent, is an example of this idea.

Several Girl Scouts work with Mr. Daley creating objects from clay, indicating the satisfaction which comes from creative activity.

Mr. Daley demonstrates the properties of clay and introduces ways in which is can be useful by untrained hands.

Program 2: Weaving and Man’s Dress Special Guest: Angiola Churchill is an instructor of weaving at New York University

When man faced the elements of nature, it was through his ingenuity and the use of his hands that he was able to weave clothing for protection. This took varying forms, from the weaving of blankets to the creation of articles of clothing. Man employed different materials for this item, depending on the environment. This program looks at the basic principles of weaving, which are the same whether the end product is a simple or complex article. Angiola Churchill and Shari Lewis explore this area of man’s creativity.

Program 3: Basketry and Adaptability Special Guest: John T. Douksza is an instructor in the Essentials of Art at the New York University School of Education.

The process of interweaving twigs, rushes, cane or leaves to hold, protect or carry something is one of the world’s most universal arts. It is one of the universe’s most ancient industries and in some non- technological societies today it still is basic to the culture. The adaptability of basketry is explored by Shari Lewis and Douksza during this program. They show how this type of weaving still provides clothing, shelter, furnishings and transportation for the world’s population.

Program 4: Ornaments and Beauty Special Guest: Miss Irena Brynner is a creator of jewelry for women.

Once man had created the articles he needed for survival and comfort, he launched himself on a campaign to make himself more attractive physically. It is conceivable that, in his vanity, he turned his hand to beautifying himself even before considering some of his more fundamental needs. With Miss Brynner, Shari Lewis examines some ornaments created from materials at hand which help satisfy man’s universal desire to be attractive.

Program 5: Masks and Imagination Special Guest: Miss Dorothy Leadbeater is an author, lecturer and teacher.

Perhaps the original need for masks was for man to be able to disengage himself from his everyday life. He used them to symbolize that he was not “himself.” He was another being, human or superhuman, or even an abstract quality. He was able to satisfy two needs through the use of masks – the need for religion and the need for diversion. Miss Leadbeater and Shari Lewis concentrate on masks used for diversion and their counterparts in the modern United States – at Halloween and Mardi Gras.

Program 6: Music and Musical Instruments Special Guest: Robert E. Wood is an author and teacher.

By tapping his fingers and hands on whatever objects were available, man created his first rhythmic sounds. By using one or two sticks he developed the drum and by cutting a reed, he discovered the flute and various related wind instruments. These instruments are used in parts of the world today, where the penny whistle and drum are used in parts of the world today, where the penny whistle and drum are used to provide musical entertainment. Wood and Shari Lewis examine some simple musical instruments and “make music.”

Program 7: Dolls, Puppets and Diversion Special Guest: Ascanio Spolidoro is a puppeteer.

In all societies, children have a need to play. The doll, made in the human image is a universal toy. The puppet, made in the human or animal form, is another means of diversion for children, as well as adults. In some non-technological societies, puppetry has been developed into a high art. Shari Lewis examines the variety of ways in which man, using materials at hand, has created replicas of himself for fun and amusement.

Program 8: Woodcarving and Artistic Expression Special Guest: Mr. Chaim Gross is a sculptor who works with wood.

There is in the heart of every man the desire to express himself through the creation of something beautiful, says Shari Lewis. Whatever the motivation for making the object, the result is, in many cases, beauty. Woodcarving from many parts of the world is examined and provides an opportunity to explore its beauty.

Program 9: Design and Environment Special Guest: Mr. Vincent Bruno is an artistic designer.

Inspired by things “peculiar” to his environment, man has incorporated certain lines into his designs that have become characteristics of his culture. Seldom are these things represented exactly as seen. Shari Lewis explores design, as an expression of an individual and/or group personality.

Program 10: Summing Up Special Guest: Dr. Howard Conant is chairman of the Department of Art Education at New York University.

Dr. Conant and Shari Lewis gives a summary of the series, pointing out that man’s hands are the greatest tool of creative activity, that they have served to fulfill his basic needs and that these needs and this creativity are universal.

AEC Report: Man and the Atom (1964) Initial NET Broadcast: December 28, 1964 Number of Programs: 1 Origin format: Film Running time: 60 minutes

“Man and the Atom” reports on the Atomic Energy Commission, its role, its structure and its vast responsibilities. The program highlights the revolutionary advances in medicine, science, and in the everyday lives of Americans made possible through the harnessing of atomic energy for peaceful purposes.

The documentary opens in Buchanan, NY, where a nuclear reactor, located within a stone’s throw from the local high school, generates the town’s power supply. A series of interviews reveals the favorable community reaction to the plant and the new prosperity which has afforded the town. At the plant, officials describe how the Indian Point reactor operates and explain its all-important system of built-in safeguards.

Later the cameras shift to Atomic Energy Commission headquarters, where Chairman Glenn T. Seaborg and the other members of the 5-man commission are introduced. The Commission is responsible for making the atom work – in both peace time and in war, and with the cooperation of private industry and science laboratories, the AEC runs the nation’s complex atomic industry.

As it documents the many facets of the Commission’s work, the film includes rare close-ups of the atom at work. Viewers see the creation of a massive man-made crater under Project Sedan in 1962 and the creation of an underground cave near Carlsbad, New Mexico; and radio isotopes employed in medical diagnosis and therapy and at work in agriculture. The film also carefully points to the elaborate precautions which the AEC takes in its work, to protect the public from the dangers of radiation.

Chairman Seaborg, toward the close of the program, makes several provocative suggestions as to the future uses of the atom, including desalting ocean waters and powering manned spacecraft.

“Man and the Atom” was produced for NET by Harold Meyer Productions, Inc. Producer and director is Harold Meyer. Howard Enders is co-producer and writer. Narrator is Jackson Beck.

Intertel #19: Africa: The Hidden Frontiers (1964) Initial NET Broadcast: August 24, 1964 Number of Programs: 1 Origin format: Film Running time: 60 minutes

AFRICA: THE HIDDEN FRONTIERS journeys into the heart of the newly independent African nation of Kenya and documents the problem it is experiencing in its attempting to unify its numerous African tribes, its Europeans and Asians, into a coherent nation. In this Intertel program, produced by Associated Rediffusion of London, England, there emerges a perceptive look at this challenge and a revealing examination of the contrasting way of life of several dominant tribes, the influence of the European and Asian settlers, and the social progress that has been made in spite of this mosaic of peoples.

In tracing the problems that face Kenya’s effort to reach real unity among its eight million people, the program looks at life among the Kikuyu – farmers who led the wars that resulted in Kenya’s independence, and the dominant political tribe; the Masai – once a great warrior clan who want their isolation accepted as part of Kenya’s emerging political and social pattern; the unpretentious Giriama who live off the land and want nothing to do with the centralized government; and the Somali of the remote northern district, whose customs are more similar to neighboring Somalia and Ethiopia and who threaten to secede from Kenya.

The symbol of Kenya’s effort to nullify racism is explored in a visit to the melting pot city of Nairobi. Here, where whites came, conquered, prospered, and where Asians control commerce, viewers see the attempt by these societies to come to terms. Here, too, the African is seen growing into responsible and specialized positions. Here also, a mutual social acceptance between white and African is found to be slowly emerging.

The program stresses the struggle for unity with Kenya’s Prime Minister Jomo Kenyatta, who stresses the need to achieve this goal in a speech to a huge tribal gathering.

AFRICA: THE HIDDEN FRONTIERS is a 1963-64 Intertel production by Associated-Rediffusion of London, England. Director: Rollo Gamble Narrator: James Cameron

Africa, My Africa (1964) Initial NET Broadcast: June 8, 1964 Number of Programs: 1 Origin format: Film Running time: 60 minutes

This documentary film looks at three contrasting pictures of the struggle for independence sand self- assertion being carried on by black majorities in Africa. In Kenya – where independence is new and the problems many; in Southern Rhodesia – where white rule still prevails, but the pressure for black nationalism is surging; and in Ghana – where, under the leadership of Kwame Nkrumah, independence and self-government have led to progress.

On December 12, 1963, Great Britain relinquished its control over Kenya and the newly-born nation was left with many problems. Its forty-odd tribes, with their diverging ways of life, ideals and customs, have created numerous obstacles for the government. One example is the continuing feud between the Kikuyu and Masai tribes that has resulted in bloodshed. Another major problem is Kenya’s employment problem – more than one-fifth of the labor force remains out of work. Jomo Kenyatta, Kenya’s employment prime minister, comments on the unemployment problem, the lack of useable land at the disposal of his people , tribalism, Kenya’s neutralist foreign policy, the unlikelihood of another “Congo” situation erupting in his country, and his belief in non-alignment for Kenya. Seen opposing Kenyatta is a youth group, the Kenya Africa Nationalist Union that has been applying great pressure for increased anti-European legislation. To date, however, the Union has not been able to develop a leader capable of opposing Kenyatta, but they remain unified behind one driving force – hatred and mistrust of the white man.

In Southern Rhodesia, the struggle for independence by the black majority could possibly explode at any time. The white populace controlling the government maintains a tacit apartheid with its black neighbors. They believe that both Canada and Great Britain have abandoned them, but they are determined to protect their “birthright” by means of an army, second in strength on the continent to only the Union of South Africa’s. Prospects of an alien majority in control of the government have elicited violent reactions form the whites in Southern Rhodesia who view life under African rule as “bloody.” They characterize the black inhabitants as “childlike,” “irresponsible,” “unreliable,” and “not to be trusted.” On the other hand, the three-and-one-half-million black majority feel they have been frustrated by a government that is “more paternal than repressive.” They want their independence and they want it now. The possibility of force being used to attain this goal is an ever-constant fact of life. They are rebellious against a government that houses them in selected African townships (similar to the Indian reservations in the US), that keeps a wary eye on their every activity and that provides room for no more than one out of every sixteen Africans who wish to continue their education in secondary school.

The state of Ghana probably represents the best example of the successful application of the principles of independence and self-government in Africa. Under the ambitious leadership of its president, Kwame Nkrumah, Ghana has made extraordinary strides forward. “The Redeemer” or “Big Fisherman,” as Nkrumah is often called, is viewed as a strange mixture of a man who “reads the New Testament by night and consults his soothsayer by day.” Everywhere in Ghana his presence is felt. In the industrialization of the nation’s resources alone, Nkrumah has spent more than four million dollars. He has instituted a program of universal primary education for the children and the schools are fully attended. Ghana, by national poll, maintains a one party system, best defined as a dictatorship. Politically, the government is a form of socialism that the citizens of Ghana have identified as “Nkrumahism.”

AFRICA, MY AFRICA: a production of the Canadian Broadcasting Corporation, adapted for American used by National Educational Television.

African Revolutionary (1966) Initial NET Broadcast: September 12, 1966 Number of Programs: 1 Origin format: Videotape Running time: 30 minutes

President Julius K. Nyerere of Tanzania discusses his country, its problems and its people in “African Revolutionary.”

One of the rapidly developing nations of East Africa, Tanzania was formed in May 1964 of a merger of Tanganyika and the island of Zanzibar, and Mr. Nyerere was elected its first president.

In this National Educational Television documentary, President Nyerere answers questions about himself and his government as well as his country’s fight for independence. He compares the philosophy behind the desire for independence with Tanzania’s present foreign policy of non-alignment.

Other topics he discusses include the need for foreign investment in his country; revenue form the tourist trade; the last political election which saw European and Asian candidates win over African incumbents; and domestic programs underway, particularly Tanzania’s need for more roads and schools.

President Nyerere recalls his early life as the son of a tribal chief, his education, and his aspirations for his country.

Included in the program are segments on tribal dances, the capital of Dar es Salaam, a gambling casino, a wildlife preserve, state functions, and a political rally.

“African Revolutionary” is a presentation of National Educational Television, produced by the British Broadcasting Corporation. NET executive producer: William Weston Producer-Director: Michael Gill Narrator: Erskine Childers

African Writers of Today (1964) First NET showing: May 15, 1964 Number of Programs: 6 Origin format: Film Running time: 30 minutes

Series Description: That Africa is a simmering continent is no surprise to anyone these days. The number of African nations which have, during the past few years, stood up to declare their independence and their desire to be counted in international trade circles and forums of political arbitration in an unprecedented phenomenon in history. And, as part of the continent’s adolescence in its rapid evolution into modernity, there are the current touchy events in the east African countries of Zanzibar, Tanganyika, Kenya, and Uganda; the continued racial suppression in South Africa; and the recent wooing your of Chou En-lai.

These are political situations and economic situations – and, in these areas, the American public is reasonably well informed. But a simmering continent is not all politics and it’s not all economics. There is an emerging culture as well, and, in this case, a body of literature which demands to be called “African.”

For all of the information that comes to the United States from the African continent, so little is known about their writers. Who are they? What are their backgrounds? What are their reactions to the cultural revolution which surrounds them? For whom are they writing? Are they turning to the forms of the tribal oral traditions or are they rejecting them? How do the individual writers react to the philosophy of “Negritude?” What is the influence of current European literature and of the literature of the American Negro on their works? And what is the reciprocal influence of African novels, stories, plays and poems on the literature of these other cultures.

In AFRICAN WRITERS OF TODAY, National Educational Television is giving US audiences an opportunity to find out about the contemporary literature of Africa and to meet some of the most significant African figures in the literary world. Devoted primarily to interviews with the writers themselves, the programs were filmed in Ghana, Nyasaland, The Cameroon Republic, Nigeria, Senegal, England, and France, the home settings of the featured personalities.

Featured Personalities The following writers and editors appear in the series:

William Abraham An associate professor of philosophy at the University of Ghana near Accra, William Abraham is author of one of the most significant books on contemporary Africa, The Mind of Africa. Professor Abraham, after graduating from the University of Ghana, went to Oxford where he gained recognition as the first black African to become a fellow of All Souls College.

Chinua Achebe Born in 1930 in a large Nigerian village near the Niger River, Mr. Achebe went to a leading Government secondary school at Umuahia and then to the University College of Ibadan. Since 1954 he has worked with the Nigerian Broadcasting Corporation and is now Director of External Broadcasting there. Of Achebe, Gerald Moore has said, “His distinction is to have looked back to the old traditions of tribal life without any trace either of chauvinistic idealism or of neurotic rejection, those twin poles of so much African mythologizing. Instead he has recreated or us a way of life which has almost disappeared, and has done so with understanding, with justice and with realism.” (Quoted from Moore’s Seven African Writers, Oxford University Press)

Walter Allen An English critic and, at one time, literary editor of the New Statesman, he is currently a visiting lecturer at Vassar College. Mr. Allen has reviewed a number of African books for the British press.

Ulli Beier A German who in 1950 came to Nigeria to teach English, Mr. Beier, as founder and editor of the literary magazine Black Orpheus and as one of the founders of Mbari, a club which publishes current Nigerian literary efforts, is one of the more influential voices in African literature today.

Bernard Fonlon Dr. Fonlon is director of the literary magazine Abbia and is on the editorial board of Presence Africaine, another literary magazine specializing in French African prose and poetry. A native of the Republic of Cameroon, he is attached to the Cameroon President cabinet.

Joseph Kariuki Mr. Kariuki was at one time a school master in Kenya. Now in the business world, he maintains an active creative interest in poetry.

Ezekiel Mphahlele Author of The Living and the Dead, Down Second Avenue, an autobiography, and The African Image, Mr. Mphahlele is considered by many to be the most articulate critic of the “Negritude” philosophy. Born and raised in South Africa, he survived the feats and frustrations of apartheid, the poverty, the police raids, the humiliating regulations – struggling through various primary and secondary schools and through Adams College in Natal where he hoped to qualify as a teacher. But his teaching plans were cut short when the Nationalist Government banned him from the profession in South Africa because of his criticism of the government’s Bantu Education Act. Returning to the Republic, Mphahlele worked as a reporter and literary editor for Drum, and earned BA and MA degrees externally from the University of South Africa. In 1957 he took his family to Nigeria, where he was a teacher for a time. Since then, his self-imposed exile has taken him to Paris where he now lives and is Director of the African Program of the Congress for Cultural Freedom.

Lewis Nkosi A South African, Mr. Nkosi was at one time on the staffs of Drum and the Johannesburg Golden City Post. He left South Africa in 1961 for a year’s study at Harvard University on a Nieman Fellowship and is now living in London where he contributes to literary columns and produces a radio series, “Africa Abroad.” Since the South African government granted Mr. Nkosi an exit permit but refused him a passport, he cannot return to the land of his birth. An active creative writer he has written a novel which is soon to be published. Mr. Nkosi is host-moderator of African Writers of Today.

Richard Rive Born in Cape Town, South Africa in 1931, Mr. Rive grew up in the city’s ugly slum area, District Six, which is the subject of much of his fiction. A top student who, by age twelve, had already developed a penchant for Shakespeare and Dickens, he attended the University of Cape Town, and now teaches English and Latin in a Cape Town high school. Besides being a noted short story writer (he has now finished a novel too), he is secretary of the South African Arts Union, a group of writers, musicians and painters who are fighting cultural apartheid, and is a mountain climber, a spear fisherman, and a former South African hurdling champion.

David Rubadiri David Rubadiri, the Nyasa poet and educationist, was born in 1930. After graduating from Makerere University in Uganda, he went to England where he studied teaching. Now director of Soche Hill College in Blantyre, Nyasaland, Mr. Rubadiri is soon to come to the United States where he will represent his country when it gains independence. A firm believer in African nationalism, Rubadiri is, in the words of Lewis Nkosi, “one of those rare African young men who now wish to see Africa conducting her affairs with tolerance and sophistication.”

Leopold Sedar Senghor Born in Senegal in 1906, Leopold Sedar Senghor has had a distinguished career in two different areas, politics and poetry. After attending the Lycee de Dakar, the Lycee Louis le Grand in Paris and Paris University, he spent twenty-three years in France as a teacher while assuming numerous important government posts. He became a member of the Constituent Assemblies in 1945, began serving as Deputy from Senegal to the French National Assembly in 1945, and was President of the Federal Assembly, Mali Federation of Senegal and Sudan from 1959 to 1960. And in 1960 he became President of the Senegal Republic. As one of Africa’s best-known poets, President Senghor is the apostle of the “Negritude” movement in African literature.

Wole Soyinka A Nigerian, Mr. Soyinka is one of the most active and brilliant men of the African theater, who has been successful as a producer, director, actor, playwright, and teacher. The author of the plays Dance of the Forests, The Lion and the Jewel, and The Trials of Brother Jero, Mr. Soyinka is well known as a poet too. He is presently a lecturer in English at the University of Ife in Nigeria. His play, The Trials of Brother Jero, will be seen on the forthcoming National Educational Television series, CULTURES AND CONTACTS.

Amos Tutuola The author or Nigeria’s first novel, the popular The Palm-Wine Drinkard, Mr. Tutuola was born in the big Yoruba city of Abeokuta, sixty-four miles from Lagos, in 1920. The son of a cocoa farmer, he had six years of interrupted education and further training as a blacksmith. During World War II, he was a metal worker for the RAF, and since then has been employed as a messenger in the government Labor Department in Lagos. “He has thus almost nothing in common with his fellow writers of West Africa, who are mostly men of university education who have travelled overseas and now hold posts of a ‘senior service’ type in a rapidly expanding elite. It is when he is viewed in this kind of isolation that Tutuola’s independence of spirit is fully shown. The valuable part of his example is surely his confidence, the confidence which enabled him, from such a background, to become the first internationally known writer in British West Africa.” (Quoted from Gerald Moore’s Seven African Writers, Oxford University Press)

In addition to The Palm-Wine Drinkard, Tutuola is author of My Life in the Bush of Ghosts, Brave African Huntress, Simbi and the Satyr of the Dark Jungle, and Feather Woman of the Jungle.

Program 1: Walter Allen, Amos Tutuola, Ulli Beier This program opens on a tumultuous rally in Kenya at which Prime Minister Jomo Kenyatta is principal speaker. Pointing out that this is a scene which is familiar to the world outside of Africa, the narrator introduces the viewer to Lewis Nkosi, who, during the six programs of this series is to show a less known side of Africa: the continent’s emerging literature. Mr. Nkosi begins his survey of African writers in London where he talks to Walter Allen, English critic who has reviewed a number of African books for the British Press. Next the viewer is taken to Nigeria where he meets pioneer novelist Amos Tutuola whose The Palm-Wine Drinkard (correct spelling) was published in 1952 by the English company, Faber and Faber. Tutuola, a master story-teller in the true African oral idiom, talks of his past and of the story- telling of the old people in his village, storytelling which was the basis of his inspiration to write. After reading the opening passage from The Palm-Wine Drinkard, he says that what influenced his first novel was a book in the Youroba folklore tradition, thus dispelling the myth that behind his colloquial, often ungrammatical style lies a more sophisticated background.

This program ends with a conversation between the host and Ulli Beier, German-born editor of the African Literary Magazine, Black Orpheus, published in Nigeria. Beier talks of coming to Nigeria in the early fifties when there was no such thing as Nigerian literature. In 1956 when he started his magazine he was forced to rely on translation from the already-established and popular French African writers. In this literary wasteland, Tutuola was the remarkable exception. But in the past few years there has been an explosion of interest in writing. In Nigeria, for example (partly through the encouragement of Mbari, a club where writers and artists meet, exhibit, publish, and discuss aesthetic standards) an enthusiastic group of writers is growing steadily. For whom do they write? Up to now, according to Beier, writers have been gearing to the European public because Europe is where, for the most part, they have been read and published. But the real challenge, he feels, will now be to create a real African audience.

Program 2: David Rubadiri, Leopold Sedar Senghor, Bernard Fonlon, Wole Soyinka On this program Mr. Nkosi looks into the literature of French Africa and the concept which is almost entirely the province of the French African writer – “Negritude,” the idea of a unique African collective personality.

Before going to French Africa, Nkosi first takes the viewer into a classroom in Nyasaland where the teacher-poet David Rubadiri is discussing Wole Soyinka’s poem, “Telephone Conversation,” a piece about segregation in London rooming houses.

Then the host presents President Leopold Senghor of Senegal whose poetry was admired in Europe long before he became known as an African head of state. President Senghor makes a statement on the concept of “Negritude” and what it means to him. He speaks from Dakar.

Nkosi explains that the English speaking writers do not generally follow the call of “Negritude” but rather wish to appeal to the universal experience of man.

The rest of the program takes place in Yaounde, the capital of the Republic of Cameroon, where Nkosi and Wole Soyinka talk with Dr. Bernard Fonlon, director of the magazine, Abbia. Dr. Fonlon discusses the origins of the “Negritude” philosophy and speaks of the potential danger of such a movement’s literature becoming slogan rather than art.

Program 3: Ezekiel Mphahlele This program takes place in an outdoor café in Paris where the featured guest, essayist and short story writer Ezekiel Mphahlele, lives in self-imposed exile from the land of his birth, South Africa. Joining host Lewis Nkosi fellow South African writer Richard Rive.

The half-hour conversation begins with a discussion of the feelings of the exiled writer Mphahlele suggests to his two colleagues that there is a certain advantage in exile, for it brings to one a broadened experience of life. But to the author the disadvantages are a heavy burden: the loneliness, the sense of being uprooted, and even, as Camus phrased it, a “yearning for lost poverty,” a desire for the suffering that long ago when he was a boy in South Africa became a part of Mphahlele’s nervous system.

When asked whether he is bothered by a conflict between the seemingly irreconcilable elements of the European and African traditional ways of life, he answers that he has been able to absorb both into his consciousness to a great extent – the African desire to be a part of a community and the European desire to be an individualist.

Concerning the state of South African literature, Mphahlele says he is “gloomy” about creative writing in such a society. As long as the battle between ruling whites and Africans persists, and as long as African literature is sucked into Black-White conflict, he feels, the writing will be “two-dimensional.” “We are in two ghettos, two different streams … separate streams, and you can’t get really dynamic art in this kind of society.”

They talk about the author’s own autobiography Down Second Avenue, and about the people who have influenced his life. With a chuckle Mphahlele tells stories of his bootlegging Aunt Dora and of his grandmother “who had a charming way of talking about God, the Christian God, and talking about the African gods and the ancestors in the same breath and there was never any sense of conflict in her mind between the two.”

Mphahlele, in discussing the impact of the emerging African literature on the continent itself, mentions the need for developing readership within Africa and sees as a step in the right direction the establishment of some African publishing houses.

Program 4: Chinua Achebe As this program begins the viewer sees three men walking through one of the halls of the Nigerian National Museum in Lagos. They are: series host Lewis Nkosi, Wole Soyinka, and the featured guest, Chinua Achebe.

The interview, which focuses on the craft of Achebe himself, begins as Soyinka and Achebe discuss a carving of Ikenga, a symbol of manhood in Ibo society. Soyinka likens the spirit of Achebe’s character Okongkwo from the novel Things Fall Apart to that represented by the carving. Achebe says he poured the essence of the aggressiveness and showy masculinity, traditionally so admired by the Ibo society into Okongkwo, and had his character’s ultimate downfall represent the shortcoming of a culture which places a premium on brute intransigence.

Is one critical assessment of Achebe’s work – that in his books he deliberately attempts to avoid passing moral judgment – a true one?, ask Nkosi. Not at all, replies the novelist. Achebe says that while he presents a balanced picture of the Ibo society in Things Fall Apart, including its many admirable attributes (its music and art,” … the poetry of life, the simplicity … the communal way of sharing in happiness and in sorrow …”), and while he does not attempt to draw a moral lesson on every page, the total effect at the end of the book – the disintegration of his hero – illuminates a very strong moral position on the author’s part.

After dismissing an evaluation of his work as being “unrelieved competence” rather than “genuine artistic inspiration” by pointing out that Things Fall Apart was written as a single draft with no polishing, Achebe goes on to discuss the influences which have shaped his artistic life. He speaks of the village, of the colorful tribal festivals, and of the way the old people talked. Coming from his own background, he points out, his fiction is the result of direct observation, not research. He also refers to the negative influence of Joyce Cary’s Mr. Johnson which angered him deeply when he was a student at the University College Ibadan.

Achebe also briefly discusses: his recent trip to the United States, where he met with the Harlem Group of writers – among them Langston Hughes and John Killens – and with a number of white writers including playwright Arthur Miller; his strong opposition to “people preaching from a position of ignorance,” a position which, he claims, is characteristic of most present day critics of African literature; and his new novel Arrow of God. In Arrow of God which concerns the relationship between an African god and a village priest, Achebe feels he is handling a group of more complex themes than he has in the past, and that he is progressing in the direction of a more highly developed treatment of character.

The author sees the Nigerian novelist’s position in his society as one of growing influence. As a literary form the novel is comparatively new in the country – only ten years old – but if book sales are any indication, Achebe feels the novel has caught on.

The three writers discuss the form of the novel as an “alien” form and consider its relation to the African writer. Is it possible, they wonder, that African traditions of storytelling could combine with the European novel traditions and evolve a new African novel form?

Program 5: William Abraham This program takes place in the library at the University of Ghana near Accra. Once again host Lewis Nkosi is joined by Wole Soyinka, this time to talk with William Abraham, associate professor of philosophy at the university and author of one of the most significant books on modern Africa: The Mind of Africa. This discussion is devoted almost entirely to the function of the writer in Africa. The tone of the conversation is markedly different from that of the other interviews – more tense, more formal, and at times, more heated.

Professor Abraham devoted considerable time to characterizing the “ideal” African writer. If a writer is to be called “African” he believes, he will not be defined ultimately in terms of skin color but in terms of his expression of a living African heritage, a tradition which should determine the style, idiom, and the content of his work. To be writing as part of a living heritage, Abraham maintains, means to see clearly and to absorb the many facets of modern African society (including the old, but still very much alive, oral tradition, and the foreign influences, Moslem and Euro-Christian), and to be able to present, as a result of this perspective, a comprehensive literary “critique of society.” (As a prime example of a novelist who has been able to write from a living heritage, the philosopher refers to Chinua Achebe.)

Hence, he feels, the African should write primarily for Africa, just as African scientists undertake to solve Africa’s scientific problems. Soyinka objects to this thinking. He says he sees it in “a kind of constriction of the artist within society … a sort of political expectation in his work.” Abraham replies by stressing the necessity of the African author being a part of his society to the extent that he really understands and reflects its soul. In this respect the professor criticizes Senghor for not writing as an “African” poet but rather as essentially a French poet who incorporates African allusions into his work. Despite Senghor’s ability to utilize African mannerisms in his rhythms and cadences, says Abraham, his “axis” does not lie within Africa.

Program 6: David Rubadiri This last program in the series takes place in Blantyre, Nyasaland, where featured guest David Rubadiri sits on the lawn of his home at Soche Hill College with his interviewers, Lewis Nkosi, series host, and Kenyan poet Joseph Kariuki. Against a background of quiet countryside the three writers discuss Mr. Rubadiri’s position as a poet and educator in a country about to declare its independence, his personal struggle as a creative writer, and the state of contemporary African literature in general.

Their conversation opens with the observation that he hard-driving, dedicated Rubadiri is typical of the spirit of a growing continent. This spirit is manifested as well, says Rubadiri, in the cultural interchange so common within Africa these days. He points out that he left Nyasaland to receive a college education in Uganda (at Makerere University) and that at the present time, in order to fill a significant gap, a team of Nigerian lawyers has come to Nyasaland. So it is that educated Africans are contributing to continental rather than just national needs within Africa.

Rubadiri approaches the question of his own development as a poet and teacher by reading a poem – “The Tide that from the West Washes Africa to the Bones” – which he wrote while a university student. At the time he felt himself in emotional and intellectual conflict with the values of the European Christianity which had so dominated his thinking. As one who developed outside traditional African village life, uprooted as a child to grow up in missions governed by white men, the poet claims he is still trying to “reground” himself. But his personal conflict is, he says, being mitigated by his identification with the growth of Nyasaland. As his country takes the final steps toward attaining independence he is stimulated and elated by “trying to play the little part I can in contributing toward the reconstruction of my country.” At this printing, Mr. Rubadiri is said to be the likely choice for the post of Nyasaland’s first ambassador to the United States. As his country becomes a true African nation, he feels himself beginning to develop roots, to feel human “as opposed to the young student who had to live between two worlds.”

Has a poet place in a developing nation, or is his pursuit a “luxury,” asks Kariuki. Far from being a luxury, replies Rubadiri, the “only thing that Africa has got to boast about and one which I think can contribute toward humanity is the spiritual force we still retain. “ It is not skyscrapers that will ever distinguish the African, the poet feels, but rather his power as a creative human being. Where other cultures have had their senses of values stripped away by rapid economic growth, Africa can still flourish as a spiritual force in the modern world.

Rubadiri’s interviewers ask him to what extent does he fell African literature is actually African. The poet replies that the forms are European and the result of European influence, but the wellspring of most African literature is the native oral tradition which is always lurking in the writer’s subconscious. As to what forms will emerge from the African writers of the next twenty years, it is impossible to project – and that, according to Rubadiri, is the exciting part of it. But a hint of something new is already present in the works, for example, of Chinua Achebe, the Nigerian novelist. There is also a great wealth of ides to be gleaned from the free spirit of the African outdoor village theater.

Nkosi asks about the teaching of African literature in the schools. How is it to be selected? Is there a danger that in their zeal to teach African literature teachers “might tend to invent African literature where it doesn’t really exist?” Rubadiri answers by saying that he is opening a new secondary school and will be experimenting with its syllabus. Thus the books his students read will be a matter of his own judgment. In this case – during this period when an African literature is in its infancy and few standards exist – the burden of selection will be up to the individual teacher. For the purposes of pedagogy, Rubadiri feels that any African poem, good or bad, is useful because for the African student it is common recognizable ground. Having established the idea of poetry and the student’ s critical sense through familiar African works, the teacher can then brand off into well-known foreign classics.

The program ends with a classroom scene in which David Rubadiri clad in his academic robe, introduces his students as a poem by Roy Campbell.

AFRICAN WRITERS OF TODAY: a 1964 production of National Educational Television in collaboration with the Transcription Center, London Henry Dore is the producer

Africa’s Twilight Kingdom Parts I & II (1959) Initial Broadcast: N/A Number of Programs: 1 Origin format: Film Running time: 30 minutes

Description: This film shows the wide variety of animals and plants which live in the veldt country. It is, generally speaking, a series of shots of various animals which live in Africa. The material has many elements of a travelogue.

Part I I. Opening – Scenic stats of Africa II. Titles: Africa’s Twilight Kingdom III. Pictures of the producers safari IV. Picture study of various African animals V. Picture study of the lion VI. The Serengeti plain animals

Part II I. Continuation of animal migration on the Serengeti plain II. Africa’s animal kingdom is facing extinction III. Jungle animals of the Congo IV. Picture study of various African animals

Program Evaluation (dated July 23, 1959) Production: This film has some brilliant photography, but the editing and narration are poor. Narration is spotty and often makes reference to pictures no on the screen. The editing is in many places very rough and sequences don’t hold together. This program needs a music and effects track.

Content: This program is a good study of African animals in their habitat. The lion is especially well handled. Children should like it.

Performance: The narration tries to achieve drama in many places where the pictures let it down.

General comment: This film can be excellent but it needs work.

NET Journal: After the Miracle Initial broadcast: N/A Number of Programs: 1 Origin format: Videotape Running time: 60 minutes

Description The “miracle” was the creation of a Jewish nation – Israel – in 1948. After centuries of oppression and rootlessness, the Jews had a land of their own, though it was situated in the midst of a hostile Arab world.

Eighteen years later, in this Intertel production, the Australian Broadcasting Commission has probed the nature of the Israeli people, especially the young, who are the first generation truly indigenous to this new land. The documentary concentrates on five aspects of life here:

Defense: Living under a constant threat of war, Israel has been and armed state since its inception. This point has been dramatized within the past few weeks by border incident between Israel and Jordan, which have roused the saber-rattling Arabs (especially in Nasser’s United Arab republic) to a new pitch.

Religion: The documentary finds that most Jews here are not religious, though the orthodox minority holds the balance of power in government. Especially among young people, the country is increasingly secularized, bound rather by a common heritage and a common fate.

Integration: Jews do not share a common cultural history, for the country contains people from 80 different nation, with the split especially marked between the more cultured Jews and Jews from the Orient who feel less privileged here.

Development: Citrus fruits, science, and tourism are the main industries here. Science is shown helping to conquer the desert through a huge National Water Carrier. Atomic energy is being used meanwhile to desalinate sea water.

The Arab Minority: Cut off from their native lands, the nation’s quarter of a million Arabs has faced strict military control and a poor standard of living. Israel is shown attempting to cope with their problems. Edward, an Arab student at the Hebrew University in Jerusalem, describes the difficulty of living here as an outsider.

Other young people appearing in the film include: H’ava, a 19-year-old girl serving in the national army and studying to be an artist; Yehuda, a boy who is training to be a rabbi at a rural Yeshiva; and Danny (an Algerian) and Avni (a Yemenite), two young delinquents from the poorest part of Tel Aviv.

The Australian film crew visits the Mandelbaum Gate, which divides New and Old Jerusalem and separates Arabs in Jordan from their relatives. Here, the families meet briefly, then must go back to their separate lands.

Program Credits NET Journal – After the Miracle is a 1967 presentation of the National Educational Television, produced for Intertel by the Australian Broadcasting Committee. NET producer: Boris Holtzman

Suggested Newspaper listing: From university to Kibbutz, from Bedouin tent to hostile border, this Intertel documentary examines the 18-year-old nation of Israel especially through its young people.

Aga Khan (1966) Initial NET Broadcast: September 5, 1966 Number of Programs: 1 Origin format: Videotape Running time: 17 minutes

“Aga Khan,” is a portrait of one of the world’s richest men and the spiritual leader of twelve million Ismailia Mohamedans.

In this National Educational Television presentation, the young Aga Khan is followed through a variety of widely different enterprises and activities. He reflects on his own life and background, and the position which he assumed at the age of 21 upon the death of his grandfather in 1957.

Filmed while dispatching his responsibilities as a spiritual leader, the Aga Khan is also seen as a Harvard student, as a Parisian, race horse owner, skier who once participated in the Olympics, and as the developer of a planned Riviera on the island of Sardinia.

“Aga Khan” is a presentation of the National Educational Television network, produced by the British Broadcasting Corporation. NET executive producer: William Weston Commentary and script by: Anthony Jay Narrator: Huw Wheldon

Age of Dissent: Young Men with Opinions (1961) Initial broadcast: N/A Number of Programs: 1 Origin format: Film Running time: 60 minutes

Description In this outspoken film, the youth of Canada and Great Britain express their views on the manners and morals of our time and give their estimates of what is good and bad in the world they will inherit – and perhaps remold. These are young men of accomplishment, some accepting the values of our age, others rebelling against a society they consider smug, empty, and afraid. Among the spokesmen for the new generation are: a student at Oxford University in England; a young British poet who joined the army at the age of seventeen and later, after leaving the service, registered as a pauper in the district where he lives in London; a wealthy Canadian student who, at the age of twenty-one, has three university degrees; a young British writer who gives his views on the “beat generation;” and John Gray, a Canadian playwright, who discusses the reading habits of today’s adults. Filmed in their working or living environments, the young men have stimulating comments to make on manner topics. The discuss the pros and cons of public schools, the number of students who won’t finish college and the number of student who shouldn’t be in college at all, the problem of rich and poor students, and the teachers’ loss of prestige. They also talk about world affairs, evaluating today’s world leaders and lamenting the average man’s lack of concern with public action. They express opinions on subjects ranging from man’s need for values beyond the material to the individual’s loss of the sense of his own significance on mass, block thinking. And they have some interesting views on the United States social structure, as well. The individual sequences are tied together with commentary by Ian MacNeill, writer-producer of the film, and Professor Frank Scott of the McGill University Faculty of law. Long a champion of youth’s right to be heard, Professor Scott finds much that is reassuring in the rebellious nature of youth.

Program Credits Director: Bernard Devlin Editor: Brian Keene Producers: Bernard Devlin and Ian MacNeill Executive producer: Guy Glover Produced by the National Film Board of Canada, 1959

Age of Overkill (1966) Initial NET Broadcast: December 3, 1961 Number of Programs: 13 Origin format: Videotape Running time: 30 minutes

General Description of Series: In THE AGE OF OVERKILL, Mr. Lerner concerns himself with five major forces in our contemporary world: nuclear weapons with overkill potentials; the nation-state explosion from which dozens of new nations are emerging; the passing of the old imperialism and its replacement by the two great power masses, the democratic and the communist world blocs; the increasing prevalence of “political warfare” – assault by means of ideas, economic aid, culture and the enticement of new nations; and the UN and its growth as a transitional force. From his consideration of these forces emerges the central theme: the classical system of world politics is being undercut; war as part of the power struggle is suicidal and therefore, no longer possible; the world is moving – and must move faster – beyond the power principle.

THE AGE OF OVERKILL is hardly light viewing and Mr. Lerner does not attempt to make it so. He is deeply aware of the seriousness of the subject and deeply concerned over its implications. But he is neither a pedant nor an alarmist. His own stimulating delivery is augmented by the judicious use of excellent film clips and slides.

THE AGE OF OVERKILL was produced for NET by WGBH-TV in Boston. Executive producer: Greg Harney Producer; Virginia Kassel Director: Donald Hallock

Featured Personality: Max Lerner is Max Richter, Professor of American Civilization and Institutions at Brandeis University in Waltham, MA. He has been a featured columnist for the New York Post since 1949 and is syndicated nationally. A brilliantly articulate speaker, Mr. Lerner was featured on an earlier NET series, SEMINAR ON American CIVILIZATION. His latest book, Beyond the Power Principle – The Age of Overkill, dealing with material similar to that in this series, is to be published in 1962. His other books include It is Later Than You Think, 1938; Ideas are Weapons, 1939; Ideas for the Ice Age, 1941; The Mind and Faith of Justice Holmes, 1943; Public Journal, 1945; Actions and Passions, 1949; America as a Civilization, 1957; and The Unfinished Country, 1959. Mr. Lerner received his AB from Yale University, where he also studied law. He received his MA from Washington University and his Ph.D. from the Robert Brookings Graduate School of Economics and Government. He has taught at Sarah Lawrence College, Williams College, Harvard University, and the New School for Social Research in New York City, and recently he spent a year teaching at the University of New Delhi in India.

Program 1: New Weapons in a New World Lerner devotes the first program to an examination of the meaning of nuclear weapons in an era when each of the world blocs possesses enough destructive power to kill the entire population of the world thirty-five or forty times over. His main point is that we no longer live in an era of power scarcity, but in one of power surplus.

Program 2: The Delicate Balance of Terror Using Churchill’s phrase to express the replacement of the balance of power by a new balance principle, Lerner points out that the world does not thereby achieve any real safety. The simple, horrifying fact that nuclear war has become intolerable does not mean that it has been ruled out. The intolerable is not necessarily impossible, he maintains, and then he describes three situations that might force war upon us.

Program 3: Imperialism, Old and New Power masses or great organizations of energy as represented by the two leading “empires” in today’s world provide Lerner with the topic for the third program. Opening with a definition of imperialism – “a way without consent” – he discusses the empires created by Great Britain, France and Belgium, and the eventual fall of these. Today Russia and America have taken the center of the world stage, with Red China looming in the background. Lerner reiterates his point that ideas can possess men, and outlines the four types of propaganda in active use today as opposed to the armies and plantation rulers that were the earlier symbols of imperialism. He closes with a summation of the reasons behind the rise of Russia and the US to the two key positions in the new imperialism.

Program 4: Two Worlds and the Neutrals According to Lerner, we have two and a half worlds in existence today – the democratic, the communist, and the neutrals – a situation that raised very special problems. He outlines the conditions that promoted and finally brought about the cold war and discusses the rise of the neutralist nations, their role in the world, and the shortcomings of their points of view. Lerner closes with the thought that the world today is living by two clocks: a clock of struggle between great blocs, which ticks out our fears, and the clock of humanity’s safety, which ticks out our hopes.

Program 5: Communism as a Grand Design Lerner traces the principle changes that have taken place in communist doctrine and points out that the communists use history as a weapon in the same way that Machiavelli used “reason of state” as a weapon. He considers whether a drive toward domination is inherent in this armed doctrine.

Program 6: The Politwar Since nuclear war has become intolerable, most of the rivalry between the communist and the capitalist systems is being carried on through what Lerner calls “political war,” which includes economic and ideological rivalries, the aid race, the exporting of techniques and technicians, and the war of ideas. He discusses the various means being used by both blocs and examines the results achieved by each bloc.

Program 7: The Identity Revolution Lerner discusses the emergence of new nation-states, particularly in Africa, and the multiple revolutions each is experiencing – multiple, because it is at the same time political, economic, administrative, and educational. He calls these “identity revolutions” because the core of each of them is the effort of a nation to discover and to assert itself.

Program 8: The Undeveloped World The struggle between the democratic and communist world blocs is illustrated in this program by the situation in Asia. Lerner describes the appalling conditions that make a people receptive to communist rule and outlines the various arguments presented by the communist and the Free World blocs in their struggle to gain control of or to save the Asian countries. He urges a “concrete total growth plan” and suggests that we take lessons from the successful communist theory of “dramatic aid” as exemplified by steel mills instead of canned goods. He closes with the statement that a degree of socialism must precede capitalism.

Program 9: Great Leaders in a Great time Lerner discusses some characteristics common to all great leaders and the reasons behind their successes and failures. Viewing leadership as a “dialogue with the people,” he distinguishes between the “event-creating” and the “event-reacting” leader. He notes the outstanding qualities of Churchill, Roosevelt, and De Gaulle and how those qualities were used in response to World War II, then closes with the observation that the new leaders must see that today’s problems are different from yesterday’s and require a new vision.

Program 10: Power Elite and Creative Elite Lerner devotes this program largely to a discussion of “national purpose,” which he breaks down into its three most important elements: the sense of purpose, the creative minority that carries it, and the commitment to values for living or dying. America, Russia, and China are discussed in the context of the three elements.

Program 11: Beyond Power – To What? The world is moving beyond the power principle. What principle can replace it? What principle can ensure the world’s survival? Lerner discards the concept of a moral organization of the world as not having enough teeth in it, and suggests that the world must move toward a system of world law. He considers the first step of such a system to be the placing a monopoly of nuclear weapons in the hands of a non-partisan and detached UN agency.

Program 12: A Collection World Will Lerner discusses the difficulties of achieving a collective world will, emphasizing the problems the UN has encountered and those it is likely to face. He suggests some steps that can be taken now and in the future to organize a genuine world collective seriously.

Program 13: Death Urge or Life Force Lerner ends his series with a discussion of whether his vision falls foul of “human nature.” He examines Freud’s basic view in “Beyond the Pleasure Principle” that there is a death urge in man that he will not be able to defeat. Lerner counters with evidence that there is a life force as well, and he views the future as a struggle between the two. Between the realm of what is and what ought to be there lies the realm of what can be. Whether we achieve it depends upon our commitment (to life or death) and our courage in meeting that commitment.

Agricultural Policy (1958) Initial NET Broadcast: 1958 Number of Programs: 8 Origin format: Film Running time: 30 minutes

General Description of Series: This series deals with the national agricultural policy of the United States. A typical family, the Ed Harvey family, is used throughout and their questions and answers explain the problems and what some of the pro and con arguments concerning these problems are.

Program 1: One Man’s Meat Why special treatment for the American farmer? This is the questioned posed in this opening program and, using a story line built around the average family of Ed Harvey, the film seeks a more intelligent handling of agricultural policy on the national level. The program presents a definitive history of agriculture economics in an effort to explain the farmer’s vulnerable position in the constantly changing business cycle of a capitalistic society. Although the program does not advocate any definite policy, it does ask intelligent questions which tend to stimulate thinking on the farm problem.

Program 2: The Magic Formulas Here the Ed Harvey family becomes involved in explaining that bugaboo of farm policy terms – parity. Just what is parity and what does it mean to an average American family? Burden of explanation is carried by a series of cartoons illustrating that parity is an attempt to achieve a balance between the prices received by the farmer for his products and the prices he has to pay for labor and for equipment, necessities and comforts. The cartoons are presented as a dream sequence following Ed Hardy’s attendance at a dinner meeting on “What Parity Means to You.”

Program 3: Too Much is Plenty Ed Harvey and his brother-in-law find themselves discussing the problem of surplus and soon the entire family is involved in the discussion, pointing up problems and potential solutions. Farm production, government aid programs, government regulation and industry are some of the topics discusses. Cartoon sequences are used to depict an historical review of the problem and solutions which the Harvey children come up with after researching the problem.

Program 4: Who Pays the Bill? The urban complaint against high farm prices is defended by the farmer in this program. What the government is doing to support farm prices is illustrated through use of a cartoon sequence. Four plans of price support are discussed and although no conclusion is drawn, the general idea that farmers must have some economic support from the government to provide incentive for production is presented.

Program 5: Surplus is a Hungry World “Trade is a two-way street. If you want to sell, you’ve got to buy,” says Ed Harvey in this program, after a discussion of international trade and the relation of surplus to tariff. A trip through Washington, D.C., and cartoon sequences of the surplus problem and the import-export balance are featured in the program.

Program 6: So Many with So Little The Harvey family’s trip through the South is the background for this program. Their visit with the Hull Farm Family, a mountain family whose problems include small holdings, a cash crop limited by the government, and little or no opportunity for their children. A cartoon sequence deals with statistics and the narrator suggests possible solutions to some of these problems.

Program 7: Pay Now, Eat Later Ed Harvey introduces the subject of balance between today’s resources and tomorrow’s needs – conservation. A visit with his brother Frank shows us his brother feels government should stay out of farming and even out of conservation. From Frank’s farm, where the viewer has seen how a government conservation agent helped Frank improve his farm land, to the scene of a high school contest, where one student is giving his first speech on conservation, is an easy switch when Ed Harvey points out old errors in soil use and things we now know. A cartoon sequence vividly points out the problem: Should citizens be willing to pay now to support the welfare of future generations? Reasons for the support of a conservation program are cited by farmers and the general public.

Program 8: To Market, To Market Ed Harvey asks, “Who’s responsible for high food prices?” Ed and his brother Frank, a farmer, are shopping in a supermarket when the realization of the high retail prices hits them. So, the viewer follows a loaf of bread from the grain elevator to the bread delivery truck to find out where the food dollar goes. A cartoon sequence illustrates how little the farmer gets as his share. After going through a list of potential solutions, Ed Harvey concludes: “There is no easy answer, but at least now we understand the farmer’s concern with this problem.”

Agriculture in an Uneasy World (1961) Initial NET Broadcast: April 2, 1961 Number of Programs: 1 Origin format: Videotape Running time: 30 minutes

Produced by WMSB-TV, Michigan State University, East Lansing, AGRICULTURE IN AN UNEASY WORLD is a sixty-minute edited version of a two-hour and fifteen minute remote broadcast from Jenison Fieldhouse on the Michigan State campus during “Farmer’s Week” (February 1, 1961). This program marks the first time that five former secretaries of agriculture have appeared on the same platform for a non-political discussion of the nation’s agriculture.

The first six minutes of AGRICULTURE IN AN UNEASY WORLD is devoted to an introduction of the program and a brief sketch of each of the secretaries. Then, highlights of the introductory speeches are excerpted for approximately elven minutes, with the remaining forty minutes devoted to the question- and-answer session that followed.

The panel of agricultural specialties and newsmen who served as interrogators were: Lauren Soth, editorial page editor of the Des Moines Register and Tribune; Carroll Streeter, editor of the Farm Journal; Milton Grinnell, editor of the Michigan Farmer; and Dale Hathaway, professor of agricultural economics at Michigan State University.

Rob Downey, WMSB news and special events director served as narrator for AGRICULTURE IN AN UNEASY WORLD. Technical supervisor for this four camera remote broadcast was Don Dombrausky. Producer-director and videotape editor of the program was Bob Page.

HENRY AGARD WALLACE Secretary of Agriculture from 1933 to 1940 was editor of Wallace’s Farmer and Iowa Homestead from 1929 to 1933. After serving one term as Vice President of the United States (1941-1945), he became Secretary of Commerce from 1945 to 1946 and was the Progressive Party candidate for President in 1948.

CLAUDE RAYMOND WICKARD Secretary of Agriculture from 1940 to 1950 became chief of the Corn and Hog Section of the Agriculture Adjustment Administration in 1935. After rising through the ranks of the AAA, he became its Director in 1937.

CLINTON PRESHA ANDERSON was Secretary of Agriculture from 1945 until 1948. Before that he was reporter, insurance agent, treasurer of the State of New Mexico, administrator of the New Mexico Relief Administration, chairman of the New Mexico Unemployment Compensation Commission, and United States Representative from New Mexico. Since 1948 he has been a United States Senator from New Mexico.

CHARLES FRANKLIN BRANNAN was Secretary of Agriculture from 1948 until 1953. He practiced law in Denver until he became regional attorney for the Resettlement Administration of the USDA in 1935. After further appointments he became, in 1944 Assistant Secretary of Agriculture. He is presently a practicing attorney in Denver.

EZRA TAFT BENSON was Secretary of Agriculture from 1953 to 1961. Between 1923 and 1938, he held several positions in agriculture. In 1939 he became executive secretary of the National Council of Farmer Cooperatives. He was also on the Board of Trustees of the American Institute of Cooperatives. He is currently active as an official in the Church of Jesus Christ of the Latter Day Saints.

Special – Agriculture: The Need Now! (1969) Initial NET Broadcast: April 28, 1969 Number of Programs: 1 B&W or Color: B&W Running time: 60 minutes

Vernon Ashley, coordinator of Indian affairs for the State of South Dakota – pleads for greater attention to the food problems of Indians on reservations, claiming that 84 percent in his state are on welfare through the winter months, and are unable to get adequate food supplies, even though they have stamps.

Mrs. Orian Captain, nutritionist for the Omaha-Douglas Country (Nebraska) Health Department – says that hunger and “under nutrition” are widespread among low income families in her area. She says that in 75 percent of those families, both parents are working and yet the combined income doesn’t cover basic needs. The food budget, being more flexible than other important items, suffers a result.

Mrs. Ella B. Stackhouse, home economist for the Missouri Extension Service – stresses what she calls the importance of continuing long-range food subsidy programs.

William House, president of the American National Cattlemen’s Association – talks about his industry and the necessity of raising farm income in general.

“Agriculture: The Need Now!” was produced for NET by KUON, its affiliate station in Lincoln, Nebraska. Producers: Joel Fowler and John McLaughlin Directors: Darrell Wheaton and Ron Nicodemus

Alaska – The New Frontier (1961) Initial Broadcast: N/A Number of Program: 6 Origin format: Film Running time: 30 minutes

General Description of Series: Alaska became the forty-ninth state in 1958; ninety-one years after Secretary of State William H. Seward negotiated the purchase of the territory from the Russians. In many ways it has changed radically since 1867, and since 1958; in others, it remains as it was centuries ago. To explore the many faces and facets of the largest and second newest state, KCTA-TV of St. Paul, Minnesota, sent a film crew to Alaska to prepare this series. They and their cameras traveled from modern Anchorage to Point Hope, one of the oldest Eskimo villages in the state; they visited abandoned gold mines, Armey missile sites, the governor’s office, the new settlements of homesteaders, the factories and the farms that combine to make Alaska a state of excitement and vigorous activity. The result is a series that portrays the state with the immediacy that can be achieved only by a blending of fine visual material and informed commentary.

Produced by KCTA-TV, St. Paul, Minnesota Executive producer: Joseph McDermott Producer-Director: Ray Daum Writer-Commentator: John MacVane Producer-Writer: Joe O’Brien

Featured Personality: Host John MacVane is United Nations correspondent for the American Broadcasting Company. He appears regularly on two NET series as commentator for U. N. Review and as briefing officer for BRIEFING SESSION.

Program 1: Modern Alaska The series begins with a tour of the city that best typifies Alaska as it is now, and as it is trying to be– Anchorage. Despite the modern developments in offices, homes, schools, and factories, editor Robert Atwood of the Anchorage Times remarks, it is often difficult to discuss Alaska’s progress with citizens and legislators of the other states. “In fact,” he confesses, “I often succumb to pressure and proclaim, ‘We do live in igloos and carry a lantern six months a year,’ just to quiet the disbelievers.” Anchorage, busy as it is, is not the only source of industry and commerce and culture in Alaska. Among others visited are the new oil refinery and drilling operations in the Kenai Peninsula, and a pulp manufactory; and the music festivals and museums and the University of Alaska in Fairbanks and at the Alaska Methodist University in Anchorage. Mr. MacVane point out, however, that there are factors that may slow Alaska’s rapid growth: its dependence on the military for jobs and for development, the lack of economical transportation, the harsh winters, and the high cost of living. (These are explored at greater length in the series.)

Program 2: Old Alaska The discovery of gold was largely responsible for the first expansion of the territory’s population. This program recreates the excitement of the gold rush, showing the prospectors’ trails, their campsites, the gold rush cities—and pictures of the first settlers, the dance hall girls, the preachers, miners, and explorers. The crew and John MacVane travel to Alaska’s first capital, Sitka, which recalls the Russian possession of this huge territory. They tour Skagway, and peer into an old saloon owned by Soapy Smith, a notorious gold rush gangster. On the beach at Nome they pan gold with an old prospector, who talks about the decline in gold mining, and about the old days. Dyea, a booming mining town of 20,000 in 1900, has virtually disappeared; MacVane discusses the town and its history with one of its remaining four citizens. Vignettes and conversations such as these bring back vividly the wild ‘n’ wooly frontier days.

Program 3: Statehood What does statehood mean to Alaskans? John MacVane conducts sidewalk interviews with the new citizens, and draws from them a series of interesting responses. Joe Kirkbridge, editor of The Daily Alaska Empire (a Juneau paper), tells about the many conditions that hamper Alaska’s future development. Governor William Egan, in an interview in his offices, speaks of the Alaskans’ inventiveness and their willingness to be self-reliant, to accept hardship, and to help one another. His statement is a remarkable combination of idealistic anticipation and realistic appraisal of the difficulties facing the development of Alaska.

Program 4: Native Alaska Who lived in Alaska before the white explorers arrived? The origins of the first inhabitants are unknown, although scientists believe that they have been there for several thousand years. When the first explorers came to Alaska they found the Eskimos in the north and the Indians in the south, and that is how it is today. The camera team visits Totem National Park in Sitka, and John MacVane interviews Mrs. Ellen Lang, an Indian princess whose father is a representative in the state legislature. They discuss the evolution of the Alaskan Indian, the integration of the native population with the white settlers, and the prospects for the continuation of the original Indian culture despite the tendency toward assimilation. The team also travels to an Eskimo village in the Arctic, the origins of which may well date two thousand years back. This small village, which keeps to its traditional ways, is threatened with extinction: a new atomic energy plant thirty miles away may destroy the Eskimos’ hunting and fishing territories. This and other problems connected with the appearance of the white man are discussed by Mr. MacVane and State Senator Eban Hopson, an Eskimo.

Program 5: Alaska—the Land of the Newcomer and the Tourist To many the words “job” and “opportunity” are synonymous with Alaska. John MacVane discusses the problems of homesteading and labor with Gill Johnson and Phil Holdsworth, commissioners of natural resources and labor, respectively. They suggest strongly that anyone who contemplates entering business or establishing a homestead in Alaska look carefully into the prospects before definitely committing himself. And they also recommend the purchase of a round trip ticket. After this interview, Mr. MacVane and the camera team explore the rich agricultural area of the Matanuska Valley, where some two hundred families settled during the 1930’s. One of the farmers, Max Sherrod, takes the team on a tour of his farm, which boasts among other things, rhubarb stalks as thick as baseball bats. Mr. MacVane also talks to Mr. and Mrs. Pat Carney, recent homesteaders, who discuss the difficulties they have faced. To conclude the program, the camera team goes on a bear hunt, and witnesses some remarkable aerial acrobatics.

Program 6: Strategic Alaska Alaska’s proximity to the Soviet Union and its position as an extension of U.S. territory explain why the Pentagon attaches such importance to its role as a base of warning in the event of surprise attack. The program depicts the nature of the warning systems and military installations in Alaska. In Anchorage, the crew visits Fort Richardson, where troops are trained for operations anywhere in a state that’s twice the size of Texas. Then, from Elmendorf Air Force Base, scenes of the NORAD Base communications system are made available, possibly for the first time, to ETV viewers. The crew and Mr. MacVane travel next to Point Barrow to examine the DEW (Distance Early Warning) Line. Toward the end of the program, Mr. MacVane talks with Col. Wallace Pearson and Brig. Gen. F.R. Zierath and asks them to comment on the extent of our defenses in our northernmost state.

NET Drama Festival: The Alchemist by Ben Jonson (1962) Initial NET Broadcast: N/A Number of Programs: 1 Origin format: Videotape Running time: 113 minutes

Plot: The setting is London in 1610. The English gentleman Lovewit, to avoid the plague, leaves his house in the care of this servant, Face. This wily rogue wastes no time in inviting his friends to set up a swindler’s lair in his master’s house. Their victims include Dapper, a clerk, who seeks magic skill in gambling; Abie Drugger, a tobacconist who wants a device to fascinate customers, and Dame Pliant, a widow who wants to marry again. Lovewit returns unexpectedly and uncovers the whole plot. He falls in love with Dame Pliant and marries her, forgiving the indiscretions of Face in return for his having acted as matchmaker.

The Cast: Subtle – Michael O’ Sullivan Face – Robert Symonds Doll – Peggy Doyle Mammon – Dean Goodman Surly – David O’Neill Drugger – Ray Fry Dapper – William Major Kastril – Joel Fabiani Dame Pliant – Ruth Breuer Lovewit – James Gavin Neighbor – James Donohu Neighbor – Tom Sullivan Neighbor – Tim Campbell Neighbor – Ann Rhine Neighbor – Ken Hoerauf

Directed by Jules Irving of the Actor’s Workshop Produced by KQED, San Francisco

Over the past several years, the Actor’s Workshop has established itself as one of the foremost semi- professional theaters in the country. It was started in 1952 by Herbert Blau (who has taken his Ph.D. at Stanford University and was a professor of language arts at San Francisco State College) and Jules Irving (an assistant professor of drama at the same college who had a considerable acting and directing experience in Broadway and off-Broadway productions). With a total bankroll of $18, they set up their first theater in a loft over a San Francisco Judo academy where, to invitational audiences, they presented “Hedda Gabler,” starring Blau’s wife, Beatrice Hanley, an experienced actress who had appeared in New York productions and had twice been artist-in-residence at Stanford. They continued to produce shows in their small quarters to increasingly enthusiastic audiences, and had their first resounding success with Arthur Miller’s “Death of a Salesman” in 1954. The critics were unanimous in their praise, finding their production superior to that of the Broadway touring company, which had played San Francisco a short time before.

When the group decided to incorporate, the local enthusiasm for their venture proved so great that a stock issue of 10,000 shares was sold out within a few days. Their productions continued to be well received and the next large-scale success was “The Crucible” by Arthur Miller. During the run of this play, the Actor’s Workshop moved to larger quarters – the 640-seat theater in the Marine’s Memorial Building. On April 15, 1955, they received the first off-Broadway endorsed by the American National Theater and Academy, and was among the few companies chosen to represent the United States at the Brussels World’s Fair. Their productions have ranged from classics such as “The Alchemist” to plays by contemporary playwrights, including Osborne (“The Entertainer”) and Tennessee Williams (the West Coast premiere of “Camino Real”). Although many of the company also work at jobs outside the theater, most of them have had some professional theatrical experience. New members of the company are chosen with care, to maintain the high performance standards set by Blau and Irving.

Background Information: “Rare Ben Jonson” all but bridged the time from Shakespeare’s beginnings to the closing of the English theatres by the Puritans in 1642. In comedy he scored a success almost comparable to that of Shakespeare. His “comedies of humor,” of which THE ALCHEMIST is one, marked out a path for future dramatists in that incident grew out of character and was no longer developed for its own sake. Jonson maintained that in every man there is a ruling trait, a bias of character -- in short, a “humor” – which is the very fountain of comedy. And since these human weaknesses which he satirized are ever present among us, his comedies such as THE ALCHEMIST interest today almost as much as they did in the great Elizabethan era of the theatre.

Alexander Schreiner at the Tabernacle Organ (1960) Initial NET Broadcast: October 9, 1960 Number of Programs: 3 Origin format: Kinescope Running time: 30 minutes

General Description of Series: Dr. Alexander Schreiner, organist at the historic Tabernacle in Salt Lake City, discusses in three programs the background, temperament, and compositional techniques of chief organ composers in the German Baroque, the German Romantic, and the late French Romantic periods respectively.

The programs do not depend upon one another and their distinctive feature is Dr. Schreiner’s unabridged performance on the Tabernacle organ of the works under discussion.

The programs were produced by KUED at the University of Utah. Keith M. Engar is the executive producer, Byron J. Openshaw, the director, and HW Holtshouser, the technical director.

Featured Personality: Dr. Alexander Schreiner was born in Germany and immigrated to Utah while in his teens. He has spent his entire life in the study of an extensive organ literature. He studied in the United States with JJ McClellan, his predecessor as Tabernacle organist, and in Paris with Charles Marie Vidor and Louis Vierne. He has been Tabernacle organist since 1924. From 1930 to 1939 he spent winters at UCLA as organist and lecturer. Afterwards, he divided his time as Tabernacle organist and teacher. He has also made extensive concert tours through North America and Europe.

Program 1: A Program of Fugues Dr. Schreiner explains a fugue. He relates the story of Bach as a teen traveling almost 200 miles on foot to hear the great organist, Dietrich Buxtehude. Bach patterned some of his music after the organist. To compare the two composers Dr. Schreiner plays two representative fugues: “Fugue in C Major” by Buxtehude and “Fugue in C Major” by Bach. A Bach fugue noted for its grandeur of expression is the “Triple Fugue in E Flat” which Dr. Schreiner plays.

Program 2: Romantic Composers In this program, Dr. Schreiner plays the organ music of Mendelssohn and Schumann. Mendelssohn wrote six sonatas for organ, weaving melodies of Lutheran chorales into his compositions. He was an accomplished pianist, composer, and conductor, but had devoted little time to the organ. Therefore, in the bravura sections for pedal, the clever composers freed the left hand so he could play those portions manually. Dr. Schreiner plays Mendelssohn’s “Sonata Number One.”

Robert Schumann was Mendelssohn’s contemporary. Schumann was also an amateur organist, and he was a master at counterpoint. He wrote six pieces called “Canon” in which the melody is echoed at a distance of one measure in the tenor voice. Dr. Schreiner plays “Canon in B Minor,” a light and sprightly piece, and “Canon” in B Major,” a lyrical piece.

Program 3: French Composers The foremost impetus towards the establishment of a French nationalist school of music in the nineteenth century came from Cesar Franck who, in addition to being a composer of repute, was in his great proficiency at the organ, compared by Liszt to Bach. In admiration of Franck, a whole new generation of French composers sprang up, adhering to a style of composition called “cyclic,” music ideas being generated out of a central “germinating motif.” Dr. Schreiner opens this program with one of Franck’s extended compositions: “Fantasie in A Major.”

Among the musical scions of Franck was Henri Mulet who, in the vagueness of his melodic line and attenuated chromatic harmony, represents what may be called the “typical” French sound of the late nineteenth century. Dr. Schreiner plays Mulet’s “Meditation Religieuse.”

Overlapping into the twentieth century but firmly rooted in nineteenth century chromaticism was Louis Vierne, organist at Notre Dame Cathedral in Paris and Dr. Schreiner’s former teacher. He continued the practice of writing organ symphonies, referred to in earlier times as organ sonatas. Dr. Schreiner concludes the program with a rousing finale from the first of Louis Vierne’s essays in this genre: “Finale from Organ Symphony Number One in D Major.”

Special of the Week #225B: Alexis Weissenberg: The Piano (1973) Initial NET Broadcast: March 19, 1973 Number of Programs: 1 B&W or Color: Both Running time: 30 minutes Contractor/Producer: WNET

Filmmaker and pianist combine their talents to capture the themes and moods of Igor Stravinsky’s “Petrouchka Suite for Piano” in the WNET Opera Theater presentation, “Alexis Weissenberg: The Piano,” a program which was originally broadcast in March 1970.

In a black and white film by Swedish director Ake Falck, the internationally famous pianist Alexis Weissenberg is seen performing the three movements of the Stravinsky work. Following the film, Weissenberg and Jordan Whitelaw, producer of the Boston Symphony Orchestra broadcasts, discuss Falck’s cinematic treatment of the music in a discussion filmed in color.

“Music should never be illustrated; it distracts people from listening,” comments Weissenberg, who has performed in every major capital of Europe and in the United States. The pianist goes on in the discussion to note that Falck, who has worked with Ingmar Bergman, attempts only to convey an impression of Stravinsky’s work by using black and white film, shadowy lighting, and angular attitudes, an approach in keeping with the angular patterns within the music.

Falck’s film was also designed to depict the craftsmanship of the pianist. The camera studies Weissenberg’s hands closely from various angles during the performance, a feat that was difficult to achieve and which necessitates taking the piano apart to accommodate Falck’s equipment.

Suggested Newspaper Listing: “Alexis Weissenberg: The Piano.” – Ake Falck’s film portrait of renowned pianist Alexis Weissenberg’s performance of Igor Stravinsky’s “Petrouchka Suite for Piano” followed by a discussion of Falck’s cinematic treatment of the music between Weissenberg and Jordan Whitelaw, producer of the Boston Symphony Orchestra broadcasts.

“Alexis Weissenberg: The Piano” is a production of New York’s WNET/13, transmitted nationally by PBS, the Public Broadcasting Service. Executive producer: Curtis W. Davis Producer: David Griffiths

Intertel #16: Algeria: What Price Freedom (1964) Initial NET Broadcast: May 4, 1964 Number of Programs: 1 Origin format: Film Running time: 60 minutes

Background on Algeria: A country that has been colonized by Romans, Turks and French, Algeria began her hard-fought struggle for independence against French colonial rule in 1954. The country erupted into full-scale turmoil and bloodshed for seven turbulent years when the Muslim population sought freedom from the French and the European colonial settlers attempted to keep Algeria French.

The toll of the battles for freedom – which became historic reality on July 1, 1962, under the leadership of President Ben Bella – numbered a million and a half dead. Independence also resulted in the exodus of 800,000 professional Europeans. And as the newly formed country began to write another chapter into the pages of history, it had a government left with empty coffers, insolvent banks, a network of roads, harbor installations, some fertile vineyards, and some modern buildings. The strong desire to forget the terrible tragedies and to live anew has enkindled an intense enthusiasm among the people to work with and for the new state. The problems that need to be solved in this emerging nation are many – education, economic development of untapped resources, land and farming improvement, housing, and other social reforms. A country that is torn between its traditional customs and modern standards, Algeria is today a nation of contrasts and hope.

General Description of Program: “ALGERIA: WHAT PRICE FREEDOM?” documents the seven-year struggle for independence with France and shows that Algeria’s people are attempting to make the nation a force in the world today.

Cameras visit the crooked streets of the Casbah – once a ghetto of bloody terror, now an overcrowded and poor district where the people live calmly.

In an Arab quarter of Mostaganem, the houses are lightly walled in and veiled women live a sheltered life. The veil, symbol of secrecy, is now the subject of heated debate in Algeria, where emancipation of women is a social goal. Even the most optimistic say emancipation of women will take another generation before it will become an accomplished fact. The cameras also visit the Khelil family, Europeanized, liberal and modern by Algerian terms, but nonetheless retaining some traditional influences. Cameras follow Madjid Khelil during a typical day with his family and looks on as he goes to the mosque on a Friday to pray.

The transition of Algeria’s educational system is seen in old schools where the Koran is taught and in an integrated single system that combines the country’s religious and cultural heritage. The French had created a good school system, the program shows, but not all Muslims had access to it. One of the big problems facing Algeria and its government is illiteracy. To combat it the government is opening schools whenever and wherever possible and is adding Arabic as well as French to the curriculum. Under President Ben Bella’s reform, the teachers attend professional schools to help fight the illiteracy problem. As the program shows education is free to all children.

In the economic phases of Algerian progress the government is calling on the people to help rebuild the country. TO fill the empty coffers, President Ben Bella established a National Solidarity Fund. From the villages, cities, farms, mountains, flat land, desert, the people answer enthusiastically. The Algerians are seen voluntarily giving their jewels, money, deeds – anything of value. Algerians are seen clearing and replanting the Bainem forest, all at the government’s request. Part of the agricultural reform instituted by President Ben Bella has been the collectivizing of 12,000 farms totaling four million acres. At the Le Domaine Bouchaoui, Algeria’s largest – 8,000 acres – vineyard, 500 workers till the land. Here, to see the agricultural changes, the cameras visit a young farmer, Mercheri. The farmers, who once lived in squalid can huts, now live in brick houses left by the Europeans. Mecheri appears a happy man who keeps house with his wife and children. At his vineyard President Ben Bella comes to the land. At the meeting, Ben Bella tells the farmers that the success of the committee depend on the future of the country.

For a vivid contrast to the fertile lands in the west of Algeria the viewer is taken to the eastern regions beyond the passes of Palestro where poverty – another major problem – exists in the mountains of Kabylie. Here old Berber traditions are preserved, the villages are overpopulated and the people live a Spartan life.

Another challenge for Algeria is unemployment. In Constantine the city is swollen with people, many of whom were refugees during the seven-year war. Eighty percent of the city’s population is without work. And the growing despair of the people is displayed in malcontent and protest demonstrations. Cameras then shift to the mountains in Aures where the age-old ways of the semi-nomadic barbarians are retained.

In a sense, Algeria’s bad luck is viewed as its good luck, says Algerian newspaperman Boualem Makouf, who fought for the country’s independence.

The answer to find work for millions, provides school rooms, feed the hungry, and may lie with untapped resources beneath the sand dunes. Another answer is found in the development of tourist trade. At Biskra and Bou-Saada, tourists flock to these resorts of exotic attractions. Mr. Makouf says the prime meaning of Ben Bella’s name is unity. “Through him the people communicate and feel united.”

It is Ben Bella who founded reception centers for children of the “Chouhada,” (Martyrs) of the revolution. At one of these centers, the Holden Chateau in Douera, the youngsters – who have known war, loneliness on the streets, death of their parents – go to school, play, eat together, work together, and prepare to become the men of Algeria’s tomorrow.

Credits: ALGERIA: WHAT PRICE FREEDOM is a 1963 Canadian Broadcasting Corporation production for Intertel Producer and Director: Marcel Blouin Writer: Judith Jasmin Narrator: Jacques Fauteux Editor: Pierre Girard

All About TV (1972) Initial NET Broadcast: October 9, 16, 23, 30, 1972 Number of Programs: 4 Origin format: Film Running time: 60 minutes

The Public Broadcasting Service will present a four-part inquiry examining whether television adds to or subtracts from an understanding of the issues and the candidates in a national political campaign. The special series “All About TV,” probing television’s role in this year’s presidential election will be seen.

The first program in the series, “Politics and TV, Part I,” will examine how the Democratic National Committee is using the medium. Special guest will include John Stewart of the McGovern/Shriver headquarters; Bartle Bull, Citizen for McGovern of New York City, and Robert Abrams, Bronx borough president. “All About TV” host Steven Scheuer will discuss with his guests how and why televised political commercials are made and used.

“TV, Part II” will focus on GOP use of television by the November Group: Philip Joanou, the group’s executive vice president, and William Taylor, senior vice president and creative director of the November Group.

The first two programs in the series are produced by Marianne Steinberg.

The third and fourth programs in the series will probe the general issue of television and political advertising. Specific questions asked will include: Should politicians be permitted to buy advertising space on television? How can the public determine the truth of falsehood of political advertising? Do 30 and 60 second political spot announcements have any validity, and should they be used on television?

Guests on the third program will include Seig Mickelson, former CBS News executive and now professor of communications at Northwestern University; Douglas Cater, director of the study of mass communications for the Aspen Institute; John O’ Toole, president of the advertising agency Foote, Cone & Belding and a GOP media consultant, and Dr. Herbert Alexander, director, Citizens Research Foundation, Princeton, New Jersey and a leading authority on political campaign financing.

Guests on the final program in the series will include Edward Ney, president of the advertising agency Young & Rubicam, and Bruce Felknor, executive director of the Fair Campaign Practices Committee. Producer: Evelyn Goodman.

“All About TV” is an award-winning weekly syndicated series produced by WNYC New York. The series focuses on all aspects of the role played by television in America – what it does, what it ought to be doing, and the uses and misuses of the medium in our society. Host and executive producer: Steven Scheuer.

The Alma Trio (1964) Initial NET Broadcast: August 14, 1964 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes

General Description of Program: On this program the Alma Trio plays two selections: “Vitebsk” by Aaron Copland and Franz Schubert’s Trio in E Flat, Opus 100.

The program was produced in 1964 for National Educational Television by KQED, San Francisco. William Triest is the producer. Curtis Davis is the executive producer.

The performers: The Alma Trio is composed of: Andor Toth, violinist; Gabor Rejto, cellist; and Adolph Baller, pianist.

Taking its name from the Alma Estate of Yehudi Menuhin in the Santa Cruz Mountains of California, where they first begin playing some years ago, the trio has toured the United States (including Alaska), Canada, Cuba, New Zealand, the USSR, Czechoslovakia, and Western Europe. The group’s varied programs include sonatas for violin and piano, cello and piano, and the rich trio literature from Mozart and Beethoven to the modern composers.

Andor Troth, a native of New York, was still a fellowship student at the Juilliard School of Music when he became the youngest concert master of a professional orchestra in America; at seventeen he was the solo violinist and concert master of the world famous “original” Ballet Russo. Since that time, he has appeared as violin soloist with leading symphony orchestras in America including the Cleveland, Houston and Chautauqua symphony orchestras. He has also been a member of the Gordon, Amati, and Oberlin string quartets, and is currently Acting Head of the String Department at the University of Colorado in Boulder.

Gabor Rejto (pronounced RIGHT-oh) is a former pupil of Pablo Casals, with whom he studied in Spain and France. He had an extensive European concert career before coming to the United States with the Lerner Quartet in 1939. He has since appeared with the Gordon String Quartet, has served as head of the cello and chamber music departments at the University of Southern California. Mr. Rejto uses a Montagnana cello made in Venice in 1721 by Domenico Montagnana, one of the greatest cello makers of all time.

Adolph Baller has become widely known throughout the Americas for his tours with Yehudi Menuhin and on the West Coast especially for his recitals and solo appearances at the age of twelve, when he appeared as soloist with the Vienna Philharmonic Orchestra. He also had an extensive European concert career, including appearances at the Salzburg Festivals, before coming to the United States in 1938. When not on tour, Mr. Baller serves on the faculty of the San Francisco Conservatory of Music.

Almanac (1958) Initial NET Broadcast: January 1958 Number of Programs: 9 Origin format: Kinescope Running time: 15 minutes

General Description of Program: Featuring the noted photographer and wild-life authority Charles W. Schwartz, “Almanac” is a series about the world out-of-doors produced in co-operation with the Missouri Conservation Commission by educational station KETC in St. Louis. Mr. Schwartz recently won an international film award for his film on the Bob-White Quail, which is included in the series. He has served with the Missouri Conservation Commission for fifteen years and thus brings a wealth of experience to this stimulating series. The programs trace such phenomena as the mating ceremony of the prairie chicken (as featured in the Walt Disney film, “Vanishing Prairie”), animals in conflict and the gopher underground.

Program 1: Wild Life Photography Conservationist-photographer Charles W. Schwartz in this program tells the why and how of wildlife photography. The program also includes a film clip of Schwartz’s own trained hawk in action.

Program 2: Prairie Chickens In this exciting program Mr. Schwartz gives what amounts to a prairie chicken’s view of the way these fowl live. From an odd-shaped tent in the “booming grounds” of the chickens, Mr. Schwartz filmed parts of this program.

Program 3: Bob-White Quail This program depicts the life cycle of the quail and the ways in which man can profit from understanding this bird. The film which is used in this program won Mr. Schwartz an international film award.

Ambassador of Dance (1971) Initial NET Broadcast: June 6, 1971 Number of Programs: 1 Origin format: B&W or Color: B&W Running time: 60 minutes Contractor/Producer:

Memo dated March 24, 1981 This program description was found in the Ann Arbor files. It is my belief that the program was not completed in time and “Two by Martha Graham” appeared in its place as Fanfare #6. This description matches Fanfare #35, “Ambassadors of Dance” and is therefore filed with it.

Program Description: Dance has become recognized as one of America’s strongest cultural fields. During the past decade, U.S. dance companies have carried abroad the message of American originality and creativity. In 1969, for example, 16 companies performed in more than ten different countries, presenting 161 original American ballets. Two of the most influential and popular of these companies will perform in this one- hour program: the Paul Taylor Dance Company and the Alvin Ailey American Dance Theatre.

The Paul Taylor Dance Company, a modern dance “super company,” as Clive Barnes of The New York Times has called it, was established in 1954. Under the direction of Paul Taylor, its works are marked with a great deal of humor. Barnes has written: “Taylor’s work is of our time. Which is to say that it is superficial, subtle, brilliant, terrifying, mocking, self-satisfying, simple, sophisticated, nasty, sweet … elegant, gauche … He is, to coin a very definite phrase, one of the great choreographers of our time.”

The company has travelled quite extensively abroad, making more than 15 tours since 1960. The London Times wrote: “One has only to see the Paul Taylor Dance Company once to like, twice to become a fan and three times to become an addict. These are some of the wittiest, prettiest and most exciting dancers we have had from the United States.”

The Alvin Ailey Dance Theatre is a 12-year-old integrated group. Though most of its dances have their roots in the black experience, its repertoire includes a variety of jazz and popular works. Ailey, an exponent of jazz, has taken his troupe to the Far East, South America, Europe, and Africa on numerous tours. And Clive Barnes has written: “This is one of the best and one of the most ambitious of American dance companies, with a distinguished past and a great future.

The program includes performances of:

“From Sea to Shining Sea” – Taylor’s comic satire on American life

“Riedaiglia” – Ailey’s depiction of the Seven Deadly Sins, which was commissioned by the Swedish Broadcasting Corporation, and therefore choreographed especially for television. It won first prize at the Prix Italia Television festival.

“Three Epitaphs” – a short piece set to jazz, choreographed by Taylor.

Fanfare #35: “Ambassadors of Dance” is a presentation of NET Division, Educational Television Broadcasting Corporation. “Riedaiglia” was produced by Swedish Television. “From Sea to Shining Sea” and “Three Epitaphs” was produced by Westdeutsches Rundfunk (WDR).

Associate producer for NET: Marian Horosko Narrator: John Beal

Intertel #9: American Abroad (1962) Initial NET Broadcast: April or August 6, 1962 Number of Programs: 1 Origin format: Film Running time: 60 minutes

General Description of Program: The British evaluation of American achievements in overseas is Associated Rediffusion’s fourth contribution to Intertel. The following synopsis was written by Peter Hunt, producer and writer of AMERICA ABROAD.

“There are roughly two million United States citizens living and working abroad. About two-thirds are members of the armed forces, their wives and children. About 100,000 civilians work for United States organizations; about 30,000 are missionaries; 25,000 are businessmen; some 33,000 are ‘Government’ people. All are scattered over the world, in some 70 nations which profit by American aid. Not all are popular; some have proved to be indispensable. Some are popular and useless. Some are brilliant but misplaced. Some mean well but are misunderstood. All contribute to the so-called ‘image’ of the American abroad.

“But what is this ‘image’? Is it the image of the badly paid doctor who volunteers to work where he need not work because he thinks he should? Is it the image of the well-paid soldier who drives a car too fast? Is it the image of the administrator, with dollars to circulate, who is taken in by the people who want his dollars because they understand the language but he does not? Is it the image of the Peace Corps workers who is getting to understand a language, is getting to understand a people, but is young in the hazards of administration?

“It became clear to us, when preparing our programme, that the ‘image’ is really hardly worth considering because there are so many Americans abroad doing so many different things, thinking so many different ways, working, eating, sleeping, loving, hating, being just people in so many different countries. There are, for instance, nearly one hundred different North American missionary societies represented in Japan alone.

“What interested us was something on a simpler scale. Until World War II the United States tended to keep out of the Old World’s affairs. There was, it is true, a European involvement in the World War I, but it was quite short. World War II brought Mr. America face to face with the very opposite of a prosperous society. He met have-nots everywhere, from the Rhine to Naples, from India to Hiroshima. He saw disintegration, poverty, disease, corruption on a world-wide scale and some Americans started to try to do something about them. Cynics have said, do say and will go on saying that America interests herself in the health of the Old World merely because it wishes to avoid catching its troubles – finance in the red, disease which are catching, Communism. There can hardly be anyone in the world who does not have a particular view on the matter.

“Some plain facts remain. Citizens of the United States, to the tune of some two million, are today living and work in in some 70 countries where they used not to be. They are there today largely because the government of the United States thinks they ought to be there. They are working on an incredible variety of jobs. Some are efficient; some not. But they are there. Not very long ago it would have been extraordinary if someone suggested that volunteer teachers from America should go to a British colony in West Africa to teach English. But it has happened and on an impressive scale. Today, in ex-British colonies, in ex-French colonies, and in a lot of other countries, there are Americans working for an with new governments, in trade, in education, in hospitals, in dredging, in pumping up water for parched fields, in training soldiers, in building roads, in producing new crops.

“It has all happened very quickly and because it has, there have been some bad mistakes. But all the indications are that President Kennedy’s Act for International Development, the new name and changed format for the idea started off by General Marshall in 1947, is a gigantic gesture in terms of money, administration and know-how, which is going to change the face of the earth and its people in need. It is a concept which is going to change the face of the earth and its people I need. It is a concept of help and self-help representing many billions of dollars. It is also a concept which is very conscious of the aid which is being given to parts of the world by Communist bloc countries. Today, the Communist bloc countries are now working in the less developed countries. Their record, generally, is good. If any of these countries were to be dependent only on the Communist bloc for their aid, this would give cause for concern because it would set the stage for a possible political take over.

“We visited four countries in which there are variants on this situation. We went to South Vietnam, hardly a Jefferson-style democracy but violently anti- Communist and actively at war with Communists. We went to Cambodia, coyly neutral, accepting aid from United States, from France, from the Soviet Union, from Communist China; and no fried of South Vietnam. We went to Pakistan, fully committed by military agreements to defense against possible Communist aggression, acutely conscious that Russia and China and unfriendly India are all too close for comfort. We went to Ghana, violently anti-colonial, sturdily independent, yet lurching, it sometimes seems, towards all that democracy is not. Of these four countries two have become independent of France, two of Britain: all are now partially dependent on American aid. The extent of dependence varies in each country. In South Vietnam, despite national pride and a certain amount of tub-thumping, there is not the slightest doubt that the country would fall flat on its face without American aid. Cambodia is poor, would like to be rich, would like to be completely independent. The Head of State, the shrewd and likeable Prince Sihanouk, has played political poker with the great power blocs for some years now. He has done it with skill and courage. Can he keep it up? Pakistan accepts giant spoonful’s of American aid, but Pakistan worries about the amount of aid given to India, about American indecision over the Kashmir question. Ghana is new and in the hands of Dr. Nkrumah highly volatile. Is Nkrumah, the ‘Messiah’ of Ghana, heading towards a situation as in Cuba? Americans cannot help but notice the presence of Russian pilots and Chinese technicians in Accra.

“The permutations on the problem for Americans and they are by no means united in the desire for unqualified aid to all who want it or need it, are immense. Yet all have to be contained within one general policy. It is in this light that we visited some Americans abroad, in four countries. We went open-minded; we returned convinced that they are doing a good and thoroughly worthwhile job. Where the task involved direct interference in the internal affairs of a country we found acute difficulty, some hard feelings. Where it could be taken at face-value, a job being done because it is good that is should be done, we found co-operation and admiration.

“Yet how does a huge and powerful and positive country like the United States give aid to a large part of the world without involving itself in the internal affairs of the countries it aids? This is the dilemma at the core of the entire process. Our programme is a sketch of that process in action.”

Participants: Among those appearing on the program are:

Dr. John Jauregui and his wife, Elizabeth – Their home is in Kratie, Cambodia. They have four children, one of them an adopted Cambodian. John Jauregui’s surgery handles up to fifty operations a month.

Peter Hickman – US government press officer in Cambodia.

Captain Alfred “Curley” Gutgesell – Aircraft pilot in Cambodia.

Larry Sharpe and his wife, Judy – Ex-US Navy (served in Korea, Vietnam, and Iran). A US Information Service Officer in Lahore. Judy Sharpe is actively engaged in many Pakistani women’s activities.

Bill McMullan – Thirty-six years with US government, twenty-six years working in rubber. He and his wife lived in Ghana for two years. He has served in Guatemala, Costa Rica, Panama and Bolivia. Now stationed in Ghana to advise on rubber plantations.

Russell Davies – Teacher in Pakistan engaged in helping farmers understand new agricultural techniques.

Frank Pinder – From Louisiana, now stationed in Ghana as a Food and Agricultural officer.

Hanson, Tagoe, Aggrey – US officials from Headquarters at Accra.

John Benoit – American engineer working on the Volta River Dam project.

George Carter – From Philadelphia, administers the 50 Peace Corps workers in Ghana.

Thomas Livingstone – Peace Corps worker from Connecticut and now teaching in Ghana.

Georgina Shine – Peace Corps worker and teacher at Tema in Ghana.

Credits: Producer-writer Peter Hunt was educated in India, France, and England. He served as an RAF Intelligence Officer in World War II after completing a course in Japanese at London University. His broadcasting career began in 1946 with Rangoon Radio in Burma. On returning to England, he filled a variety of positions with Independent Producers, Ltd. (part of the Rank Organization), and with the British Broadcasting Corporation before joining Associated Rediffusion as a director –writer in 1955. He has since held various posts as producer, deputy head of features, and head of features. Among his producing credits are a series of films on atomic energy, one on nuclear warfare, and one on the situation in Cypress, as well as THE QUIET WAR for Intertel. In addition to writing for television, he has authored a number of books, including two on criminology (The Madeline Smith Affair and Oscar Slater, scheduled for American publication in paperback editions). His latest work, to be published, is a biography of the explorer Richard Burton.

Director Michael Ingrams also narrates portions of AMERICA ABROAD. After some years in journalism and the theater as an actor and producer, he began his television career in 1955. He has directed more than 200 television films in more than thirty countries. His principal full-length films have been USSR NOW, which involved four months of shooting in the Soviet Union and AMERICA NOW, a similar program filmed in the United States.

Composer James Stevens was commissioned to write and conduct the special background music for AMERICA ABROAD. Snatches of Cambodian, Vietnamese, and Pakistani folk music are woven into a composition of his own. For the section dealing with Ghana, Stevens wrote a special melody, “High Life.”

Narrator (with Michael Ingrams): Peter Dyneley Editor, Intertel Programs: Aidan Crawler Cameraman: Ron Osborn Sound: Bill Welsh and Freddie Slade Film Editor: Charles Squires

America in the Making (1958) Initial NET Broadcast: January or April 1958 Number of Programs: 26 Origin format: Kinescope Running time: 30 minutes

General Description of Program: This is a 26-program series produced by New York University and WCBS in cooperation with the Metropolitan Museum of Art. It tells the story of the development of America through the arts and crafts of the time. Extensive use of materials from the Metropolitan Museum and other historical collections is made.

Program 1: The Transplantation The first program of the series dealing with the culture and customs of Colonial America is concerned with the transplantation of the first settlers and the culture they brought from their native countries. The setting is a mid-seventeenth century parlor. The crude beginnings of a new way of life are brought to reality through a display of authentic pieces of furniture, kitchen utensils, and basic implements for a home life at that time. Following the introductory remarks by Mr. Albert Christ-Janer of the New York University Office of Institutional Research and Educational Planning, Professor Robert L. Iglehart, chairman of the department of art education at NYU, guides viewers through the room considering the various objects for their utilitarian purposes as well as touching upon the new art form which was manifestly America. Professor Bayrd Still, of NYU’s history department, discusses the historical significance of the early settling along the Atlantic Coast line. He notes the type of colonists who journeyed to this new country and he singles out some of the leaders who had a bearing on the early mores and custom s of that time.

Program 2: The Roots Go Down The early settlers went on to adapt the culture which they brought from Europe to the strange conditions of the new world. At the same time, the settlers learned much from their new environment and the natives they encountered. The setting for this program is a mid-eighteenth century room. Professor Iglehart and his guest, Mrs. Lydia Powell, keeper of the American Wing at the Metropolitan Museum of Art, point out the changes in the room’s furnishings that took place in the first hundred years in America. They show the continuing development of American art form and design in the furniture, accessories, and utensils. Dr. Still then assays the role of the Indians in early America.

Program 3: Woman’s Role in Early America Woman has a dominant place in Colonial life. It was their lot to run the household, rear the children, help in the fields, and make much of the necessities of everyday life – the spinning of cloth, making of candles, baking, etc. Dr. Still explains the economic role of the woman and how many of them were astute in business. He points out that they shared the same dangers as their menfolk and often fought side by side against raiding Indians.

Program 4: The Sacred God The first big industry in this country was the maritime industry. Here, Mr. Christ-Janer discusses the ports, the ships, the men who sailed them, the trade and what it meant to the young colonies. Then Dr. Still outlines the trade that sprung up and the port cities from Salem to Savannah that grew and flourished because of the maritime activity. Early ships and sailing conditions are explained and the details of two representative ships on models loaned from the Farrel Foundation Collection are pointed out.

Program 5: The First American Millionaires The American millionaires arose in the urban culture of New York, Philadelphia, and Boston prior to the Revolutionary War. This culture, as described by Professor Ormond J. Drake, assistant secretary of NYU ad director of the Office of Public Occasions, resulted from the success and wealth of the American merchant and fishing fleets which sailed from these cities. The ships’ owners built beautiful homes, established new mores, constructed public buildings and developed new methods of transportation. Dr. Still then gives a close-up of the historical significance of this new phase in Colonial life. A replica of a late eighteenth century room provides the setting for the program.

Program 6: The Early American Craftsman With the Colonial roots well planted, American craftsmen came into their own. Some of the prominent artisans of the colonies were the Reveres, the Duncan Phyfes, and the Steigels. Mr. Mitchell Moffit, senior restorer at the Metropolitan Museum of Art, traces the evolution of American design and shows some of the actual tools these early craftsmen used. Then Dr. Still relates the significance of the artisan’s role in the movement towards independence – as these craftsmen relied less and less on England, the more irked they became of restrictions imposed upon them from that on England, the more irked they became of restrictions imposed upon them from that country. Men like Revere threw themselves wholeheartedly into the growing idea of independence.

Program 7: Demons and Little Men Before their religious training began, Colonial children were considered “demons and little men.” Here the life of these Colonial children is discussed. Prominent in the Colonial child’s education were the Bible, the New England Primer, and the “horn” book. These books, along with many early toys – marble games, tops, wooden soldiers, dolls, children’s furniture, wagons, and a hobby horse – are shown to the viewers.

Program 8: Family Traditions and Freedom Early great American families and the imprint they made upon our national heritage through their active role in Colonial life is the twin theme of this program. As an example of the manorial living in the early days of the Republic, Professor Iglehart shows a replica of a room in the home of Stephen Van Rensselaer. The room features the ornate furniture, the magnificent wall mirror, the highly artistic wallpaper, plus other rich furnishings. The program also highlights another famous family – the Livingston’s, particularly Robert R. Livingston, patriot, statesman, lawmaker, and patron of the arts and sciences. Parts of the Livingston collection are shown including a model of and the bell of Fulton’s “Clermont” steamboat.

Program 9: Highways to Independence The story of the network of roads that linked the colonies, including the growth of inns and taverns and their role in making travel possible as well as serving as central meeting places, is related here. Professor Iglehart shows the interior of a roadside tavern and discusses the particular designs of other famous taverns and tavern signs for their art work and design. Dr. Still then explains how roads helped bring about a closer relationship between the Colonies and how the development of inns and taverns fitted into the new idea of independence. Such places became meeting rooms where men could exchange information and talk of a new country. Popular drinks of that day are also mentioned.

Program 10: Cosmopolitan Character of the Colonies The religious and ethnic groups are considered in this discussion of the heterogeneous makeup of early America. The way the newcomers lived and some of their contributions to the new world are also pointed out. Throughout the program Professor Drake interjects composite descriptions of individuals who represented several of these groups and Dr. Still explains the reasons and motives for the people who settled here.

Program 11: Where Does the South Begin? Where did “The South” begin is the question considered by Dr. Still and the guest historians, Dr. David Donald of Columbia University. Considering the architecture of the Southern Colonies and giving a study of the interiors of many of the fine homes of the South, Professor Iglehart takes the viewers on a tour of a nineteenth century parlor. Dr. Still then considers the agrarian economy of the South and talks of the slave problem. Here the peculiar problems of the South, how sectionalism grew, and the types of men who made up the early South are developed.

Program 12: The Handyman The necessity to create things for everyday conveniences and the making of labor saving devices made almost every man a “handyman” in early America. Thus, another side of the colonist – that side which showed his nature to create, tinker, and invent – is drawn here. Two types of “handymen” are described, Charles Wilson Peale and Thomas Jefferson. Professor Drake also demonstrates a number of practical things created by our forefathers such as a wooden wagon “jack,” a wooden eggbeater, a set of wooden hinges, a wooden apple parer, and an unusually contrived mouse trap.

Program 13: The Patriots A study of men who played leading roles in the Revolutionary movement is made. Men of different economic and social backgrounds were caught up in the fervor of independence. As examples in the program, Patrick Henry, who typified the agrarian movement, Samuel Adams, as the political agitator, the Rev. Jonathan Mayhew, a religious leader, and George Washington, typifying the land aristocrat, are mentioned. Throughout the program the theme of liberty is scored and how such a love of liberty brought so many men of diverse backgrounds together in a common cause.

Program 14: Colonial Boston In a setting of a typical colonial Boston home, Professor Ormand J. Drake, assistant secretary of NYU and directory of the Office of Public Occasions, describes Boston of that day and considers its important place in the Revolution, including the important leaders of Massachusetts and their activities of this time. Against this descriptive background, Professor Bayrd Still, of NYU’s history department, and Professor Robert L. Iglehart, chairman of the department of art education at NYU, outline the reasons for the Boston Tea Party and explain the significance of the move in the steps leading to the actual shooting war. They talk of Boston and other cities as “seed-beds” of revolution, making the pint that urban centers brought men of various backgrounds together to think, talk and act.

Program 15: The Call to Arms This program gives a threefold account of the opening of the Revolutionary War: a study of the battles of Lexington and Concord, a look into the men who made up the American forces, and an examination of the flags, insignia, uniforms, and weapons of our forefathers.

Program 16: England Views the Revolution Discussing the feeling the colonists had for the king as well as George III and his attitude towards his colonies, Professor Still details the growing ill-will between the colonies and the mother country culminating in the outward hatred of, and the inevitable break with England. Professor Iglehart then gives a study of England of the day and by a picture series shows the life of the country and London. He also points out how the classic influence was transmitted from England to the colonies through the architectural work of Samuel McIntyre and Charles Bulfinch.

Program 17: France and the Revolution Life in France of that day, as well as an evaluation of the role Benjamin Franklin as the American emissary there, is considered in this study of the role of France in the Revolution. As an example of French elegance of the time, Professor Iglehart takes the viewer on a pictorial tour of a grand salon of an ornate Parisian hotel. Professor Still then deals with the new intellectual fervor sweeping France as this time and how the people are being swept up in the American cause of revolution.

Program 18: George Washington – Man and Myth Dr. Bayrd Still, of NYU’s history department, studies the young Washington and deals with the making of the man, the everyday life he led, the experiences he had that stood him in good stead later in life, and the special problems he faced as the first president of a new nation. Prof. Ormond J. Drake, assistant secretary of NYU and director of the Office of Public Occasions, then discusses the human traits of the first president and shows some of his persona possessions such as a show measure, shaving kit, bleeding knives for his horses, and his snuff boxes. Prof. Robert L. Iglehart, chairman of the department of art education at NYU, concludes with a look at the manner professional artists have used to visualize the first president. He discusses the various artists’ conceptions, pieces of sculpture and memorials to Washington.

Program 19: The Bill of Rights Why were the ten Amendments necessary? The historian, Dr. Bayrd Still, of NYU’s history department, explains that while the nation believed in a strong central government, it was necessary to assure the common man that his rights would be protected. Hence, a Bill of Rights – something that was in black and white, spelled out, for all to know. Prof. Ormond J. Drake, assistant secretary of NYU and director of the Office of Public Occasions, picks up one of the freedoms – Freedom of the Press – and relates the background of the Zenger trial. Prof. Still then relates the importance of having free press – the role newspapers, magazines, almanacs, etc. – played in the young colonies’ fight for independence.

Program 20: New Frontiers: Science and Inventions Prof. Ormond J. Drake, assistant secretary of NYU and director of the Office of Public Occasions, begins the lecture by putting into proper focus the need for this young nation to probe, study, experiment, classify, and evaluate. Dr. Bayrd Still, of NYU’s history department, explains that while this country was being settled, there were many men of science in Europe already establishing certain facts and laws. He points out that with the discovery of a new continent; it was only natural that these European scientists would show a keen interest in the new things in America. Hence, a bridge for the passing of information between the old and new countries was established almost immediately. Franklin’s theory of electricity and the workings of the cotton gin with Eli Whitney’s contribution to mass production are considered. Prof. Robert L. Iglehart, chairman of the department of art education at NYU, also points out how Audubon’s devotion to his task was an important factor in charting much of the bird and animal life in America.

Program 21: The Young Giant Stirs – Nationalism This program deals with the new nation’s “growing pains.” Here Professor Drake pictures the nation as a giant beginning to stir itself; now there are truly “Americans” – a new generation born in this country as citizens of the United States. The movement westward and the pioneers who blazed the trails into new territories are typical of the new nation bestirring itself. A feeling of swelling pride manifested itself greatly in oratory from the bragging o the backwoodsman to the polished talk of the “War Hawks” in Congress. And it was the frontier folk who were confident and who greatly influenced the nation towards battle in the War of 1812.

Program 22: Urban Ways The beginning of big cities in America is the subject of this program. Here Professor Still considers the first fire and police services and the early water systems. Professor Iglehart traces the planning of some of our early cities and show how New York City changed. Commenting on how cities affect the growth of professional people, Professor Drake uses the theatre and its growth as an example.

Program 23: Pastimes in Young America All was not work and no play in the colonies. Professor Still, however, talks of the very early days and the Puritan strictness regarding sports and amusements and how this attitude had a strong influence on the colonists. Professor Drake then considers indoor amusements, many of which were carry overs from Europe, such as chess, dancing, drinking, cards, snuff taking, and games of all sorts. Many of the sports of the Western fringes had a utilitarian purpose such as corn husking, quilting bees, house raising, rifle shoots, and hunting contest. But sports for pleasure were abundant too. Many in the Colonies played lacrosse, bowled, skated, wrestled, went on fox hunts and engaged in outdoor contests. At the same time, spectator sports took hold. Professor Iglehart explains that in young America such spectator sports as boxing, horse racing, cock fighting, and circuses, and public celebrations such as Fourth of July event were quite in vogue.

Program 24: The Search for the Capital The federal government first located in New York, moved for ten years to Philadelphia and because of political dealings, settled in a sparsely-populated “mud hole” which was to become Washington, DC. The architecture of the capitol building and of the White House is considered here. Professor Drake then joins in to speak of the society of Washington, DC, in those beginning years, especially of the roles of the presidents’ wives – Abigail Adams, Dolly Madison, and Mrs. James Monroe.

Program 25: American Tastes The British influence was dominant in molding the American taste. Yet, when the China trade flourished in this country, and the French Revolution cause was so popular here, Americans were swayed by the influence of both the French and the Chinese. Professor Drake shows how the passage of time changes American patterns. By taking three different periods of time in the 17th, 18th, and 19th centuries, he explains how the American populace progressed from the simple and absolute to the more elaborate and gaudy. Mr. Russel Lynes, author of “the Tastemakers” is a guest on this program.

Program 26: What Does Our Heritage Mean Today? Closing the series, this program deals with the 1955 concepts and impressions of American heritage and the reasons for such repositories of our early culture, such as the American Wing of the Metropolitan Museum of Art. Professor Still explains the value of historians for such places as the American Wing and other historical agencies. He points out that through a study of such artifacts, the historians can reconstruct the past to better advantage. He gives the meaning of history today, stating that there is a tremendous interest in American history at present, and only through a study of our past will we better be able to appreciate our present and look forward to our future. Closing the program and the series, Professor Drake states that the aim of the series was to bring together the many forces that made America into a nation in those early days and which have held steadfast through the years to mold the great democracy of today.

America Looks Abroad (1957) Initial NET Broadcast: May 19, 1957 Number of Programs: 24 Origin format: Kinescope Running time: 30 minutes

NOTE: Episode #1 is the only episode available in this series. Also descriptions were not available for episodes #12-24.

General Description of Program: “America Looks Abroad” is divided into four sections: (1) six programs on Africa; (2) five programs on international organizations; (3) seven programs on the other Americas; and (4) six programs on the making of foreign policy. Individual program data on the last two sections will be forthcoming at a later date.

Once called the Dark Continent, Africa now is engulfed in a rising tide of national ism that is bringing new nations to the face of the earth, burgeoning old issues into fresh violence, and boding more troubles for the future. In Africa live 210 million people – black, brown and white, of European, Asian and jungle blood. It is a land of grinding poverty and of the world’s wealth of diamonds, gold and uranium. The six programs here offer the story of a continent which is still “dark” in terms of popular impressions about it. What happens to the peoples of Africa concerns Americans, too, and US policy as regards their nationalistic aspirations will crucially affect world opinion about this country. Included will be a pertinent program about the recent Suez troubles.

The next five programs discuss the success and failures of international organizations. Walls that separate nation from nation have served for all of history in the cause of war, of hatred and of violent rivalry. And for all of history, there have been men who have tried to pull down these walls. By treaty, by confederation, by union, by organization, these efforts have influenced the course of world affairs – exercises influence, sometimes evil, more often, beneficial. Leading authorities discuss important implications of the organizations and view them in perspective. “America Looks Abroad” was produced for the Center by WTTW, Chicago.

Featured Personality: Carter Davidson, Executive Director of the Chicago Council on Foreign Relations, is a former Associated Press correspondent. He spent three years for the AP in the Middle East, covered the Arab-Jewish fighting and the creation of the state of Israel, and became Chief of the Jerusalem AP bureau. Mr. Davidson gives a weekly television program over WTTW, “World Spotlight,” and frequently appears as moderator or panelist on other radio and television programs. He gives a penetrating evaluation of world events from a broad background of information and experience.

Program 1: Africa: Colonialism The story of modern Africa has been its settlement by colonial powers, and then, the rise of nationalism which is using both evolutionary and revolutionary means to change the status quo. Vast resources, both human and material, are at stake, and what the United States does in response to this nationalistic uprising will a profound effect upon world opinion as well as upon the world political and economic scene. Mr. Davidson opens the show with introductory comments about the continent of Africa – its history, its people, its economy and resources. He introduces Miss Etta Moten, opera singer who was the original star of “Porgy and Bess.” Miss Moten sings African songs and discusses the habits and customs of Africans. There is a communications which is followed by a discussion in Nigeria to improve literacy, health, and communications which is followed by a discussion of Nigeria’s strategic importance to the US and its value in terms of natural resources. Mr. Davidson presents his guests, Melville Herskovitz, anthropologist and Northwestern University’s director of African Studies Center, and Plus Okigbo, native Nigerian economist. They discuss colonialism and rising nationalistic protest against it, and what the US foreign policy should be with regard to the colonialism issue.

Program 2: Africa: West Africa West Africa is described as a complex of political entities possessing a complex variety of peoples. The countries of West Africa stand at different points along the road to political independence, economic development, and an increasingly Westernized culture. It matters to the United States how these countries develop and what ends they pursue. Mr. Davidson opens the program with a brief description of West Africa, a combination of British, French and Portuguese colonies plus independent Liberia. Living in the area are representatives of many different cultures, and many different kinds of people. They are illustrated by flip card pictures. Miss Moten joins Mr. Davidson for a discussion of the clothing (she wears a native dress), food and tribal customs. Davidson raises the question of how West Africa’s culture is responding to contact with the 20th century and how the rising tide of nationalism is reacting to its colonial overlords. The program’s special guest is Professor William Bascom, anthropologist.

Program 3: Africa: East Africa East Africa, land of the Mau Mau terror, the Tsetse fly, and the steaming jungle is also a land of important political developments. Here some 20 million Africans yearn for freedom, and here British colonialists hope to continue maintaining control. Is there a compromise, a constructive plan for an evolutionary process toward self-government for these areas? Mr. Davidson begins with a description of the lands of East Africa which are members of the British Commonwealth. They vary as to degrees of self-government, and they vary as to the composition of population, all of which is illustrated by maps, graphs, and flip cards. Joseph Namata, native of Tanganyika and now a student in the United States, discusses his aspirations for his homeland, his prescription for independence, and what he plans to do about it. Stafford Barff, representative of the British Foreign Office in the United States, speaks on the official British colonial policy and prospects for the future.

Program 4: Africa: The Belgian Congo The program hopes to show the audience what the Congo is really like, to present the Belgian colonial policy often described as the most enlightened in the world, and to present the further aspirations of the people who live there themselves. The Congo is of crucial importance to the US for its mineral resources; it is important to the world as one of the world’s more successful colonial experiments. Mr. Davidson presents briefly the political history of the area. A flip card series illustrates the people of the Congo and how their habits reflect both the oldness and the newness of the culture in which they live. Davidson interviews Martin Aliker, native of the Congo area and now a student in the US, who proposes a moderate program for developing more self-government among the people. The Congo is especially important to the US for its essential mineral resources. The Congo is also important economically to its mother country, Belgium, and Mr. Davidson discusses the Belgian colonial policy with Auguste Lonnoy, representative of the Belgian Foreign Office in the US and Dr. Macquet, head of the Science Research Institute in the Belgian Congo.

Program 5: Africa: South Africa There are rumblings of discontent among the South Africans who have thus far been virtually excluded from participation in the economics and politics of their country. The question is raised as to how fast a primitive peoples can be prepared to take the reins of government, if this is an inevitable occurrence of the future. Mr. Davidson opens with a brief sketch of the history of the area and of its settlement by the British and the Dutch. He uses an area map and photos to introduce the audience to the peoples of the area. Props are sued to illustrate South Africa’s principle imports and exports. Mr. Davidson’s guests are Henry Moolman, attaché of the Embassy of South Africa in Washington, and Eduardo Mondlane, native of Mozambique and graduate of the University of Johannesburg, South Africa. They discuss the South African government and its policy of “apartheid” (apartness or rigid segregation). Mr. Davidson summarizes, making predictions on the government’s future success in submerging the desires of the African people to take a greater and greater role in the country’s economics and politics.

Program 6: Africa: North Africa There is no information currently available on this program. The original program was outdated by the Middle East Crisis, and a new one is now in production which will be a timely discussion of North African events.

Program 7: Across these Borders: International Exchange The program presents the scope of international exchange programs now in process to erase barriers of ignorance and misunderstanding. International exchange is both organized and informal and includes government exchange tour groups, reunions of veterans of foreign countries, personal contacts between diplomats, and between businessmen. Carter Davidson opens with a brief introduction of the various types of exchange. Walter Johnson, chairman of the University of Chicago’s department of history and Louise Leonard Wright, Midwest director of the Institute of International Education, join Mr. Davidson to discuss the Fulbright scholarships. They introduce two Fulbright students. Then Mr. Davidson shows a film on the experiment in international living – Austria.

Program 8: Across these Borders: NATO What is NATO? Howa and why was it formed? Here is a critical appraisal of its accomplishment plus some speculations as to how the organization can be made more effective. Mr. Davidson gives the history of NATO’s formation using maps and charts. He shows a graph box demonstration on the financial contribution of each member country to the organization. After commenting on a photo series of NATO personalities, he introduces Major General Charles T. Lanham, retired, formerly with SHAPE headquarters in Paris. They discuss the purpose, successes and failures of NATO, the prospects for expanding its economic wing, and other ways of making it more effective.

Program 9: Across these Borders: European Federation The program shows the amazing strides which have been made toward the unification of Europe economically. The breaking down of economic barriers may be the beginning step toward political unification. This is of profound importance to the United State economically, politically and strategically. Mr. Davidson gives the history of attempts at European unification from the time of the Roman Empire, including the formation of the Schuman Community for Coal and Steel. He discusses its economic achievements and briefly mentions the Council on Europe and the Brussels Pact. Mr. Davidson interviews Bertrand Larcher, Deputy Director of the Office for European Cooperation, Washington, on the work for economic cooperation. He then discusses with Allen Hovey, Jr., executive director of the American Committee on United Europe, the effect which unification (or degrees of unifications) have had on the United States with its economic, political and strategic considerations.

Program 10: Across these Borders: The Afro-Asian Bloc There is a movement, an Afro-Asian bloc, which exists without officers or offices yet number two-thirds of the human race. This new force amongst international organizations may vastly re-align world politics. Mr. Davidson introduces the subject with a description of the Afro-Asian Conference in April 1955. He gives a description of the powers involved (using wall maps), and of the declaration they issued. He interviews the Reverend Moses, Ratnarajah, Methodist minister and author from Ceylon, who attests to this bloc’s influence in exerting the power of opinion, and of creating a “Bandung Spirit” in the time of cold war between two opposing forces. Mr. Davidson discusses official US reaction to the formation of this bloc, then interviews Williams Lloyd, noted traveler and writer, editor of the magazine, “Toward Freedom.” They discuss the possible influences this bloc may have on world affairs and on the formation of American foreign policy.

Program 11: Across these Borders: The Colombo Plan Here is a presentation of the Colombo Plan formed in Ceylon in 1950, a banning together of the nations of south and southeast Asia along with the United States and members of the British Commonwealth, for the purposes of planning and coordinating efforts for the economic development of the south and southeast Asian areas. What are the possible implications for world politics? How and to what extent should the US participate? Mr. Davidson, using a map, describes the history of the Colombo Plan, and the nations inside and outside the Commonwealth that are involved. He narrates a seven picture series of the variety of peoples included in the area served by the Colombo Plan. Mr. Davidson’s gusts are Norton Ginesburg, University of Chicago economic geographer and specialist on southeast Asia, and James Bottomley, first secretary of the British Embassy in charge of Commonwealth Affairs. They all discuss the economic accomplishments of the Plan and the future possibilities for development of southeast Asia. Mr. Davidson summarizes, includes possible political implications that this economic development may have.

Programs #12-24 Titles:

Program 12: Training of a Diplomat Program 13: Foreign Policy in Congress Program 14: Military Diplomacy Program 15: Role of Labor in World Affairs Program 16: Yankee Insider Abroad Program 17: Propaganda in Making Foreign Policy Program 18: Organization of American States Program 19: Caribbean Federation Program 20: Puerto Rico Program 21: Freedom of the Press in Latin America Program 22: Guatemala Program 23: Brazil Program 24: Argentina

Intertel #22: America - The Dollar Poor (1964) Initial NET Broadcast: December 23, 1964 Number of Programs: 1 Origin format: Film Running time: 60 minutes

Although it is a nation rich in natural and mineral resources and progressive in its development, the United States has its poor. The nation’s poor and its poverty-stricken areas are explored by the British partner of Intertel, Rediffusion Television Ltd., of London.

In looking at the poverty that exist in this country cameras pinpoint the stark impoverished realities in Chicago’s South Side, in California’s prosperous agricultural fields, the mountainous regions of the Appalachian area, and parts of America’s mid-West.

AMERICA – THE DOLLAR POOR focuses on the different faces and aspects of the poverty-stricken and also devotes attention to the effects of privation upon adults, the aged, and youngsters reared under these conditions.

Observing sub-standard conditions in Chicago, the program captures the frustrations of Negroes living in the slums of the South Side; the aimlessness of men from Appalachia who have lost their coal mining jobs and now seeks “the pot of gold” in the city; and the unemployed and indigent who seek help from welfare and unemployment offices.

Shifting to California, AMERICA – THE DOLLAR POOR goes to San Francisco’s breadlines of now unwanted skilled workers ; the “shape-up” lines in Stockton where migrants from the Ozarks work the cotton fields for meager wages; the shacks of Mexican-American and Mexican field workers (the Mexicans are imported for the harvest seasons); and Highway 99, called “the longest slum in California” with its rows of grim houses. In California, the program also covers the plight of the elderly who are very nearly destitute.

Thousands of miles east, the documentary turns to the isolated hills of eastern Kentucky and captures the ghostly quiet of bleak towns that once boomed with men working the coal mines. Here, unemployed miners exist from day to day – many off whatever they can grow on the land and from Federal commodity surpluses of beans, cornmeal, and dried milk. For many of the children, the program notes, the hot lunches served in the schools are the most decent meals they receive.

Retraining of unemployed skilled workers as one of the efforts in attacking America’s poverty problem is demonstrated in the now deserted Studebaker plant in South Bend, Indiana. Here, Federal Government personnel are seen instructing auto workers who were laid off because of the recent plant shutdown.

Program credits: INTERTEL: AMERICA – THE DOLLAR POOR: a production of Rediffusion Television, Ltd. of London Executive producer: Cyril Bennett Director: Randal Beattie Script: Paul Johnson Narrator: James Cameron Music: Frederick Buxton

Intertel #23: America - The Edge of Abundance (1965) Initial NET Broadcast: January 20, 1965 Number of Programs: 1 Origin format: Film Running time: 60 minutes

AMERICA - THE EDGE OF ABUNDANCE explores the far reaching economic and social consequences of our nation’s increasingly automated and computer-oriented society as viewed by our Atlantic neighbor, the British.

In its penetrating report, produced by Intertel partner, Rediffusion Television Ltd., AMERICA - THE EDGE OF ABUNDANCE goes to our nation’s flourishing factories, stores, supermarkets, and efficient business offices; to schools, farms, suburban communities, nightclubs and entertainment attractions and to the assembly lines of mass production – where computers have taken over a variety of white collar jobs.

Tracing America’s growth from an agricultural base to a manufacturing society, the documentary focuses on the present “second great revolution” – the change to automation.

Pointing to America’s ability to produce goods in enormous quantity, the program pays special attention to the problem of having the products absorbed by the consumer. It also looks at the efforts being made to retrain skilled workers who have been displaced from their jobs by automation. However, the documentary notes that even the jobs for which the workers are being retrained are rapidly becoming automated.

With material goods easily available to the American people and with technological development reducing the number of people needed in performing a job, AMERICA - THE EDGE OF ABUNDANCE suggests that leisure, to a great extent, will become the new business of our nation. In view of this, the program concludes that our values must be re-examined.

These eminent economists, computer experts, and asocial philosophers appear on the program: Dr. Ralph Bellman, computer expert, declares, “I think for many years we’ve seen human beings sacrificed to this tasteless god of efficiency. And it’s about time that we now realized that the basic problem is that of the human being – he is what counts, not the machine, not the question of efficiency.”

Paul Armer, another computer authority, says, “I don’t think we really know the limits to which machines can take over tasks from men… We’ll be surprised by the things they can do that today we say they’ll never be able to do.”

W.H. Ferry, social philosopher at the Center for Democratic Studios, believes the change to automation “requires a whole new view of what society is, what it ought to be, what its possibilities are … the willingness for people to try to take hold of their own destinies and invent new institutions to take and work out a decent world.”

Michael Harrington, distinguished author of the book about poverty in the US, The Other America, feels that although American society needs a change in its values concerning the definition of work … “that revolution’s quite difficult … Abundance seems to create a certain kind of complacency rather than an ability for candid thought … perhaps we will be the one of the greatest paradoxes in history. Perhaps we’ll be victimized by our creation of abundance.”

Program credits: INTERTEL: AMERICA - THE EDGE OF ABUNDANCE: a production of Rediffusion Television, Ltd. of London Executive producer: Cyril Bennett Director: Bill Morton Script: Jack Hargreaves Narrator: James Cameron

American Album (1956) Initial NET Broadcast: September 16, 1956 Number of Programs: 15 Origin format: Film Running time: 30 minutes

NOTE: The first five episodes was re-broadcast under the title, AMERICAN ALBUM: LINCOLN in 1961.

Generally Description of Series: This series consists of 23 films from the OMNIBUS series and is a gift from the Ford Foundation’s TV- Radio Workshop. The subject material of the series is varied but basically the viewer of “American Album” leafs through random film comments and portraits on interesting people and places and things American. Films range in time length from eight minutes to thirty-three minutes and have been arranged into 15 programs. These include five films on the life of Lincoln, a number of outstanding films in the arts and literature and a group of films on people ranging from “A Maine Lobsterman” to “Boyhoods: Joseph N. Welch” and “Raymond Loewy.”

The programs do not have individual titles but a list of films included in each program follows:

1. Lincoln – “The End and the Beginning” 2. Lincoln – “Nancy Hanks” 3. Lincoln – “Growing Up” 4. Lincoln – “New Salem” 5. Lincoln – “Ann Rutledge” 6. “Children of the UN” and “The Adam House” 7. “The Excursion House” 8. “The Dagger” and “Two Masters for One Valet” 9. “The Sea of Winslow Homer’ and “Raymond Lowey” 10. “A Maine Lobsterman” and “Tugboat Captain” 11. “William Faulkner” and “Country Edition” 12. “Jury Duty” and “Boyhoods: Joseph N. Welch” 13. “Kent Bells” and “Boyhoods: Harry Emerson Fosdick” 14. “Old Time Aviation” and “Boyhoods: Captain John M. Ellicott” 15. “Toby and the Tall Corn”

Program 1 In this first selection from the Omnibus “Lincoln” films, the death and the birth of Abraham Lincoln are dramatically televised. The film includes a carefully authenticated, documented scene of Lincoln’s assassination at Ford Theater and his death at the Peterson house across the street. With a background reading of Walt Whitman’s beautiful tribute, “When Lilacs Last in the Dooryard Bloomed,” viewers see Lincoln’s funeral train cross America. “The End and the Beginning” concludes with a flashback to the beginning -- to the cabin of Tom Lincoln and Nancy Hanks Lincoln the night their son was born.

Program 2 “Nancy Hanks,” richly documented with authentic locations, properties, and costumes of the period, records the hard life experienced by the American backwoods family in the early 1800s. Centered around the Lincoln family in particular, the film reveals how this primitive environment placed a premium on relationships within the family itself. Young Abe Lincoln – extremely close to his mother, crushed by her death – slowly allows his stepmother, Sally Bush Lincoln, to fill the void left by the death of Nancy Hanks Lincoln.

Program 3 In this third program in the Lincoln series, Lincoln is “Growing Up” and we see his life as it was between the ages of 14 and 21. There is evidence from Lincoln’s relationship with his family as to the type of man he will be. We see his sensitivity and his concern for living things in a moving sequence involving a land turtle aroused by his classmates; of his intellectual prowess in a scene with his teacher who refuses to debate with him for fear Lincoln might make him look bad before his class.

Program 4 “New Salem” relates Lincoln’s arrival in New Salem, his first meeting with Ann Rutledge, and his first and unsuccessful plunge into the political arena under the sponsorship of Bowling Green. The film captures the essence of an inner drive for public office which was ultimately to bring Lincoln to the White House. His political ambitions are in direct conflict with his emotional attachment to Ann Rutledge, forcing him to postpone marriage to Ann until he loses her through her death from malaria.

Program 5 “Ann Rutledge” depicts one of the more famous romances in American history and records Lincoln’s mental and physical deterioration after Ann’s death. Following his rehabilitation at the home of Bowling Green, Lincoln starts back to Springfield for the opening of the legislature, determined to make the most of himself and of his capabilities. The film is a careful documentation of the political atmosphere of this period. It also includes a courtroom sequence which gives evidence of Lincoln’s wit, his intelligence and his ability to appeal to the emotions and reason of his fellow men.

Program 6 In the film “Children of the UN,” Allen Funt interviews a delightful group of children of UN employees living in New York. These children from all over the world relate their reactions to people of different nationalities, of different races and of different colors. “The Adams House” is a viewer visit to one of America’s famous landmarks—the home of the Adams family, the rooms of which have been occupied by many of our great historical figures. With two guides, Mrs. Wilhelmina Harris, custodian of the house and Gaspar Bussolini, a local artisan who keeps the home in repair, viewers tour the house to see its treasury of Americana.

Program 7 In “The Excursion House,” Omnibus commissioned architect Carl Koch to pick a site, design, build and furnish a house that would be suitable for the typical American family and spent $14,000 erecting the house before viewers of the program. The film gives an excellent overall idea of how a house is conceived in terms of money available, the family’s needs, and the plot of land, and how this idea of progresses to the planning and actual erection stage. Burgess Meredith narrates the film, which has been edited from the original two films.

Program 8 Time: 23:20 In thumbing through the pages of “An American Album,” two selections from the French ballets of Jean Benoit-Levy indicates the breadth of interest in and appreciation of culture by an American audience: “The Dagger” records the story of the eternal triangle and features the well-known dancer, Jean Babilee. “Two Masters for One Valet” is a satiric period piece on the problems encountered by a valet who has two masters. This film is based on a classic Italian comedy by Goldoni and was produced in the style of the Comedia del Arte.

Program 9 “The Sea of Homer Winslow” is an imaginative visual treatment of 32 canvasses of Homer Winslow. The film creates, via motion picture photography, a storyline out of the various components of the pictures with appropriate music and sound effects. Burgess Meredith recites selections of poetry for added impact. “Raymond Loewy” utilizes the person and staff of one of America’s foremost industrial designers to illustrate some of the basic principles of contemporary industrial design. The survey includes a comparison of modern electrical appliances with models of the same appliances in the 1920s.

Program 10 EB White narrates his own film dealing with a day in the life of “A Maine Lobsterman.” The film records the dawn departure of Eugene Eaton, a Maine lobsterman, who rows out to his lobster boat, the “Nor Wester,” at Deer Isle off the coast of Maine. Eaton lifts his lobster traps from the water, takes lobsters out and throws crabs and sea urchins away, and his working day concludes with the sale of his catch at Hen Island. “Tugboat Captain,” which was produced with the cooperation of the Moran Towing and Transportation Company, accurately records a typical day in the life of a tugboat captain, Kenneth Buck, and the crew he commands. The film carefully details the work of a tugboat from the point of view of the men who man it in New York Harbor.

Program 11 The film on “William Faulkner” enables an audience to visit with one of our country’s foremost writers. Through conversations with Faulkner and his friends in Oxford, Mississippi, shot entirely on location, the audience gets an insight into Faulkner, the man, from those who know him best. “Country Editor” records the trials, tribulations, and rewards of a young couple, the MacIlvaines, who own, edit and print the Archive of Downingtown, Pennsylvania. The MacIlvaines have written an amusing book about their experiences entitled “It Happens Every Thursday.”

Program 12 “Jury Duty” is a two-part film which includes a portion of the trial of a prisoner who escaped from a Louisville, Kentucky jail and a candid camera record of the various excuses that prospective jurors give to the interviewing judge. The films are interwoven and we see the defense attorney and the prospecting attorney making their summary remarks to an off screen jury, the judge instructing the jury and the jury marching into the jury room and subsequently, returning to the court room to give their verdict. In “Boyhoods: Joseph H. Welch,” Mr. Welch interviewed by Alastair Cooke, recounts the experiences of his Iowa childhood.

Program 13 Time: 26:49 The ancient art of change ringing is viewed by “Kent Bells” as we see the young students at the Kent School in Connecticut ring the bells in the campus tower. Father Patterson, the Head Master, shows a schematic diagram illustrating the sequential ringing of the bells in order to form a melody. Alistair Cooke pays a visit to the Maine summer home of Dr. Fosdick in “Boyhoods: Harry Emerson Fosdick.” Dr. Fosdick is well known as the minister of the Riverside Church in New York City. This interview provides a look at family life at the turn of the century and an insight into the forces that turned this man into one of the most stimulating and invigorating ministers of our time.

Program 14 “Old Time Aviator” is a humorous but informative account of man’s attempts to fly. The film is based on footage collected from many sources and includes scenes of practically every attempt made to fly which was within range of a motion picture camera. Narrative by Alistair Cooke gives point and significance to the film. “Boyhoods: Captain John M. Ellicott” provides an introduction to Captain Ellicott, who, until his death, was the oldest living graduate of the United States Naval Academy. Captain Ellicott relates his recollections of the day Lincoln was shot, of the battle of the Monitor and the Merrimac and of his experience with Admiral Dewey at the Battle of Manila Bay.

Program 15 This film, “Toby and the Tall Corn,” introduces the viewer to an old-time traveling tenet show setting up in the Midwest. It is called the “Toby and Susie Show” and viewers see the show set up in each town, the local kids helping to erect the tents, various actors in the show doubling as publicity men and salesmen for ads. Russell Lyons does both voiceover and on-camera narration and interviews Neil Schnaffer who is the current head of the show. The tent show includes melodrama and olio acts, built for the entertainment of the farmers in the corn states.

American Art Today (1956) Initial NET Broadcast: N/A Number of Programs: 13 Origin format: Kinescope Running time: 30 minutes

Generally Description of Series: This sequel to “The Arts Around Us” will deal with modern American art in all its diversity – concentrating on such broad areas as expressionism, realism, classicism, influence of science, and sources of 20th Century American Art. Dr. Malcolm Preston, chairman of the Hofstra College department of art, is the featured narrator and demonstrates many of his lecture points at the easel during these thirteen half-hour programs. He uses many originals and prints from contemporary American painters as visual aids and a number of internationally known American artists will appear as guests on the program. American Art Today was produced for the Center by Hofstra College in cooperation with WOR-TV.

Program #1: Sources of American Art Today Dr. Preston outlines the scope of this series in the opening program and briefly surveys the many sources from which our present day American art is drawn. Attempting to show the relationship of modern American art to the past, Dr. Preston demonstrates Dutch, English, and Colonial realism at the easel. Among the illustrative prints shown are Hals, Reynolds, Coply, and Stuart.

Program #2: Sociological-Political-Moral Influence on American Art Here, Dr. Preston illustrates the reflections in art of our social, political, and religious institutions. Facets to be studied include the vastness of our country, regionalism, sense of humor, disregard for tradition, and pride in our beginnings, the character of our morality and the speed and tempo of our life. Highlights of the program are Dr. Preston’s easel demonstration of the depression of the thirties and his discussion with Dr. Wilbur Scott of the influence on literature and music of those same forces.

Program #3: Influence of Science on American Art Dr. Preston discusses the influence on art of the 20th Century – an age of great scientific progress. He also shows the influences of science and the contributions of psychology, physics, mathematics, and even science fiction. His easel demonstration illustrates both the positive and the negative aspects of the scientific influence on our modern American art.

Program #4: Realism Opening his study of the different modes in American art, Dr. Preston discusses realism, which is one of the most popular and best known art modes. He traces some of the realistic sources through the 19th Century and shows its development in the 20th. Using a realistic approach, Dr. Preston portrays a subject at the easel.

Program #5: Classicism Dr. Preston illustrates the influences of classicism in contemporary American art with examples from the works of St. Gardens’, Kroll, Brackman and Zorach. Continuing his demonstration from program four, Dr. Preston takes the same picture idea at the easel and emphasizes the classic influence in his painting.

Program #6: Romanticism Romanticism is the beginning of expressionism. Dr. Preston traces the romantic mode through the American art of today and uses examples from the work of Mangranite, Kuniyoski, Preston and Karfial. Again he demonstrates his lecture points at the easel – presenting the romantic mode in contrast to his earlier demonstrations.

Program #7: Expressionism In this program, Dr. Preston shows the highly personal involvement of the artist as he discusses expressionism as a mode in American art. He traces the sources of American expressionism through the works of Van Gogh, Munch, Kuchner, Noloe, Soutine and Renault. He also illustrates the difference between romanticism and expressionism in contemporary music and in art.

Program #8: Mysticism in American Art Dr. Preston explores the sources of mysticism as a mode and traces its development in the American art of today. Feature of the program is Dr. Preston’s demonstration of several forms of mysticism at the easel.

Program #9: Abstract Art – Part I In this program Dr. Preston presents the first part of a two-part sequence on abstraction in American art. The emphasis here is on the mode of abstraction in which there remains some vestiges of the forms of the physical world. A highlight of the program is a student group’s dramatization of an excerpt from Thornton Wilder’s “Out Town.”

Program #10: Abstract Art – Part II In the second part of this two-program sequence on abstraction in American art, Dr. Preston discusses and demonstrates abstraction and develops its relationship to surrealism. Special guest appearing on this program is Thomas B. Hess, editor of “Art News.”

Program #11: Style and Technique in American Art Today Her Dr. Preston discusses and demonstrates various qualities of art styles and techniques and attempts to determine whether some of these qualities are typical of American art today. In addition to his regular easel demonstration, Dr. Preston examines a variety of paintings for their styles and techniques.

Program #12: Subject Matter and Content in American Art Today Dr. Wilbur Scott of the Hofstra literature department joins Dr. Preston in discussing the subject and content found in the works of artists. Dr. Preston discusses topics of interest to painters while Dr. Scott develops similar ideas with regard to literature. The program also includes Dr. Preston’s regular easel demonstration.

Program #13: What the Future Holds This final program on the series is a “crystal ball” attempt to look into the future and answer the question, “Where is American art going?” A panel of well-known American figures in American art assists Dr. Preston in an attempt to select those elements in today’s painting which may well be termed characteristic of this era by later generations and to trace out the lines of development which will determine the future.

American Assembly: Cultural Affairs and Foreign Relations (1963) Initial NET Broadcast: April 1, 1963 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes Contractor/Producer: WNDT

Dr. Henry M. Wriston, chairman of The American Assembly – a public affairs institute affiliated with Columbia University which assists Americans in arriving at a consensus on important public policy questions – hosts this program. The program concerns what has been called “the fourth dimension of foreign policy” – international cultural, scientific, and educational activities. Dr. Wriston and his guest examine the educational, scientific, and artistic exchange of ideas and the relationship between this nation’s non-political activities abroad and its foreign policy.

During the first portion of the program, Dr. Wriston and two of his guests – Philip H. Coombs and Albert G. Sims – discuss the scope of our international exchange activities in education, the arts, and science. Specifically, they consider the significance of these reputedly non-political activities as an element in foreign relations, the work of the Institute of International Education, the role of the Department of State, and the political usefulness of international cultural, scientific and educational activities. During the second portion of the program, Dr. Wriston discusses the role of private individuals in international cultural affairs and the importance of translations with Mildred Adams, and the integrity of US exchange programs in the arts and the humanities with Dr. W. McNeil Lowry.

Featured Personalities: Dr Henry M. Wriston, chairman of The American Assembly, is president of the Council on Foreign Relations, president emeritus of Brown University, and chairman of the President’s Commission on National Goals

Philip H. Coombs, of the Brookings Institution is former Assistant Secretary of State for Educational and Cultural Affairs.

Albert G. Sims, executive vice president of the Institute of International Education.

Dr. W. McNeil Lowry, director of the program in Humanities and the Arts, the Ford Foundation.

Miss Mildred Adams (Mrs. Huston Kenyon), freelance writer and translator of Jose Ortega y Gasset, a Spanish philosopher and writer who died in 1955.

The American Assembly: Cultural Affairs and Foreign Relations: a production of WNDT, New York City, in cooperation with The American Assembly Producer: Jack Landau Director: Robert Myhrum This program was produced January 1, 1963.

American Business System (1963) Initial NET Broadcast: January 27, 1963 Number of Programs: 10 Origin format: Videotape Running time: 60 minutes

General Description of Series: The ten half-hour programs illustrate how the market system functions in the United States. The series considers the history of the system as it developed in this country, shows how the system fostered technological advances, and how it utilized the nation’s resources in spurring economic growth. In its consideration, the series examines the functions of management, with particular emphasis on the fields of production, marketing and finance. It explores the influences of government on the market system and concludes with a consideration of the effects of the market system on the individual. IN the course of filming the series, the camera’s recorded scenes at industrial plants, stores, shops, parks, airports, farms, mines, museums. The American Business System is a production of Arthur Lodge Productions, Inc. of New York City. The series was produced under a grant from the National Association of Manufacturers. All quotes used within the program description are taken directly from the program.

Writer-director: Arthur Lodge Content supervision: William C. Bradford of Northwestern University Content supervision: Meno Lovenstein of Ohio State University Content supervision: Ross M. Robertson of Indiana University Content supervision: W. Allen Wallis of the University of Chicago (now president of the University of Rochester) Content supervision: ET Weiler of Purdue University

Featured Personality: Host Jack Gwyn is emcee of WLW-Radio’s (Cincinnati) early morning show, “Clockwatcher,” and emcee of “Ladies Aid,” a show of general commentary and good music. Gwyn majored in economics at the University of Texas. He began his radio career at KTBC, Austin.

Program #1: The Role of the Market The subject her is the market – what it is and how it operates. The forces of supply and demand are examined at length. In particular, the program examines the market, the place where supply and demand meet to determine price and shows the effects on the market of a loss in demand for a product. To examine how supply and demand works, the viewer is taken to a used automobile auction and a produce auction, as well as to a drug department store and a television service repair shop. The buyers at these auctions buy goods “that will sell—at a profit.” “It’s this hope of making a profit that motivates our business system,” the program concludes.

Program #2: How it Evolved “Today’s American business system – like any other vast and complex, institution – is inescapably a product of the past.” This program traces – through recreations, museum exhibits, historical films, still photos, and artifacts – the development of the American business system from the handicraft industry of colonial days to the integrated, diversified corporations of today. The program emphasizes the development of the corporation.

Program #3: Technological Development “The advancement of technology has closely paralleled – and in a large part has helped account for – the growth of American business as we know it today.” With the market system’s constant interplay of supply and demand, the close relationship of technology and business growth has been and is inevitable. Firms that produce the best products or services at the lowest possible prices supply the market’s demands and ear profits. In tracing technological development, the program explains what technology is and how it has transformed the American business system. The program also concerns itself with the evolution and role of research and development in the modern American business system. Inventions and discoveries important to business are traced from colonial days. In particular the program focuses on the work of Thomas Edison and George Westinghouse and the initial development of the electrical industry. Since Edison, the program concludes, technology has become a way of expanding both a company’s share of the market and the market itself.

Program #4: The Nation’s Resources The nation’s resources – its land, labor, capital, and entrepreneurs – are examined. Scenes from the desert country of South Central Texas illustrate what effect the absence of capital has on productivity – using primitive tools and methods. Texans here work very hard to extract a few pounds of candelilla wax from the land. To illustrate what is known as “entrepreneurial talent,” Mr. Louis Wozar, president of the Tait Manufacturing Company (a firm that produces motors and pumps), describe the steps he took to put his company in sound financial condition. To illustrate how the market economy intricately weaves the various resources of the nation together to provide all the goods and services we take for granted, the manufacture of wood boards for a parquet floor is detailed.

Program #5: The Challenge of Management This program is concerned with the role of the business manager, the person who brings together the land, the resources, the necessary labor, and the capital or means of production and sets all these turning to manufacture the things that people need or want. To indicate the functions of the business manager, the program visits a laundry – operated as a proprietorship, a filling station – operated as a partnership, and a large corporation. In dealing with the corporation, the program shows the varied responsibilities of Donald Douglas, general manager of the Reflective Products Division of the Minnesota Mining and Manufacturing Company.

Program #6: Production and Marketing This program considers two of the three major spheres of management – production and marketing. To illustrate each area, the program considers the work of Ira Webb, production manager for Tropicana Products, Inc. and Robert Young, marketing manager for Tropicana. Marketing developments from the country store to the present are traced. The program illustrates that competition generated by the market system among producers demands that production and marketing managers remain constantly alert for ways to make their products, packages, services, and prices at least a little bit better that the next man’s.

Program #7: Financial Management To explain the functions of the finance manager, the program shows how a busy restaurant was organized and capitalized, examines the duties of Stanley Laing, executive vice president of National Cash Register, and considers the responsibilities of Herbert Schiff, executive vice president of the Shoe Corporation of America. In following Mr. Laing, the program shows him raising capital for a new line of products – electronic business machines – and indicates his concern for the financial matters that grow out of the new line of products.

Program #8: Economic Growth This program examines the nation’s rate of economic growth and the four common gauges used to measure it – industrial production, gross national product, gross national product per person, and output per man-hour worked. The program also considers the factors contributing to economic growth and assesses the “adequacy” of this growth.

Program #9: Government and the Market The program opens at a town meeting. From this point, the various roles government plays in our lives are shown and various points of view concerning government’s role in controlling or modifying the market economy are presented. The program also examines the function and origin of government activity in the market.

Program 10: The Market and the Individual The program begins with a young American engineer and his wife greeting a visitor from Greece. Through the couple, who try to give their guest an accurate picture of American life, the viewer sees how the market system provides for the needs and wants of the American people. This program also contrasts the impact of the market system on the individual American with the impact of market systems in other parts of the world.

Special of the Week #12: An American Christmas: Words and Music (1971) Initial NET Broadcast: December 20, 1971 Number of Programs: 1 Running time: 60 minutes Contractor/Producer: WNET

NOTE: This program later aired under the Playhouse New York series in 1972(?).

Burt Lancaster is host when James Earl Jones, Freda Payne, Linda Lavin, the Ella Mitchell Gospel Singers, and the Harlem Children's Chorus head the guest list on this special holiday production.

Blending new and traditional Christmas music, and bringing to life works by Mark Twain, Robert Frost, Frederick Douglass, Lincoln Steffens and others, the show captures some of America's varied and complex feelings toward Christmas, now and from the past. Dramatic segments were filmed on location in rural sections of New Hampshire and Long Island, and at the Mark Twain House in Hartford, Connecticut.

"Individual feelings--Christmas as a personal thing is the theme of this show," says producer-writer Bo Goldman, who has written screenplays for such series as "The Defenders" and "The Nurses" and for the film "Cry Havoc." Director is Edward Sherin, who directed James Earl Jones in the stage production of "The Great White Hope."

Goldman, also a lyricist, has teamed with composer Glenn Paxton to do two original Christmas songs for the show: "Oh Shining Day," sung by Freda Payne; and "Ride Away," performed by Peter Yarrow (formerly of Peter, Paul, and Mary).

Host Burt Lancaster will read Robert Frost's "Christmas Trees" while the poem is dramatized on film, accompanied by Glenn Paxton's original music. The poem tells the gently ironic tale of a farmer who dallies with the temptation to sell his fir trees to a stranger.

In other key segments of the show:

-- Linda Lavin stars in a dramatization of "The Loudest Voice" by the contemporary American author Grace Paley. In the story little Shirley Abramowitz gets the leading part in her school's Christmas play, and Shirley's Jewish Orthodox mother threatens to pack for the Holy Land.

-- Actor James Earl Jones reads "New Duties and Relations" by Frederick Douglass, a man who escaped from slavery to become a diplomat and presidential adviser. The essay tells of Christmas as a tool of oppression on the plantations, and the role it served in suppressing the revolt.

Interwoven with Jones' reading are "What Mon' Was Jesus Born IN" sung by the Ella Mitchell Gospel Singers, and the spiritual "Steal Away," sung by Freda Payne.

-- Mark Twain sends careful instructions to his daughter Susie on how to prepare for St. Nick's arrival, in "Letter from Santa Claus." Featured are William Mooney as Twain and Kathy Galvin as Susie. Filmed at the Twain House in Hartford.

-- Joy and sorrow are made inseparable in "A Miserable Merry Christmas" by the late author-journalist Lincoln Steffens. The poignant autobiographic story tells of an eight-year-old boy who gets the gift he wants most for Christmas, but not without a moment of anguish he may never forget. George Coe, Frances, Sternhagen, and young Timmy Ousey play the key roles. The sound track includes Peter Yarrow singing, "Ride Away, Ride Away."

Other music in the program is provided by the Harlem Children's Chorus, with 13-year-old Karen Harris as soloist in an unusual rendition of "Silent Night"; the Columbus Boys Choir of Princeton, NJ, singing "Coventry Carol" and "The Holly and the Ivy"; and the Ella Mitchell group singing "Joy to the World."

PLAYHOUSE NEW YORK – “An American Christmas: Words and Music” is a production of WNET/13, transmitted nationally by PBS. Produced and written by Bo Goldman. Co-producer: David Loxton Director: Edward Sherin Executive producer for PLAYHOUSE NEW YORK: Jac Venza

Perspectives #30: The American Conservative (1963) Initial NET Broadcast: May 27, 1963 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes Contractor/Producer: WNDT

This program examines the history, philosophy, and present position of the American conservative. Through film, interviews, and commentary, the program stretches across the spectrum of conservative thinking from Frank Meyer, a conservative philosopher who writes for the National Review, through Senator Leverett Saltonstall (R-Mass.) and Senator John Tower (R-Tex.) to Malcolm Moos, former assistant to President Eisenhower. In New York City’s Federal Hall, host Clinton Rossiter – historian, philosopher, and professor of government at Cornell University – opens the program by tracing the history and position of the conservative from George Washington to Barry Goldwater and Nelson Rockefeller. During Professor Rossiter’s comments, viewers watch President Hoover speak at the dedication of the Herbert Hoover Presidential Library in West Branch, Iowa, in August 1962. Columbia University Professor Alan Westin – the program’s second host – describes the new surge in American conservatism in America’s youth, and tries to pinpoint some identifying characteristics of the modern conservative. In separate interviews, Mr. Meyer, Senator Saltonstall, Senator Tower, and Mr. Moos answers questions on the position of the American conservative particularly in the areas of government fiscal policy, education and social welfare. Viewers also see films of conservatism in action – Senator Barry Goldwater at a Madison Square Garden really of Young Americans for Freedom, a debate sponsored by the Young Americans for Freedom in Englewood Cliffs, New Jersey, and a meeting of the Young Republicans of New York City.

Noel Parmentel Jr., writer, conservative and outspoken critic of conservatism adds his comments on the right wing. Professor Rossiter concludes with an overview of the program.

THE AMERICN CONSERVATIVE: a 1963 production of WNDT, New York City Producer: Jim Benjamin Director: Robert Myrhum

The American Economy (1962) Initial NET Broadcast: Unknown Number of Programs: Unknown Origin format: Videotape Running time: 60 minutes

Transcript of a Memo dated May 18, 1962 to the Program Managers from Jack Caldwell Produced under the auspices of the Learning Resource Institute are five credit courses that will be available for distribution this fall. The programs are originally part of the CBS COLLEGE OF THE AIR an NBC CONTINENTAL CLASSROOM series, and will be available for distribution beginning in September 1962.

Each series consist of 160 half-hour programs distributed at the rate of five per week over a 32 week period.

Four of the series: PHYSICS, NEW BIOLOGY, MATHEMATICS, and CHEMISTRY have been previously broadcast by CBS and NBC. The fifth series, the AMERICAN ECONOMY, is currently in production and is available for broadcast by both CBS and NET stations beginning the week September 17, 1962. In markets where there are both CBS and NET stations, the CBS station has first run rights. The ETV station may schedule the program at any time following the completion of the program on the CBS station (even one-half hour later). Further details will be released as soon as they become available.

The AMERICAN ECONOMY will be distributed at no cost to ETV stations. All other programs in the four other series mentioned above are available on kinescope at $7.50 per half-hour or $1200 for a complete series.

All requests should be sent to the attention of Mr. Edwin G. Cohen, NETRC, 10 Columbus Circle, New York.

In order to prepare the proper number of sets for fall distribution, it is necessary that we know of your interest. Will you please fill in the attached form and submit it to Mr. Cohen by June 18, 1962.

General Description of Series: Never in the history of man has an economic empire grown to such stature as that which developed on the shores of the New World and which today flourishes as the AMERICAN ECONOMY.

How and why does our complex economic system work as it does? To help the layman build a more objective understanding of the how and the why, the American Economic Association Joint Council on Economic Education and the National Task Force on Economic Education have co-sponsored a series of 160 lessons aptly entitled, THE AMERICAN ECONOMY.

The series is taught by Dr. John R. Coleman, Professor and Head of the Department of Economics at the Carnegie Institute of Technology. He graduated from the University of Toronto and obtained a master’s degree and Ph.D. from the University of Chicago. Dr. Coleman is co-author of several well-known books in labor economics.

In commenting on THE AMERICAN ECONOMY, the magazine Audiovisual Instruction stated, “Professor Coleman … has maintained a most impressive balance among audio and visual factors, utilizing each most skillfully to promote learning.”

This special course has two direct aims: (1) to help today’s citizens understand an economic world in which they are everyday participants … as consumers, jobholders, investors, and voters, and (2) to help tomorrow’s citizens by furthering the economic education of their teachers.

Professor Coleman has also developed a select list of 60 lessons from THE AMERICAN ECONOMY which, according to his experience could be used with profit in the high schools. Professor Coleman describes his abridgement of the series in this way: “Emphasis is upon the same breadth that was sought in the entire series, but with sufficient depth in two areas (the pricing system and the determination of the total level of spending and employment) to enable viewers to master and use some basic economic tools.”

An American Family (1973) Initial Broadcast: January 11, 1973 (episode #1) Number of Programs: 12 (plus a special panel discussion titled “An American Family and Reality”) Origin format: Videotape Running time: 60 minutes Contractor/Producer: WNET

“An American Family,” an unprecedented series of 12 one-hour color documentaries, following one family’s day-to-day life over a seven month period, premieres on PBS.

Producer-director Craig Gilbert of WNET/New York, and his camera crews, filmed over 300 hours with the seven-member William C. Loud family of Santa Barbara, California, in order to make the series. The results are a totally unstaged, very personal portrayal of contemporary American life.

With “An American Family,” Gilbert has brought to television, for the first time, a method of detailed recording pioneered by anthropologist Oscar Lewis in the book La Vida, his study of Mexican street corner society.

After screening several segments of “An American Family,” noted anthropologist Margaret Mead said, “Nothing like it has ever been done and I think it may be as important for our time as were the invention of drama and the novel for earlier generations: a new way to help people understand themselves.”

Focusing on the problems and joys of a real family in real situations, Gilbert has attempted to answer some of the larger questions about modern American society: What is the current American dream? Why has marriage become something less than a permanent arraignment? What is left of the parent- child relationship? Where are America’s children?

Gilbert decided against the more traditional ways of answering these elusive questions, feeling that a survey type of documentary would result in dry statistics and barer conclusions. Instead, he has focused on a single family, exploring its internal relationships and its relationship with society as a whole. This method has resulted in a dynamic portrait of the American culture. “I didn’t set out to prove anything,” says Gilbert. “I had faith that if we stayed with a family long enough, certain universals would surface— like how parents feel about children and husbands about wives.”

Gilbert spent two months in search of the “right” family for the kind of study he had in mind. He needed a family that would put up with a major invasion of privacy and one that was composed of attractive, articulate people who came close to a realization of the vaguely-defined American dream.

His search ended in Santa Barbara when Bill Loud, 50, his wife Pat, 45, and their five children, who range in age from 13 to 20, opened their doors to Gilbert’s cameras and for seven months, from May 30, 1971 to January 1, 1972, shared their most private moments with a public audience. (During the filming of “An American Family,” the Louds’ 20-year marriage collapsed, ending in a separation.)

While there was never more than one camera crew in the Loud home at any one time, an additional crew was employed when family members were traveling or involved in separate activities. Thus, portions of “An American Family” were filmed in New York City, Eugene, OR, Taos, NM, Paris, France, and other cities.

The series also follows the Louds back in time, exploring their family roots. Still photographs, home movies, letters, newspaper clippings and other family documents evoke their ancestors and provide an unbroken link in the Loud chain of American experience.

Gilbert describes the Louds as being “neither typical nor average – no family is. Therefore, the series is called ‘An American Family’ and not ‘The American Family.’ But the Louds are Americans and they tell us something about all families in this country.”

Craig Gilbert has been an executive producer for WNET since 1966 and received an Emmy award nomination for “The Triumph of Christy Brown,” which he wrote and directed.

“An American Family” is a production of WNET, transmitted nationally by PBS, the Public Broadcasting Service. Producer/director: Craig Gilbert

Episode 1 OBD: January 11, 1973 The series opens with scenes from the last day of filming, December 31, 1971. Pat Loud and four of her children are having a New Year’s Eve party in their Santa Barbara, California, home. Bill and Pat’s marriage has ended in separation. Their eldest son, Lance, is still living in New York. The scene changes to the first days of filming when the family gathers for an early breakfast one morning in mid-May, 1971.

Episode 2 OBD: January 18, 1973 Pat Loud visits her son Lance in New York City. She takes a room in his hotel, the Chelsea, and spends a week with him meeting his circle of friends.

Episode 3 OBD: January 25, 1973 Before returning home from her New York trip, Pat stops in Baltimore to check on a shipment of equipment that her husband Bill is expecting for his business. Bill meets her plane when it lands in California; they go out to lunch, during which they discuss their children. Later they attend a dance recital in which their daughters, Delilah and Michele, perform.

Episode 4 OBD: February 1, 1973 Pat returns to her birthplace in Eugene, Oregon, and visits her mother, who still lives there. They drive around town together, stopping at the important places in Pat’s early life and the first years of her marriage. After attending her mother’s birthday party, Pat returns home.

Episode 5 OBD: February 8, 1973 The girls are leaving with Pat for a vacation in Taos, New Mexico; Kevin leaves for Australia with Bill’s visiting associate; and Lance calls the family form New York.

Episode 6 OBD: February 15, 1973 After Pat returns from Taos with Michele, she has lunch with Bill and again the topic of discussion is their children. Lance is visiting Paris with a friend. A brush-fire in the hills threatens the Loud home.

Episode 7 OBD: February 22, 1973 The growing antagonism between Pat and Bill comes out in the open. Grant is criticized by his parents for not working hard enough, and shortly afterward, gets into an accident while driving home from work.

Episode 8 OBD: March 1, 1973 While Bill is away on a business trip, Pat decides to file for divorce. She spends an evening with her brother and sister-in-law discussing this decision.

Episode 9 OBD: March 8, 1973 Bill returns from his business trip, learns from Pat that she plans to divorce him, and spends the night at a motel. The next day, the Loud children rally around their mother.

Episode 10 OBD: March 15, 1973 Bill looks for an apartment; the children register for their first day of the new school year; and Kevin masterminds a pep rally. Lance is in Copenhagen, Denmark.

Episode 11 OBD: March 22, 1973 After living in New York City and Europe for seven months, Lance returns to his Santa Barbara home for a visit.

Episode 12 OBD: March 29, 1973 Grant and his rock group audition for a job at a Santa Barbara Lounge. Bill meets Delilah in his office and asks her to deliver a pair of boots and a dress that he has brought for Pat. At the Loud home, Pat tries on Bill’s gifts and decides that she doesn’t like them. Over drinks with a friend, Bill talks about the breakup of his marriage and his feelings about Lance and the other children. Pat also talks about the divorce with two of her friends and reveals her tentative plans for the future.

An American Family … And Reality (1973) Number of Programs: 1 Initial Broadcast: April 5, 1973 Videotape 60 minutes

“An American Family … And Reality,” a follow-up discussion on the structure, impact and relevancy of the public television series about the Louds, to air April 5.

A panel composed of leading figures in the discipline of psychiatry, anthropology, history and the arts will discuss the structure, impact and relevancy of “An American Family,” WNET/13’s 12-part series on the lives of the William C. Louds of Santa Barbara, California. (The series end s on March 29.) The one- hour discussion, entitled AN American FAMILY … AND REALITY, will air nationally over the Public Broadcasting Service on Thursday, April 5 at 9:00 pm.

The panel, composed of six members of the academic community who have each watched “An American Family” in its entirety, will be moderated by Richard Gilman, Professor of Dram at Yale University and the author of “The Confusion of Realms” and “Common and Uncommon Masks.” Other participants include:

Margaret Mead – anthropologist and author, Columbia Professor and Curator Emeritus of Ethnology at the American Museum of Natural History.

Benjamin Demott – novelist, social critic and Professor of English at Amherst. He is the author of “Supergrow,” “A Married Man” and “Surviving the ‘70s.”

Theodore Lidz – Professor of Psychiatry at Yale. Lidz is the author of “The Family and Human Adaptation,” “The Person” and an upcoming study, “The Origin and Treatment of Schizophrenia.”

Joseph F. Kett – University of Virginia historian whose special interest is the history and evolution of the American family.

Lionel Tiger – director of graduate programs in anthropology at New Jersey’s Rutgers University and the author of “Men in Groups.”

“An American Family” has been the most controversial and talked-about television program in years. In the course of its three-month run on the Public Broadcasting Service it has been the subject of lengthy articles and reviews in every major American magazine and newspaper (including the cover of Newsweek) as well as important publications in the German, French, English and Israeli press (even though the series has not yet been shown in those countries.)

The seven member of the Loud family have received hundreds of personal letters (series’ producer Craig Gilbert has received hundreds more ), granted dozens of interviews and made several appearances on television talk shows, including the Dick Cavett and Mike Douglas programs.

In an attempt to place the series in perspective and provide it with a frame of reference, AN AMERICAN FAMILY … AND REALITY has invited the distinguished panel to discuss the 12 programs from the vantage points of their particular disciplines. According to Fern McBride, producer of the program, the panelists will concern themselves with some of the following questions: Is “An American Family” this harbinger of a new form, a new way to explore the complexities of contemporary reality? What are the components of this form? Does the series help us to understand ourselves better? In what ways does it reflect or distort American society and the American family?

Last January, Ms. Mead wrote in TV Guide: “I do not think ‘An American Family’ should be called a documentary. I think we need a new name for it, a name that would contrast it not only with fiction, but with what we have been exposed to up until now on TV.” If AN AMERICAN FAMILY … AND REALITY fails to come up with that elusive name, says Ms. McBride, the discussion will nevertheless provide an understanding of its definitions and applications.

AN AMERICAN FAMILY … AND REALITY is a production of New York’s WNET/13, transmitted nationally by PBS, the Public Broadcasting Service. Producer: Fern McBride Associate producer: Jody Moore Assistant to the Producer: Judy Freed

NET Journal: The American Image (1968) Initial NET Broadcast: December 9, 1968 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes

Suggested Newspaper Listing An examination of American foreign policy by historian Arthur M. Schlesinger Jr., author and publisher Jean-Jacques Servan – Schreiber (“The American Challenge”), exiled Greek leader Andreas Papandreou, former Czech economist Eugen Loebl, and Soviet affairs specialist Zbigniew Brzezinski. Taped at the Princeton symposium of foreign policy, with moderator Robert Manning.

Program Description The program features an analysis of American foreign policy in its ever-shifting balance with the Soviet Union. With American prestige at low ebb as a result of our involvement in the Vietnam War, the panelists assess Mr. Nixon’s probable approach to foreign policy. They also add their personal insights into such recent crises as Czechoslovakia’s invasion, the coup in Greece, and escalating dissent in America.

Servan-Schreiber states that the revolt of youth against the war and social injustices has “done more for America’s political prestige” than any other recent occurrence, since it proves that America is still a free society capable of tolerating opposing viewpoints. He noted earlier that world influence was no longer based on military strength, and accordingly the invasion of Czechoslovakia was “the greatest defeat for Russia.” On idealistic grounds, Loebl questioned “whether the United States is for the principle of self- determination,” based on its lack of involvement in the Czech liberalization struggle.

Papandreou added: “Czechoslovakia and Greece are both victims of the two blocs. Greece is an American satellite …. That democracy died in Greece is directly a result of American military thinking.” He recalled a conversation with Robert Kennedy in which the late Senator indicated a desire to cut off aid to Greece’s military government – “at that moment the military government will cease to exist.”

Schlesinger stressed, however, that the US is often “the great alibi” in countries with anti-democratic regimes, as exist in Latin American countries. Brzezinski said, “The United States is involved (around the world) because of the kind of society it is. We tend to search for foreign demons when a situation becomes unmanageable …. The more upheavals, the less democratic system.”

Discussing the complexity of international involvements, Schlesinger recalled President Kennedy’s embarrassment during the Cuban missile crisis when he learned that American Jupiter missiles had not been removed from Turkey and Italy – six months after he ordered such removal – thus weakening his own argument with Russia. He also recalled a conversation with an ominous ring between Charles de Gaulle and President Kennedy. De Gaulle indicated: “don’t construe influence in Asia by military strength. We in France have more influence in South East Asia since we withdrew our forces.”

American Indian (1968) Initial NET Broadcast: Unknown Number of Programs: 1 Origin format: Film Running time: 60 minutes

Contractor: NET Producer: Lane Slate Special Information: This covers the research stage for a proposed one-hour special on The American Indian. It is being developed for and at the request of the National Endowment for the Humanities, for possible partial funding.

Shooting Schedule: January 22 – March 1

American Issues (1958) Initial NET Broadcast: April 20, 1958 Number of Programs: 18 Origin format: Kinescope Running time: 30 minutes

This issue is devoted to the economic, social, and political issues of major significance in the United States. Each pair of programs will present a debate between two outstanding men in government, law, education, science, or business who are actually struggling with the issues. In the first program on an issue, the moderator will introduce the subject and the two speakers briefly. Each speaker will have five minutes for a rebuttal. The question and answer period, involving the whole panel (debaters, moderator, and two guests) will cover fifteen minutes. The moderator will then have three minutes to make a similar statement.

Two debaters will be chosen for each pair of programs – men whose view are well known, selected with respect to their opposing approaches to the issue. Nate White, business and finance Editor of the Christian Science Monitor will act as moderator. For each pair of programs, two impartial citizens will be selected with respect to their interest and ability to pose questions relative to the issue of the debate.

Program Titles Include:

1. Will American Local Government Survive? Part I (May 13, 1958) 2. Will American Local Government Survive? Part II (May 13, 1958) 3. What is Happening to Our Rights? Part I (May 21, 1958) 4. What is Happening to Our Rights? Part II (May 21, 1958) 5. How Shall America Confront Communism? Part I (April 24, 1958) 6. How Shall America Confront Communism? Part II (April 24, 1958) 7. How Shall America Handle Foreign Aid? Part I (April 17, 1958) 8. How Shall America Handle Foreign Aid? Part II (March 4, 1958) 9. How Shall America Maintain Economic Stability? Part I (April 4, 1958) 10. How Shall America Maintain Economic Stability? Part II (April 4, 1958) 11. How Shall America be Taxed? Part I (February 21, 1958) 12. How Shall America be Taxed? Part II (February 21, 1958) 13. How Shall America Pay for Education? Part I (April 11, 1958) 14. How Shall America Pay for Education? Part II (April 11, 1958) 15. How Shall We Get the Leaders America Needs? Part I (March 26, 1958) 16. How Shall We Get the Leaders America Needs? Part II (March 26, 1958) 17. The Future of Citizenship, Part I (April 29, 1958) 18. The Future of Citizenship, Part II (August 27, 1958)

Special of the Week #30: An American Journey (1972) Initial NET Broadcast: April 24, 1972 Number of Programs: 1 B&W or Color: Color Running time: 60 minutes Contractor/Producer: WNET

An “American Journey” is producer Arthur Zegart’s own journalistic odyssey. From a fishing village on the Gulf Coast of Florida to a foreclosed farm in rural Iowa, he has sought common threads that bind people – not through political parties, ethnic slogans, or regional chauvinism – but to essential human values.

What they share, according to Zegart, is a struggle for identity in a world increasingly dehumanized; this struggle defines itself both in terms of a pride in individuality and a desire for community, a respect for work and a belief in the land. It is, in Zegart’s words, a search for “human ecology.”

In a “USA” montage, Zegart spans the points of his odyssey with many types of people across the country.

But the bulk of the film takes place in Panacea, FL, where many of these values assume a kind of elemental quality. Here, Zegart focuses on fisherman Leon Crum, a native of Wakulla County, who finds his identity in the work he performs and his ties to the people and the land. He works for Jack Rudloe, dredging for sea specimens that can be sold to scientists at universities and laboratories around the country. But Leon also is “his own man,” using his days off to trawl for shrimp in his boat, “The Tiger.”

The film follows Leon through his day, interacting with his neighbors, netting sea urchins, towing a stranded boat back to shore, attending a dance. His life is defined by what Rudloe, calls “that pristine quiet little bay.”

But the pristine existence is doomed, as evidenced in the film when Crum and Rudloe argue about the future of the Gulf community. For Leon fears the encroaching ugliness of neon signs, drive-ins, and an exploited beachfront. What many consider progress, he condemns as an end to privacy. Thus his story is that of the unspoiled America under siege from modern use.

Suggested Newspaper Listing Special of the Week – “An American Journey”: Producer Arthur Zegart seeks essential American values in a cross country odyssey, which focuses primarily on a group of independent yet interdependent families in Panacea, Florida.

“An American Journey” is a production of the national programming division of WNET/13. Produced, directed and written by Arthur Zegat. Editor: Dena Levitt

The American Liberal (1963) Initial NET Broadcast: June 10, 1963 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes Contractor/Producer: WNDT

The program – a companion program to THE AMERICAN CONSERVATIVE – examines the history, philosophy, and present position of the American liberal through films, interviews, and commentary. The guests are Senator Eugene McCarthy (D-Minn.); Senator Maureen Neuberger (D-Ore.); Richardson Dilworth, former mayor of the city of Philadelphia; Professor H. Stuart Hughes of the Department of History at Harvard University; and Dr. Robert Maynard Hutchins, chairman of the Center for the Study of Democratic Institutions of the Fund for the Republic.

On the sore of Bedloes Island before the Statue of Liberty, host Dr. Charles Frankel – professor of philosophy at Columbia University and a student of liberalism – opens the program by tracing the nation’s liberal heritage and the history of liberalism in this country. Interspersed with Dr. Frankel’s comments are recordings of the voices of President Theodore Roosevelt and President Woodrow Wilson and films of President Franklin Roosevelt, President Harry Truman, and Ambassador Adlai Stevenson.

In separate interviews, Senator Neuberger and McCarthy, former Mayor Dilworth, Professor Hughes, and Dr. Hutchins discuss topics of vital importance to the American liberal today – among them: the route of liberalism since President Franklin Roosevelt, present measures strongly supported by liberals, and the success or lack of success of recent liberal programs. Among the specific issues discussed are Medicare, conservation, education, civil liberties, the military budget, and urban revitalization. This portion of the program includes films of Freedom Riders and of the reform movement in Philadelphia in the 1950s.

Viewers also hear the voices of four foreign students from Nigeria, the Philippines, Turkey and Ethiopia. The students tell how they apply their knowledge of our political system in their nations.

In his final comment, Dr. Frankel states that liberal measures can be successful only with forceful backing. The program concludes with excerpts from a speech by President Kennedy in which the President raises a liberal call to arms.

THE AMERICAN LIBERAL: a 1963 production of WNDT, New York City Producer: Jim Benjamin

American Memoir (1961) Initial NET Broadcast: September 10, 1961 Number of Programs: 12 Origin format: Film Running time: 30 minutes

General Description of Series: The ins and outs of advertising, radio, bestsellers, architecture, and automobiles are probed, analyzed, and enjoyed by Dr. John Dodds in a new series from WTTW, Chicago. American Memoir consists of twelve richly illustrated television essays that range over a wide field of topics and a time span of more than sixty years. In an easy, conversational style, Dr. Dodds looks at the triumphs and mistakes, idols, dreams, and disillusionment of the American people as these have been reflected in our books, movies, homes, and magazines. He uses sketches and portraits prepared especially for this series; he brings back the old, phonograph records, magazines, advertisements, and even the Model T. Ford to recreate the periods and recapture the moods of the last six decades.

Produced by WTTW, Chicago Producer: Donley Fedderson Director: Ted Nielson

Featured Personality: John Dodds talks about the Chautauqua tent and the Model T Ford as if he remembered them intimately, but his thoroughly modern, lively, and humorous presentation of these and other phenomena of the past sixty years makes it clear that he has not stayed in the world of the 1900s.

His full title is Dr. John W. Dodds, Professor of English and Director of Special Programs in the Humanities at Stanford University; the capital letters, honorary degrees, and titles hide a face that would better serve a poker player or a magician accustomed to pulling rabbits out of hats. Indeed, his ability to keep a straight face while reciting nonsense poetry, poking holes in our most flagrant prejudices, or teasing us for our fallacies and foibles is one of the reasons for his popularity with NET audiences. Previously, he delighted and enlightened ETV viewers as the host of THE MEASURE OF MAN, a NET series that examined some of the principles and beliefs governing our lives.

Dr. Dodds, a native of Pennsylvania, received his BA at the college of Wooster and his MA and Ph.D. from Yale University. He taught for ten years at the University of Pittsburgh, then in 1937 moved to Stanford University in Palo Alto, California. Currently he is also a trustee of Mills College in Oakland, California, and senior advisor in the humanities to NETRC. He has, in addition, found time to write three books – Thomas Southerne, Dramatist; Thackeray, A Critical Portrait; and The Age of Paradox – and to edit An Oxford Anthology of English Prose and Modern British and American Plays.

Program 1: Culture for the Millions One common dominator of our culture, according to Dr. Dodds, is the people’s desire for self- improvement. An early manifestation of this desire was an American institution that endured until the late 1920’s – Tent Chautauqua. A source of inspiration, education, and entertainment reaching hundreds of towns throughout the nation, Chautauqua became a major vehicle for lecturers, musicians, and entertainers including such notables as Clarence Darrow, William Jennings Bryan, Samuel Gompers, John Philip Sousa, and the Fisk Jubilee Singers. Tent Chautauqua quietly succumbed to the competition of radio and motion pictures, but its modern equivalent may be found in a more sophisticated form, in our Great Books groups and adult education seminars.

Program 2: Everybody’s Dream House Dr. Dodds discusses architecture as a clue to cultural change. In the early 1900’s architects sought inspiration in traditional European styles, and a mélange of modified Greek Revival, Italian Renaissance, Norman manor, and Tudor half-timber homesteads sprang up. Although earlier innovators Henry H. Richardson and Louis Sullivan had proposed a fresh approach to domestic architecture, it was not until the impact of Frank Lloyd Wright that public opinion shifted. Paralleling this movement toward organic architecture, the Bauhaus school of ‘functional,’ ‘abstract,’ and ‘international’ styles began to flourish. In modern architecture, Dr. Dodds points out, we can detect the combined influences of these original thinkers in the emphasis on functional simplicity and the ingenious use of natural materials.

Program 3: Adland Revisited Dr. Dodds analyzes advertising in twentieth century American, and its dual function as mirror and molder of our culture. Through montages he demonstrates that admen have long been fluent with familiar slogan, jungle, testimonial, and doctor’s endorsement – by which values and dreams, rather than commodities, are made the fare of public consumption. However, Dr. Dodds reminds us, we must guard against the temperature to make advertising the scapegoat for our own materialism, for admen can erect and support only the images that society tacitly permits.

Program 4: Best Sellers Since 1900 In an overview of best sellers of the twentieth century, Dr. Dodds analyzes the continuities and contrasts in the literary tastes of the American public. He notes the persistence of “how-to” books, from those describing short-cuts to financial success to those on religious topics. He also examines the concept of reading for escape and the ways in which it has changed over the years. Historical romances, westerns, “who-done-its,” and other fictional works show a progressive trend away from the stable optimism and naiveté of the early 1900’s toward what Dr. Dodds terms “a sharpened sense of the human condition” and a search for meaning in a confused world.

Program 5: How Historical is History? Mention the 1920’s, says Dr. Dodds, and a whole chain of images is evoked: raucous jazz, champagne baths, John Held flappers, gang killings – in short, an era of rampant, glamorous decadence. The frantic thrill searching of the “lost generation” takes on a somewhat different flavor when described by the pens of Hemmingway, Fitzgerald, and other Left Bank Expatriates. The small town, its traditions and manners still relatively untouched, presents still another picture of the decade. Each of these represents an alternate truth about the times. Therefore, Dr. Dodds says, it is only when we view history from many vantage points that we are able to achieve an undistorted, objective account and gain a perspective that avoid the pitfalls of our cherished stereotypes.

Program 6: Success Story: The Business Man as Hero In general, says Dr. Dodds, Americans have always defined success in monetary terms, and the record of the past sixty years is replete with money-making formulas. In the early 1900’s the age of rugged individualism and free enterprise with a vengeance, the rags-to-riches theme figured prominently – in the wealth-through-virtue schemes of Horatio Alger heroes, and in the careers of the “self-made” industrial titans. Today, with business management largely in the hands of paternalistic giant corporations, organization men have found the key to success in adjustment, belongingness, and well- roundedness.

Program 7: Sixty Years of Magazines Dr. Dodds traces the changes in American attitudes and tastes as reflected in magazine publishing since 1900. Magazines in the first decade of the century, in deference to the middle-class morality of the time, were models of gentility and decorum. In the 20’s a new wave of free thinking, combined with an awakening interest in current social, national, and international problems, swept away some of the cultural cobwebs. Since 1945 the tone and content of magazines have reflected a growing sophistication and sharpened sense of living inevitable in a world of increasing complexity and insecurity.

Program 8: The Hero in the Twentieth Century Assuming that the heroes of a society embody its ideals and aspirations, says Dr. Dodds, we can learn a great deal about American values by exploring some of the hero types of the past sixty years. The adulation of matinee idols, from Valentino to Sinatra; of doers of big deeds, from Lindbergh to Shepard; of preeminent political figures, from Lincoln to Churchill, has always been a constant factor in our history of hero worship. Today, in a sophisticated age of psychological analysis, the fictional romantic “hero” stereotype is fast disappearing. Nevertheless, we are still apt to confuse the celebrity with the hero, the manufactured myth with the reality. If our modern heroes are to have real substance, we must reaffirm our belief in the power of human excellence, says Dr. Dodds.

Program 9: The Movies Dr. Dodds examines the movies of the twentieth century for clues to the changes and constancies in American taste. By the 20’s the sentimental melodrama had given way to a new wave of frenetic frivolity, and the need for a code of self-censorship became apparent. Recently the sporadic efforts of independent movie producers have resulted in a liberalization of the code. There have been some distinguished films despite a motion picture industry that continues to search for the lowest common dominator of taste, and that fact, says Dr. Dodds, leads one to think that the artistic integrity of motion pictures is still redeemable. But, as he points out, this will be possible only with full support of a discriminating public.

Program 10: The Automotive American In the early 1900’s, a “merry Oldsmobile” was a luxury few could afford. But with the Model-T, the pleasures of motoring became accessible to anyone willing to endure its mechanical eccentricities. The automobile has wrought vast changes in the American way of life, and automobile production has become central to our economy. But whether or not the modern compact car is a symbol of progress, Dr. Dodds looks back with nostalgia on the free-wheeling adventurous days of the good old Model-T.

Program 11: Radio Dr. Dodds discusses the “Radio Era” and how it revolutionized life. From the 20’s to the early 30’s, radio was emerging as the “poor man’s” entertainment; Captain Midnight, The Green Hornet, and the soap opera had already been launched when vaudeville and variety artists such as Eddie Cantor, Fred Allen, and Jack Benny began to exchange quips through the new medium. As the 30’s wore on, radio entered the realm of serious programming with concerts, drama, and on-the-spot news reporting, and during World War II it had perhaps its finest hour. Today, in the era of television, radio has lost much of its mass appeal, but those who remember it in its heyday know what a force it was in unifying the American people.

Program 12: Sixty Years of Satire In his analysis of American satire during the past half-century, Dr. Dodds probes the relationship between satirical form and content and the life and culture of the times. In the 20’s and 30’s such humorists as Ring Lardner, Will Rogers, and James Thurber were making us laugh at ourselves – at our foibles and frailties, our clichés and conformities. By the 50’s satire had begun to languish under the specter of McCarthyism and a combination an age of nervous apprehension, humorists are turning to a new form of satire, aptly dubbed “sick” humor.

American Mind (1960) Initial NET Broadcast: September 18, 1960 Number of Programs: 12 Origin format: Videotape Running time: 30 minutes

General Description of Series: The purpose of the program is to explain the background and development of American thought and philosophy. Starting with the Puritans, various philosophies and trends of thinking are traced to the mid-nineteenth century.

Each program is basically a lecture, in which Professor Robert C. Whittemore uses various groups and other visual aids. His lectures are planned for a general adult audience.

The program was produced by WYES-TV, New Orleans, Louisiana.

Featured Personality: Dr. Robert C. Whittemore, the acting head of the Department of Philosophy at Tulane University, has appeared on at least 138 educational television programs in the past three years. He has appeared on the History of Ideas, Great Religions, and The American Mind. He has also appeared on many panel shows.

He is the author of fifteen articles, mostly on metaphysical and theological subject. Dr. Whittemore has also contributed approximately thirty articles to American People’s Encyclopedia. A book reviewer, he is now working on two books himself. The Growth of the American Mind, a book based upon this TV series, will be published in the Fall 1961 and In God We Live, an analytic history of pantheism, will be published in the Fall 1962.

Dr. Whittemore’s educational specialists are philosophical theology, American philosophy, and comparative religion. He received his Ph.D. in philosophy from Yale University and was an instructor there for 1950 to 1952.

Program 1: The Puritan Mind After noting that Americans must understand themselves as a race and must come to grips with their intellectual history, Dr. Whittemore traces the origins of Puritan thought through Martin Luther and John Calvin. He discusses the failure of Puritan leaders to establish a theocracy. Dr. Whittemore also talks about some of the Puritan leaders: John Cotton, Roger Williams and the Mather family. He closes with the Salem Witch Trials and the decline of theocracy.

Program 2: Sinners in the Hand of an Angry God Dr. Whittemore here narrates the life and the importance of the greatest Puritan preacher and the first American philosopher, Jonathan Edwards. He traces Edwards’ life form his early school days to his acceptance of the presidency of what has since become Princeton University. D r. Whittemore spends some time discussing Edwards’ greatest sermon, “Sinners in the Hands of an Angry God,” and a philosophical essay, “Freedom of the Will.”

Program 3: Mind and Matter in Colonial America Dr. Whittemore here discusses American in the mid-eighteenth century. He spends a good deal of time on Samuel Johnson’s life and his influence on American thought. Johnson was the first president of Columbia University and he established the philosophical patterns and notions used in this country’s colleges and universities for some time. Dr. Whittemore also talks about John Locke’s influence upon American thought and the works of George Barclay. He traces America’s break from Puritan philosophy and theology.

Program 4: Poor Richard’s Philosophy Here Professor Whittemore presents an unbiased portrait of a fascinating personality and man of American letters, Benjamin Franklin. The philosophy of Franklin and his influence upon the molding of the American mind are also discussed.

Program 5: The Federalists and Their Foes Continuing his narration of American intellectual history, Dr. Whittemore discusses the issues and conflicts present in the final framing of the Constitution. He talks about the men who represented the differing issues. He deals primarily with the conflicts and final compromise between adherents of national and federal-type governments. The professor talks about Hamilton, Madison, Jay, Adams and Lee.

Program 6: Philosopher-President Terming Thomas Jefferson “The Philosopher of Democracy,” Dr. Whittemore talks about Jefferson’s attitudes toward government, religion and slavery. He traces Jefferson’s life and the influence he has had upon American thought. He spends some time on “The Declaration of Independence.”

Program 7: The Cast Iron Southerner Professor Whittemore here talks about the problem of government which grew in the South. In his discussion of three types of government – confederation, national government and federal union – Dr. Whittemore talks about John C. Calhoun and John Taylor. He discusses states’ rights, nullification and secession.

Program 8: The Young Republic Dr. Whittemore discusses the break from Calvinist, Puritan doctrine to a gradual acceptance of the doctrine of the individual’s freedom and control of his own destiny. He talks about Ethan Allen, Thomas Paine, Philip Freeman, John Farlow and Francis Wright.

Program 9: Prophet Out of Concord I Professor Whittemore talks about Ralph Waldo Emerson and his position in the history of American thought. He discusses Emerson’s background and points out the importance of Unitarianism, Transcendentalism and Nature in Emerson’s philosophical system. Dr. Whittemore also discusses two of Emerson’s early major addresses: “The American Scholar” and “The Divinity School Address.”

Program 10: Prophet Out of Concord II Here Dr. Whittemore talks about Emerson as an established philosopher, author and speaker. The professor discusses the importance, the influence and the growth of transcendentalism. He also talks about Emerson’s theory of the “Over Soul,” a type of pre-Civil War Existentialism.

Program 11: The Sage of Walden Pond Dr. Whittemore now turns to Henry David Thoreau and his acceptance of Transcendentalism and the importance of Nature. He speaks of the author-philosopher’s deliberate non-conformity, his rejection of society and his search for freedom as a key to living a fuller life. Dr. Whittemore talks about Thoreau’s two most known works, “Walden” and “Civil Disobedience.”

Program 12: Of the People, For the People In this program, Dr. Whittemore discusses the ideas of Abraham Lincoln in an unbiased fashion. He traces Lincoln’s life and background, speaks about the Great Debate between Lincoln and Douglas, and examines various Lincoln writings. He notes that Lincoln was always aware of what he was doing wrong.

Fanfare #41: American Odyssey #2 “Dark as a Dungeon” (1971) Initial NET Broadcast: July 18, 1971 Number of Programs: 1 Running time: 30 minutes

BB King, Jean Ritchie, Tom Paxton, Merle Travis and Billy Edd Wheeler perform the music that echoes through America’s coal mining towns in “Dark as a Dungeon,” the second stop on Fanfare’s “American Odyssey.”

“American Odyssey” is a musical pilgrimage through places and times that inspired our uniquely American folk music. Each program in the four-part color series is set in a location that has played a special role in our country’s lifestyle and produced a special brand of American folk song. Concerts staged especially for NET feature prominent folksingers with particular ties to the areas and their music … a tie reflected in the songs performed.

Eckley, Pennsylvania, where the film “The Molly Maguires” was filmed, is the site for host Oscar Brand and his guests in this second installment of “American Odyssey,” as they sing songs that arose from the hazards and hardships of the coal miner’s lot. Situated in the anthracite region at the northeast corner of Pennsylvania, Eckley is typical of the coal mining hamlets which sprang up at the outset of the industry’s development in America.

From the porch of the company store, against the stark background of a town seemingly molded from the dusty ore, singers Jean Ritchie, BB King, Merle Travis, Billy Edd Wheeler, and Tom Paxton sing with a credibility born of their own experiences. The songs of Jean Ritchie, a coal miner’s daughter, reflect the sorrows she know firsthand, and Merle Travis’ “Sixteen Tons” reflects his ties to the “Black Lung,” “Red- Wing Blackbird” and “The L & N Don’t Stop Here Anymore” tell the stories of men who travelled miles beneath the ground to dig fuel that once ran the country, often sacrificing their health and even their lives. The industry is dying, but many of those who labored remain and so do their songs.

Performer: Merle Travis Song: Sixteen Tons

Performer: BB King Song: Ask Me No Questions

Performer: BB King Song: Little Bit of Love

Performer: Jean Ritchie, outlining the apprehension of miners’ wives and mothers Song: Did You See Him Going?

Performer: Billy Edd Wheeler, recounting the poverty of mining families and its toll on the children Song: Red Wing Blackbird

Performer: Oscar Brand, voicing a miner’s hope that his son will not work in the mines Song: Down, Down, Down

Performer: Tom Paxton, defining the physical hazards of mining Song: Black Lung

Performer: Billy Edd Wheeler, also singing of the hazards Song: Coal Tattoo

Performer: Jean Ritchie, commenting on the woman’s responsibilities to provide weekend diversions for the mining family Song: Baby-O Tune

Performer: Billy Edd Wheeler, describing the desecration of the earth Song: They Can’t’ Put It Back

Performer: Tom Paxton, describing how pollution scarred mining towns long before today’s ecological concerns Song: Whose Garden Was This?

Performer: Jean Ritchie, noting the effects of the decline of the mining industry Song: The L & N Don’t Stop Here Anymore

Performer: Merle Travis, humorously recalling the miner’s diet staple Song: Miners’ Strawberries

Performer: The entire group Song: Dark as a Dungeon

“Fanfare: American Odyssey – Dark as a Dungeon” is a presentation of NET Division, Educational Broadcasting Corporation, produced by WITF/Hershey, PA, and transmitted nationally by PBS, the Public Broadcasting Service.

Producer: Tom Cherones Director: Bob Walsh NET executive producer: Tom Slevin

American Perspective (1960) Initial NET Broadcast: December 11, 1960 Number of Programs: 19 Running time: 30 minutes

General Description of Series: In nineteen half-hour programs, Graham C. Wilson presents a lively and at times controversial discussion of some the problems with which American literature has tried to deal. Among these, the two most important are our relations with foreign countries – chiefly European – and our definition of the American hero. If we understand these problems and their presentation in our literature, we will have made great progress in understanding ourselves, Dr. Wilson believes. His informal and witty lectures provide the audience with an unusual introduction to the subject.

Featured Personality: Graham C. Wilson, host on this program, is a professor of Renaissance literature at the San Jose State College in California. Prior to this program series, Dr. Wilson prepared a television series designed to help English teachers present the plays of Shakespeare to their students. Currently, Dr. Wilson and his wife are in Athens, Greece, where he is studying on a Fulbright Research Fellowship.

Publicity Notes: Because each of these programs centers around one or more important works of literature, publicity directors might find that reception of the programs would be improved if the audience had done the reading in advance. The titles of the works under discussion are included in the descriptions of the individual programs, and might be included in any program bulletin listings. It is, however, important to remember that this is not an academic lecture series, and that the reading is not essential to an appreciation of Dr. Wilson’s amusing style and pointed comments.

Program #1: Image of Europe The first literary analysis of the difference between America and Europe appeared in a play written in the last years of the Eighteenth Century by a young Bostonian, Royall Tyler, called “The Contrast.” From that day on, says Dr. Wilson, American authors have been preoccupied by Europe and Europeans. He outlines in the course of this program such themes as American innocence versus European corruption – or vice versa; the conflict between American puritanism and European culture; the notion of the new, fresh, strong America; the quiet and the ugly Americans; the de-Americanized Americans. He draws on authors ranging from Mark Twain and Sinclair Lewis to Graham Greene, John Milton, and guidebook- writer Temple Fielding. The result is a lively and unconventional introduction to his subject.

Program #2: The Puritan Abroad To discuss the American Puritan in Europe Dr. Wilson concentrates on one of Nathaniel Hawthorne’s most puzzling books, The Marble Faun. An allegory of three Americans in Rome, the book analyzes such complicated topics as the fall of man, the virtue or virtue, the relationship between sin and moral growth. Dr. Wilson spends the first part of the program in an outline of the action’ then he explores the implications of the story itself and its effect on other Americans who read it and then went to Italy themselves.

Program #3: Innocents Abroad Most people know the Mark Twain who wrote Huckleberry Finn and other classic pictures of America. Few have read the book he wrote about a group of Americans travelling in Europe, called Innocents Abroad. Dr. Wilson presents this derisive, un-romantic, comical and revealing book, first by summarizing it, then by analyzing the themes which appear through it and in other similar discussions of Europe by patriotic Americans. Twain’s travelers do not take this trip to learn about Europe. They go to confirm their impressions of the natural superiority of everything American, to mock those who would Europeanize themselves, to return with their preconceptions strengthened. “Has this traveler died with the end of the Nineteenth Century?” asked Dr. Wilson. In an age of shrinking distances and increased communications, how many of us are still innocents abroad?

Program #4: The International American Girl The heroine of this program is Henry James” Daisy Miller. The villain is Daisy Millerism, defined by Dr. Wilson as “The assumption that you can behave in Rome as you do in Schenectady and not pay the consequences.” Dr. Wilson relates the plot of the brief tragic-comedy, Daisy Miller. He also presents some searching comments on the presence of Daisy Miller in twentieth century Europe and America, and on the effects of innocence, patriotism, cosmopolitanism, and the importance of understanding fully the implications of what you’re doing.

Program #5: Portrait of a Lady (Part I) In this program, Dr. Wilson gives a comprehensive outline of the plot of Henry James’ complicated novel of Americans abroad, Portrait of a Lady. In this carefully constructed novel of innocence and experience, of unexamining virtue and calculating psychological wickedness, he shows how the conflict between American and European is worked out in terms of the delicate nuances of manners, of drawing room conversation, of the subtleties which can entrap the unsuspecting traveler or resident abroad.

Program #6: Portrait of a Lady (Part II) Continuing his analysis of James’ novel, Dr. Wilson explores more deeply the characters and characteristics of the protagonists. Isabel Archer’s choice of a husband, Osmond’s deliberate cynicism, Henrietta Stackpole’s naïve enthusiasm, Madame Merle’s calculating interference in the lives of her acquaintances, all reflect different aspects of James’ analysis of Americans in Europe. Dr. Wilson points out that James has taken Isabel as a symbol for American vitality and enthusiasm, and also for American innocence which can be as destructive as it is charming, while Osmond represents the potential emptiness of the Europeanized American.

Program #7: Innocence Abroad With a mixture of satire and sympathy, Dr. Wilson discusses Sinclair Lewis’ Dodsworth, a novel of marriage, travel, and the contrast between two kinds of Americans abroad. “Samuel Dodsworth, automobile manufacturer, and his wife Fran, represents two sides of the American coin: Sam is the innocent American, who prefers a clean spark plug to Venus de Milo, but who outgrows his innocence and naiveté with sudden speed; Fran is the de-Americanized woman who adopts the protective coloration of her surroundings, and despising the emptiness of American provincialism, reveals her own emptiness and lack of character.”

Program #8: Tender is the Night F. Scott Fitzgerald, says Dr. Wilson, ran the danger of being lost to two generations; those who were young when he wrote his books, those who have grown older and can no longer feel sympathy for the problems he analyzes. Yet books such as Tender is the Night, which show Americans reacting to each other against an European background are, he feels, extremely important to anyone who wants a clear idea of some of the problems which individuals, or members of a national group, must face. He outlines the plot: a young man, a psychologist who “wanted to be good, wanted to be kind, wanted to be brave and wise, but found it all pretty difficult. He wanted to be love, too, if he could fit it in,” in a neurotic woman who becomes his wife and patient, and who is restored to sanity at the expense of his own stability. Dr. Wilson also explains the relevance of the background to the story of “these bright young people of the Twenties who were a little too bright, a little too innocent, and wanted a little too much to be loved.”

Program #9: Images of America Dr. Wilson turns from the American image of Europe, and its reaction to that part of the world, and examines the European image of America: where it comes from, what it consists of, and what effects this image can have both on us and on other nations. Quoting from a recent collection of essays, As Others See Us, Dr. Wilson shows how our novels, our tourists, and our movies have come to represent our “true” nature too exclusively. He explains with particular detail the effects of our novels – Grapes of Wrath, Tobacco Road, The Postman Always Rings Twice, -- upon thoughtful Europeans who believe that these represent a candid and comprehensive portrait of America. This program is devoted to the effects of American literature, not on ourselves, but on others.

Program #10: The Capri Letters Continuing his discussion of the European image of America, Mr. Wilson turns to Mario Soldati’s The Capri Letters, a novel essentially about two Americans and two Italians in Capri. Soldati has spent some time living and studying in America, and it is on the basis of this experience that he has drawn the characters of the Americans. D r. Wilson discusses how accurate, or inaccurate, his portraits are, why they succeed and why they fail and what Americans can learn about themselves and their relations with Europeans by reading a European reconstruction of Americans.

Program #11: The Quiet American and the Ugly American The American of this program is the “innocent” American, “without knowledge or experience, let loose in the world with his millions of foreign aid dollars with which he does more harm than good.” He is the hero of Graham Greene’s The Quiet American, and Burdick and Lederer’s The Ugly American. “Innocence,” writes Greene “is like a dumb leper who has lost his bell, wandering the world meaning no harm.” TO which The Ugly American adds the two other cardinal sins: indifference and inexperience. The implications of all of this are serious, declares Dr. Wilson. If we believe in our way of life and want to protect it, we must grow up out of our dangerous innocence, and do it quickly.

Program #12: The American Hero, from James Fenimore to Gary Cooper Dr. Wilson devotes this program to some biting, but most amusing, generalizations about the American hero – his prowess, his moral code, his relations with society, with women and his IQ. Starting with Daniel Boone, moving on through Cooper’s Natty Bumpo, to Hemingway, Kerouac, Mikey Spillane, and the movie “High Noon,” he traces the tall, lean capable, independent, masculine, unintellectual, humorless hero. Dr. Wilson shows where he came from, how to recognize him, and what his future is likely to be.

Program #13: The Hero as a Warrior – John Dos Passos Having defined the hypothetical or stereotyped hero, Dr. Wilson turns his attention to some concrete literacy heroes, starting with John Does Passos’ Three Soldiers. He narrates the plot, explaining as he does how each of the heroes, operating from a different conception of himself and his relation to society, responds to the war and to the Army of which he is a part. He shows Dos Passos’ rejection of the frontier hero and of the materialistic hero. He discusses the belief that the final strength lies not in physical prowess but in moral stamina.

Program #14: The Hero as Warrior – Ernest Hemingway “Hemingway,” says Dr. Wilson “is a man about whom none feels neutral.” He and his novels have provoked perhaps more comment than any other figures in modern American literature. Here, Dr. Wilson analyzes Hemingway’s style, his code of living, his characterization of the hero, and the relevance of that hero to our present situation. To end the program, he discusses one of Hemingway’s famous short stories: “The Short Happy Life of Francis Macomber,” illustrating some of his generalities with specific examples from the text.

Program #15: The Hero as Warrior – A Farewell to Arms Continuing with his analysis of Hemingway and the Hemingway hero, Dr. Wilson concentrates in this program on A Farewell to Arms. The picture painted here of the world, of the war, of life and love, is not a pretty one, but it is something which realistic Americans must recognize and learn to live with. Dr. Wilson is particularly interested in the breakdown of abstract idealism; he quotes Hemingway’s hero Frederick Henry, “I was always embarrassed by the words sacred, glorious and sacrifice, and the expression in vain.” The source of this embarrassment, and the cure, are an important theme in this program.

Program #16: The Hero as Warrior – Norman Mailer Dr. Wilson turns to one of the most controversial American authors writing today – Norman Mailer. He comments on Mailer’s great novel of World War II, The Naked and the Dead, and on his less popular The Deer Park, to discover what Mailer’s conception of the hero is. He shows how similar Mailer is to James Fenimore Cooper, but points out the difficulties facing the hero who wants to maintain his individuality while remaining within society. This is the real problem with which each hero, each serious author, and each serious person must deal, declares Dr. Wilson as the program ends.

Program #17: The Hero as Warrior – John Horne Burns In the last of his four discussions of the warrior hero, Dr. Wilson concentrates on John Horne Burns’ The Gallery, a series of sketches of Americans and Italians in Naples in 1944. While there is no connecting plot, each vignette serves to illustrate some part of the same theme – “war is hell” and destroys all who come in contact with it. War is poison, destroying even the so-called heroes by attacking the structure of the ideals which they have built to comfort themselves.

Program #18: The Angry Young Man and the Beatnik “We’ve been talking about war and heroes. This time I want to talk about peace and non-heroes.” This is Wilson’s introduction to the program on a new manifestation of the hero – the beat young man, the angry young man. And yet, says Dr. Wilson, despite the novelty of language, “Leatherstocking still sleeps on the floor in the corner, but he’s traded in the last of the Mohicans for a motorcycle, his rifle for a bongo-drum, and the peace-pipe for peyote.” What does this new manifestation indicate about today’s society; why have the angries and the beats resigned from society; what is the future of the beatniks?

Program #19: Conclusion Summarizing the series, Dr. Wilson makes the following points: the American hero is an independent, non-conforming individual with a strong personal sense of morality and a reluctance to accept the usual responsibilities of society; he and society are more often than not in conflict; the hero, and the serious writer who creates him, are trying to come to terms with society, or to change society to fit their ideals. This may be a very limited view or perspective of America, but even if it is incomplete, says Dr. Wilson, it is difficult not to believe it is accurate.

American Political Parties (1960[?]) Initial NET Broadcast: N/A Number of Programs: 13

Program #1: The Nature and Functions of Political Parties Dr. Samuel J. Eldersveld discusses the two ways of looking at political parties: the structural or formal approach which views them as institutions with a particular type of organization and the functional approach which views them in terms of their actual activities. He answers the question what political parties are, discusses the special nature of political parties in democratic countries, the origin of political parties, and finally the functions of political parties as we know them today.

Program #2: Features of American Political Parties This program deals at some length with the background of American political parties. Dr. Eldersveld discusses the cycles of party control, outlines the characteristics of the American party system, points out some of the constitutional provisions which limit political parties, and finally presents an evaluation of the American party system.

Program #3: Political Parties in Foreign Countries In this lecture, Dr. Eldersveld describes some of the party organization in foreign countries, particularly those of European nations. He points out the dominating control exercised by the party in communistic countries and the relationship of this type of control to the type of government of those countries. Turning to democratic countries, he makes clear the role of political parties in making it possible for the people to govern themselves and make choices between issues and leaders.

Program #4: Party Organization In this discussion, Dr. Eldersveld emphasizes the necessity for party organization and discusses the major aspects of it. He also gives examples of typical patterns of organization at the national, state and local level. Finally he discusses some of the criticisms of American political party organization including charges that they are not democratic and responsible, that they are not effectively organized and that he party organizations are not run by the type of leadership the people want.

Program #5: Nomination of Candidates Dr. Eldersveld discusses the leadership selection process, including the mechanics by which party leaders are chosen. From this he goes to the actual nominating process itself and discusses nomination by informal groups, by legislative caucus, by the delegate-convention he attempts to evaluate the nominating system, at the same time recognizing some of the criticisms which have been made of it.

Program #6: Presidential Nominations This program, one of the most significant in the series, discusses the method of nominating candidates for the presidency of the United States. Particular attention is focused on the activities of prospective candidates in the 1952 elections. In this program, Dr. Eldersveld also explains the major stages in the presidential selection process, aspects of pre-convention campaigning and other influential factors in determining a party’s candidate for president. Finally, he takes up proposals for reform of the primary systems.

Program #7: Campaign Strategies Political parties, Dr. Eldersveld points out, have the primary responsibility for informing the electorate about their candidates. Campaign management, he says is an art and not a science with political managers relying on hunches and intuitions on the types of appeal which will be successful. In this program he also discusses complicating factors in campaigning today, organization of campaigns, basic strategy decisions which must be faced, and specific campaign procedures and tactics. In summary, he evaluated party campaigns and the strategies which were followed.

Program #8: Financing Party Campaigns One of the questions of greatest controversy today – the manner in which political campaigns are financed – is given exhaustive examination by Dr. Eldersveld. He presents figures on the cost of campaigns to date, what the money goes for and the sources of campaign funds. Finally, he discusses present legislation aimed at controlling campaign expenditures as well as some of the reforms which have been suggested.

Program #9: Parties and Our System of Election In this program, Dr. Eldersveld leaves the subject of campaigns and devotes his attention to features and problems which the present election system poses for parties. He discusses the general principles and some of the major aspects of the election system including the great variety of different types of elections and ballots found within the states and on the local, municipal, and country level. He deals with the idea behind the “short ballot” and finally turns to the presidential election systems, its operation, and the proposals which have been made for its reform.

Program #10: Parties and Voting Behavior Voter participation in elections, according to Dr. Eldersveld, is a measure of the vitality and success of the democratic system as well as the acceptability and success of political parties. He points out the extent of voting and non-voting in recent presidential elections and the dangers in the low participation by eligible voters. In a highly significant discussion, he gives statistics on the non-voters – who they are in terms of residence, age, sex, religious affiliation and education. Following this, Dr. Eldersveld takes up some of the causes of non-voting and political apathy among the American people.

Program #11: Parties in the Government In this lecture, Dr. Eldersveld reviews again the four major functions of political parties: to nominate candidates, to campaign, to assist in the conduct of elections, and finally to take responsibility for the running of government. From this he goes on to discuss the importance of political parties to national government, the relationship of the party to the president, the relationship of the party to the congress, party organization in congress, and party policy and party voting.

Program #12: Parties and Interest Groups Are special interest groups harmful to the party system or do they make a contribution to our government? Dr. Eldersveld emphasizes the wide variety of interest groups existing today outside party organization, discusses their rise and development, the internal organization of pressure groups and pressure techniques. Finally, he turns to an evaluation of the role of pressure groups and the part they play in the legislative process.

Program #13: Should We Reform Our Parties? Dr. Eldersveld discusses some of the criticism of the present party system and some of the reforms which have been suggested. He relates the party system to the type of government which we have and points out the changes in the election system which would have to go along with party reform. In conclusion, he expresses the belief that some reform of the party and election system is necessary, but cautions that before anything of this kind is done, a thorough analysis should be made of the causes of political apathy, the needs of our society, and the implication of the reforms which are proposed.

American Politics [formerly Politics in Perspective] (1956) Initial NET Broadcast: May 1960 Number of Programs: 15 Origin format: Kinescope Running time: 30 minutes

General Description of Series: This 15-program series was first presented as a telecourse over station KETC and is produced for the Center by St. Louis in cooperation with Washington University. Designed to educate in the field of American politics, the programs cover the development of political parties, the theory and practice of party institutions such as the primary, the convention and the machine, and current political issues from the perspective of party record. Lecturer for the series is Thomas H. Eliot, chairman and professor of the department of political science at Washington University. Professor Eliot is a former US Congressman from Massachusetts and has had twelve years’ experience in Federal government administrative and legal posts.

Program #1: Introduction This introductory program relates the purposes of the series and the methods utilized by Professor Eliot in conducting the course. “American Politics” aims at answering the following questions: 1. What are the nature, purpose and methods of the major American political parties? 2. How are the parties’ candidates nominated, including candidates for president and vice president? 3. What have been the parties’ records on the major issues of American politics?

Program #2: The Pestilence of Factions Here, Professor Eliot deals with the competing interests of “factions” which existed as separate groups before political parties were organized. He explains that today these groups make themselves felt through competition with the parties for power and influence or by trying to gain dominance within a party.

Program #3: A Party is to Elect Performance of necessary functions by our political parties is discussed in this program in an effort to clarify why we have the two-party system. Professor Eliot also discusses party factions and splinter groups. Functions of a party include nomination and election of candidates, discussion of policy and organization of the electorate.

Program #4: A Body of Men United Topic of discussion on this program is the actual organization of the major parties. Our lecturer considers the national characteristics of parties as opposed to the idea that each of them is a conglomeration of local political machines. He concludes with a look at the role the private citizen can and does play in party organization.

Program #5: Let the People Rule The primary system is the lecture topic as Professor Eliot considers the closed and open primary and the effect of the primary on the party system. Does it destroy party discipline, thus weakening the party or conversely does it give more power to the machine?

Program #6: The Smoke-filled Room and Mr. Throttlebottom Up for discussion by this outstanding political scientist is the national party convention as a nominating device. Professor Eliot considers control of the convention, the convention as a “sane” method for choosing candidates and nomination of the vice-presidential candidates.

Program #7: The Batting Average Responsibilities of the two-party system are outlined here and Professor Eliot explains the requirements of an effective party system. The lecture material includes discussion of “batting averages” of the Presidents, in regard to the bills brought before them, in living up to party platforms.

Program #8: The Unterrified Democracy and the Grand Old Party This program is an introduction to the second half of the series, which will deal with the party record on particular political issues. Agriculture, foreign policy, civil rights and natural resources are some of the issues which Professor Eliot will discuss.

Program #9: Politics Stop at the Water’s Edge Foreign policy …. Traditionally one of the most intriguing and controversial issues of public policy … is discussed at length by Professor Eliot. The men who make foreign policy decisions and how these decisions are made are included in the lecture.

Program #10: Millions for Defense Millions have been and are being spent for our nation’s defense. In this program, Professor Eliot considers the whys and wherefores of defense spending as related to both foreign policy and domestic economic policy. Is there a partisan … Democratic or Republican … answer to the questions of defense spending?

Program #11: Liberty and Justice for All What are the party records regarding individual freedom promised by the first amendment in the Bill of Rights? Our lecturer talks about the two parties’ defense of these rights, especially in times when national security is threatened, and discusses the question of civil rights.

Program #12: Less Corn and More Hell Subject of this lecture is one of the thornier problems in the current political campaign … farm policy. Professor Eliot discusses the parties’ records on agricultural bills.

Program #13: Rivers to the Ocean Run Conservation and use of our natural resources has been a major policy issue since the days of Theodore Roosevelt. Party controversy has been particularly sharp on development of power resources and in this series; Professor Eliot reviews the records of both parties in this area.

Program #14: An Honest Day’s Work for an Honest Day’s Pay Labor versus management has created much dissension in the political ranks. Here, Professor Eliot discusses business and labor and considers the question of domination of the two parties by either of these interest groups.

Program #15: Our Federal Union American once fought a war over states’ rights but this political question was not entirely solved by the Civil War. States’ rights are still one of the major political issues in American politics, particularly regarding the touch segregation problem in the South. Professor Eliot outlines the records of both parties on this issue.

Intertel #54: American Samoa: Paradise Lost? [also aired under NET Journal] (1969) Initial NET Broadcast: February 3, 1969 Number of Programs: 1 Running time: 60 minutes Contractor/Producer: NET

Suggested Newspaper Listing: American Samoa: Paradise Lost? – A report on the Westernization of a tropical paradise, where children now learn English through educational television and tourists drink Coca Cola on the beaches of Pago Pago.

Description: American Samoa, a tropical paradise in the South Pacific, is now faced with a compromise to its hereditary structure and its unhurried life. The challenge is that of progress, American-style, complete with camera-toting tourists, educational television in every classroom, and an expanding economy that may be in conflict with Samoan values of sharing and of deference to the family and the tribal core. These are the findings of NET’s Intertel production, “American Samoa: Paradise Lost?”

The program spans classrooms and canneries, tribal banquets and remote beaches, in its portrayal of a rapidly changing culture. The conflict between traditional and emerging Samoa is seen as a loan collector makes his rounds among people whose native huts were destroyed during storms, and have been replaced by all-weather homes, with the American bank financing the project. The natives, who have always taken from friends, cannot comprehend the fact that they must repay the bank.

The school, were children are learning English and geography from a television monitor, presents another potential conflict. “Taught to respect authority very early, they do as they are told, pay attention to television and the teacher, and are learning English far more rapidly than ever before.” However, the program adds, “this very attitude of acceptance may stand in the way of independent thinking. This Western goal of education is alien to a culture that expects children to be obedient, to serve, not to question, one’s elders.”

Even among Samoan chiefs, an unquestioning stance is noted. At a meeting on family planning, they are polite listeners, though they have no intention of carrying out the Americans’ program.

In most areas, Samoans are accepting the American influence, recognizing a chance for new comfort and prosperity. This fact applies especially to Samoan’s leading industry – tourism. One tour director, interviewed on a television program for students, strikes the dominant note – “Keep your big wide smiles up,” he advises the class, for then tourists will return to the island.

But one critic, High Chief Fuimaono, sees Samoa being changed to something less natural than it was before. He is critical of the message implicit to children in the cowboy movies on television. Nor does he feel that they should be taught to eat with spoons and forks in school when they will revert to their parents’ way of using their hands at home. The high chief laments, “I would like us to be independent of the United States.” But the program concludes, “for the present, the Samoan chooses easily – something old, something new – balancing with typical Polynesian poise between two worlds.”

“American Samoa: Paradise Lost?” was produced for Intertel by NET. Produced, directed and written by Dan Klugherz Editor: Dena Burger Cameramen: Bill Constable and David Meyers Narrator: Don Murrow

NET Journal: American Woman [tentative title] (1966) Initial NET Broadcast: December 12, 1966 Number of Programs: 1 Running time: 60 minutes Contractor/Producer: NET

A study of the conflicts and tensions that beset modern American women for whom motherhood and homemaking provide something less than complete fulfillment.

NET Journal – AMERICAN WOMAN (tentative title) is a production of National Educational Television. Producer: Dan Klugherz

America's Crises (1964) Initial NET Broadcast: October 18, 1964 Number of Programs: 19 Origin format: Film, unless noted Running time: 60 minutes

Program 1: The Young Americans “Many top sociologists and psychologists who have studied American youth say that never before have of our young people felt so confused – confused about what to believe in – about what society wants them to do and to be. To them the world and its problems lock impossibly complex and bewildering. And so they retreat into dreams of private things: financial security—a home in the suburbs – a ‘bear and a ballgame.’ This is a troubling fact in a society that is counting on these same young Americans to solve the enormous problems of life in the twentieth century. It is even more troubling because no challenge has yet been found that would seem to inspire most young Americans to see beyond themselves to a world which desperately needs them …” (From The Young Americans)

The first program in the new AMERICA’S CRISES series presents a report on THE YOUNG AMERICANS – the young people of our country and the way they feel about themselves and the world in which they live.

The documentary takes its camera to the colleges, high schools, beach areas, and resort towns where a strong cross-section of America's young people is likely to be found. By means of narration, film segments, and on-the-spot interviews with young Americans and knowledgeable experts, the program examines the youth of the nation -- who they are, what they want, where they fit in, how they affect society, what they believe in, and why. It explores the many facets of their behavior -- the "youth culture," a belligerently non-adult sub-culture with its own values, styles and behavior; the "sex revolution," a frank questioning of traditional moral views on sex and a confused struggle to find a new morality; and the "sense of powerlessness," stemming from a belief that young people cannot do much to affect society or to "buck the system."

THE YOUNG AMERICANS also focuses on the small minority of young people who have attempted to define themselves and their beliefs. Included in its ranks are the Peace Corp volunteers, the college students who are ricking personal danger in doing civil rights work in Mississippi, and the young people who are engaging in political activities. Another group, the "protest" or "beatnik" group as they are familiarly called, believing themselves to be incapable of changing society from within, have withdrawn from what they term the "rot" of modern American society. Still another group of youngsters from broken homes, the economically poor, the school drop-out and the Negro are not in protest against society because they feel like they were never actually an integral part of it.

THE YOUNG AMERICANS looks at all these groups and talks to some of their members. It points up the efforts being made to help those who need help, and to encourage those who show signs of interest and concern. However, what is emphasized throughout the hour-long documentary is that most young people of this country remain uncommitted -- convinced that they can do little to affect anything but their personals lives.

AMERICA’S CRISES: THE YOUNG AMERICANS: a 1964 production of National Educational Television Producer, Writer and Narrator: George Page of WGBH-TV, Boston Assistant Producer and Editor: Thomas Bywaters Filmed by Louis Wolfers Sound by Wilford Morton Consultant: Kenneth Keniston, Ph.D., Department of Psychiatry, Yale Medical School

Program 2: The Parents “It is obvious that it is harder to be a parent today than in the past. It is also clear that it is simply harder to live in today’s complex, rapidly changing society – a society where basic values are confused and in a state of flux.

“And so, what American parents need to do most is what is most difficult to do – to develop a sense of purpose that is larger than life at home, to see not only the immediate world of their families but beyond to a wider world – a world which desperately needs responsible, committed people and their children.” (from THE PARENTS)

THE PARENTS, the second program in the mostly AMERICA’S CRISES series, presents a documentary report on the changing problems of today’s American parents, and their attempts to find identity, meaning, and purpose in their lives.

Through interviews with parents and children, through commentary by leading authorities, and through narration by program producer-writer-narrator George Page, The Parents focuses on the confusion and lack of assurance that marks the attempts of parents to find fulfillment in their own lives, and in relationships with their children.

The program points out that today most Americans live and work in and around great urban centers, and only 30 percent live on the farm or in small towns where, fifty years ago, over half of the U.S. population resided. This great social change has brought with it a new and more complex way of life -- and with it new problems. For one thing, work is not fulfilling for too many American men. They wonder who they are, and what the meaning and purpose of their work is. Consequently, their homes and families loom large as the hope for giving their lives definition.

However, "urbanization," the move to the suburbs, and new mobility have resulted in a kind of paradox. It has forces American father's home and place of business to be farther apart, and so, he finds himself spending more time away from the home where he wants to be, and working at a job which very often offers him little fulfillment.

Betty Friedan, author of the controversial best-seller the Feminine Mystique, observes that American women, more than men, are relying too much on the home and family for identity, meaning, and purpose. It is her contention that they must seek these goals outside of the home as well as in it.

Mr. Page concludes from this that both mother and fathers alike are relying too heavily on the home, the children, and each other for their identity, and the result is a great imbalance between home life and life in wider society. Both parties are frustrated. They both idealize the home, but the mother is there too much, and the father cannot be there enough.

In addition, by talking to parents in Nebraska, New York, Ohio, Georgia, and Massachusetts, the documentary takes a close look at other problems that confront American parents – the lack of assurance in knowing how to be good parents, the outside influences that compete with them for children’s attention, the difficulty of knowing when to give children new responsibilities and of knowing when to trust them, the difficulty encountered in trying to talk to children (the “generation gap”), and the difficulty of knowing how to express love for children.

All these problems put enormous pressures on children, but all of them are not without merit. For instance, parents and society generally put a great deal of pressure on children to go to college. This has resulted in a bright and well-educated generation of young Americans. On the other hand, the pressures also make this a very anxious generation. For example, Little League baseball has become a controversial issue because too often it has become a “parents” game. The well-intended, but subtle pressures employed in encouraging the child to play and to win are too often for the parents’ sake and not the child’s.

THE PARENTS points out that if parents use their children as “status symbols” and as sources of identity, it is because they very much need them in that way. However, the program also notes that a child’s need is for mature and responsible parents who know who they are, and parents who can be firm models for their children.

AMERICA’S CRISES: THE PARENTS: a 1964 production of National Educational Television Producer, Writer and Narrator: George Page of WGBH-TV, Boston Assistant Producer and Editor: Thomas Bywaters Filmed by Louis Wolfers Sound by Wilford Morton Film Editor: Richard Adams Consultant: Kenneth Keniston, Ph.D., Department of Psychiatry, Yale Medical School

Program 3: The Individual “We tend to think of the United States as a country in which the pioneer values of resourcefulness and individualism are dominant. But the growth of population, the expansion of organizations, and the development of a mass society has limited man’s control over his working and living conditions. Historian Arnold Toynbee has said, ‘The United States faces acutely the problem of finding a compromise between two essentially American things – extreme individualism and extreme mechanization. America’s future will depend largely on how she reconciles these contradictory tendencies.’

“Those who plan our society must develop more concern for human lives, and humanitarians must be among the planners. The tradition of the individualism is dear to us. It must be nurtured and it must adapt.”

AMERICA’S CRISES: THE INDIVIDUAL, the third program in the monthly series, examines the problems of the individual in a big society by looking at varied, dissimilar areas of American life, and the common thread that binds them together – the need for self-identification. The central theme underlying the entire program is the conflict of the individual with some aspect of modern mass society – its environment, or its large-scale complex organizations.

The analysis opens in Chambersburg, Pa, with the story of a farmer -- Eber Pisel. His problem is actually the problem of the entire community in which he lives. A major river basin program which would cut into individual farm holdings and change the existing face of the community has been proposed by government planners. The plan by its nature raises two significant issues for consideration. First, there is the plan's inherent danger of destroying the roots, past traditions, and sense of community of farmers like Mr. Pisel. Secondly, there is the dilemma resulting from the question of how to tailor necessary planning to the human requirements of a community. In the segment, Mr. Pisel and a number of his fellow farmers who oppose the program air their grievances. In particular, Anthony Wayne Smith, president and general counsel of the National Parks Association, charges that the Corps of Engineers engaged in carrying out the program is totally unfit to plan for people's needs in the area.

Moving to Chicago, the program looks at the predicament of people like Mrs. Earleen White. The problem of Mrs. White, a housewife, stems from the conditions quite opposite of those of farmer Pisel. She is a woman without a sense of community. Formerly a tenant in a Chicago slum district, Mrs. White now lives in a new high-rise urban renewal project. On the outside, her new dwelling would seem to be a vast improvement over her former home. Physically that is. However, new enemies are there to replace those of the slums. They include the project's icy atmosphere, the endless sea of unknown and familiar faces around her, the lack of privacy, and most of all, the inability to assert any kind of individuality. Ironically, it is only when Mrs. White visits her mother in a poorer community that she actually experiences any personal piece of mind. Here, as in the first segment, the dilemma revolves around planning. Its necessity is acknowledged, but the question remains as to whether new philosophies and attitudes about planning might better equip the individual to maintain his identity.

In New York, Herbet Slater, an assembly line worker for a large automobile manufacturer, is confronted with a different aspect of the identity problem. His life is filled with monotony, boredom, and future uncertainties. Although taking some pride in his work, Mr. Slater can feel no deep identity with it. It is a narrow, specialized kind of job, unfulfilling and mired in the monotony of its constant routine. The result for him is complete boredom. Though resentful of these conditions, Mr. Slater sees no chance for escape. He lacks the education and skills required of other jobs, and ironically, in the near future, automation will eliminate his present job.

Edwin Land, a well-known scientist and president of the Polaroid Corporation, appearing on the program, explains some of the steps that can be taken to deal with this particular suppression of individuality. The film focuses on this work being done by his firm today in carrying out training and re- education programs to prepare men for the new and more rewarding positions that automation is creating. Mr. Land contends that the American public has within its grasp the choice of two entirely different futures. In one, the individuals would be adapting to change by learning new and better skills for new and better jobs. In the other, lack of work incentive would result in massive loss of interest in life and enjoyments.

In the concluding segment, the program points out that the problems of The Individual can exist on other levels of employment as well. Focused on in this instance is the story of David Wood, and the conflicts that may arise in trying to satisfy the needs of the individual and the needs of large business organizations. Mr. Wood, a corporate public relations man, was fired from his executive position by the Bethlehem Steel Company, Pa. In revisiting the company locale, he recalls the optimism and aspirations with which he first joined the company, and the events that led to his dismissal twelve years later. Mr. Wood wrote an article for Harper's Magazine which in essence stated that businessmen should concentrate on doing some positive things to cope with our national problems, rather than leaving them to the government for solution. It was his contention that this would lead to less concern in the nation about the prospects for creeping socialism and the possible advent of a welfare state. Company officials warned him that in the future, articles were to be submitted to them for approval. Upon submitting his second article to them, Wood was fired, and the article was never published. Mr. Wood explains that although he holds no animosity for Bethlehem, he is angry at their complacency, and maintains his belief that it is within his rights as a corporate executive to speak out on his own behalf on controversial issues.

Closing out the AMERICA’S CRISES program, the scene switches briefly to a laboratory at Princeton University, New Jersey, where psychologist John Kennedy discusses the research being done today to develop the kinds of groups and organizations where an individual would not be inhibited, and where we could attain a sense of personal identity and a large range of freedom for his activities.

AMERICA’S CRISES: THE INDIVIDUAL, a 1964 National Educational Television production. Producer-Writer: Paul Kaufman Director-Photographer: Morton Heilig Associate Producer: Maggie Weil

Program 4: The Community THE COMMUNITY evaluates the quality of life -- the character and cultural, educational, religious and physical aspects -- that exist at present in American cities and towns. By focusing on a small New England fishing community, deeply rooted in American tradition, and a booming western community in the midst of accelerated growth, the program examines the effects of change on The Community, and considers whether people today are capable of controlling the change around them or whether the change is controlling the lives people lead.

Provincetown, Ma, appears to have been unaffected by change. For her fishermen, the town seems to be the way it has always been, and yet, the community is undergoing deep, inescapable and uncontrollable changes which are disrupting their lives.

Three thousand miles away stands San Jose, CA, the second fastest growing city in the nation and the symbol of the "new America." Although its old timers maintain that it still retains its rural flavor, statistics disagree. The city inhabitants now number more than 310 thousand -- a hundred times greater than Provincetown -- and it is still growing.

Despite the tremendous differences in size, location, tradition, and appearance between the new, contemporary San Jose and the old, traditional Provincetown, the response of the people to change is generally the same. Provincetown has all the traditional roots. It goes back to 1620 and the Pilgrims' first landing, and her citizens feel strongly about their connection with the past. Fishermen are Provincetown's first citizens, and artists and writers, her second citizens. Paradoxically, these two groups have become unconsciously responsible for the new industry of Provincetown -- tourism. Few of the townspeople say they want tourism, but they also seem to believe that is it the only answer to survival. Some citizens are fighting bitterly to preserve the long-standing traditions, others have become resigned to the change, and still others affirm that the character of Provincetown will endure despite the change.

Since World War II, San Jose’s population has jumped from forty to three hundred thousand, and far- sighted individuals fear that it will shortly become another Los Angeles – a sprawling stretch of mass- produced homes and shopping centers hastily assembled into a disorderly metropolis. Nevertheless, the city fathers continue to add more territory to the city boundaries. Some residents see this haphazard growth as the future of the city while other view it as carrying the seeds of self-destruction.

In San Jose, the people come hoping to find their “American dream,” while in Provincetown, those who remain must find new ways of making a living. Currently, the most obvious means are tourism and entertainment. While some citizens believe that these are areas in which the hope of the town lies, others charge that quick economic gains made in this manner will be short-lived, and impact will change Provincetown beyond repair and destroy the reason for tourism.

The urban revolution in the West has brought with it new problems. Whereas Provincetown has jobless fishermen with few other occupations to which they can turn, San Jose, with its varied industries, is nevertheless an area of high unemployment not only for unskilled workers, but also for engineers and automation specialists. One out of every five households is affected by the fluctuating economic conditions of industry dependent upon government contracts. However, it is the unskilled and the uneducated who bear the greatest burden of change, and not surprisingly, they often belong to an ethnic minority in the community. In San Jose, fifty-five percent of the welfare rolls consist of Mexican- Americans who comprise just fifteen percent of the city’s population. Elsewhere, it is usually the Negro, the Indian, and the Puerto Rican.

Presently, the physical development of the community appears to be short-sighted. As an example, five years ago, two thousand low-priced homes were sold in San Jose at ninety-nine dollars down. Today, many of them have been abandoned because the owners could not or did not choose to keep up the payments. As for the future, development plans, in many instances, are at best inadequate and those that are acceptable are often ignored.

Most of the residents of San Jose are newcomers to the city and strangers to one another. They have the advantages of growing up and working in what might be an ideal community, and yet, they take little responsibility for the shape of the community. Local government is usually run by specialists and professionals. For a citizen to be heard, he must be represented by a pressure group of some sort. In San Jose, homeowners have banded together in opposition to boards of merchants, realtors, and industrialists. It has been charged that 25 of these businessmen and developers actually run the city. In municipal elections fewer that twenty-five percent of the over one hundred thousand registered voters go to the polls making it fairly obvious that most citizens are content to let their affairs be managed or mismanaged from a distance.

San Jose like many other American communities is the victim of the great urban expansion taking place today. Local and state budgets are inadequate to handle the many problems thrust upon the urban complexes, and tax resources are often limited. Problems of over-crowded schools, vast welfare needs, unemployment, crime, and of planned and destructive planning seem insurmountable. Citizens and officials alike seem overwhelmed by the social, economic, and political forces which they cannot control.

On the other hand, communities such as Provincetown should be more manageable because there continuity has been maintained, and most of the townspeople know one another. However, in Provincetown there is only one town meeting each year. Last year, the only issue the townspeople discussed was whether or not to raise the salary of the city manager. Provincetown has many more pressing problems than a salary squabble. The basic one is the conflict between its growing summer tourist trade and the desire to hold on in some way to its old character, and yet, survive economically by retaining a fishing industry. This issue affects nearly everyone in the community, but few believe that they can do much about resolving the conflict because they have no faith in the town meeting as the place to deal with it.

AMERICA’S CRISES: THE COMMUNITY concludes from its findings that since the first communities were settled in this country some three hundred years ago, many advances have been made in technology, education and in mass communication. However, with all these advances, little has been done to make our communities better places in which to make use of them.

AMERICA’S CRISES: THE COMMUNITY is a 1964 production of National Educational Television. Producer-Director: Jim Karayn Writer: Eugene Lichtenstein Associate Producer: Eugene McGarr Narrator: Hugh Douglas

Program 5: The Hard Way A hundred years ago, immigrants came to this country poor. They helped build a nation and a legend about a land of opportunity where everyone had a chance to move up from poverty and ignorance THE HARD WAY. Today, there are at least 38 million poor people in the United States. These people are not poor in the sense that they are hungry or dress in rags as poor people once did. They are poor in a new way – hard to define, and hard to label.

AMEIRICA’S CRISES: THE HARD WAY looks at the problem of poverty in this, the richest country in the world, and emphasizes how the poor of today are different from those of past generations.

With cameras focusing on the slums, housing projects, public schools, and settlement houses in the St. Louis, Mo., area, the hour-long study examines the plight of one-fifth of the nation’s populace – the poor people – not the children of immigrants, but of native Americans who have fallen from, been pushed off, or never actually found the ladder of success. The Hard Way considers whether this country intends to shut the door on these people, and thus keep them out of the mainstream of society.

The program points out that the aspirations of these people are those of most Americans, and their measure of success or failure the same as that of most Americans. In theory, nothing should prevent them from earning the “good life” as millions of others have. However, the closing circle of poor school, the dwindling number of low-skilled jobs, and a society more inclined toward patching up rather than making fundamental changes and repairs have labeled these people as outsiders.

THE HARD WAY closely related poverty to education by noting that in some impoverished areas as much as 75 percent of all children who start school may not finish. Social scientists like Dr. S. M. Miller, a professor of sociology and a senior research associate at Syracuse University, New York, are being turned to more and more by society for insight into the problems of poverty and education.

Dr. Miller, the principal guest on the program, explains why he believes that poverty is not an accident, and that it is intimately connected with society. One reason he gives is society’s inability to handle the problem of unskilled workers. Dr. Miller points out that what our society needs is a big expansion and reorientation of educational social services, a development of new activities for unprofessional and professionals in the social service field can aid professionals, the need for broad national policies which support, develop, and push these people in a particular direction, and an earnest commitment to the youth and the poor with the essential part of any such program being the character of this commitment.

Also appearing on the program are Raymond Sacks, director of the Vocational Education for the St. Louis public schools, and William Fogler, director of the St. Louis office of the Missouri Employment Service. Me. Sacks describes the Youth Opportunity Program, an experiment in St. Louis, in which the federal government in cooperation with the public schools and the state employment service in attempting to rehabilitate unemployed young school dropouts between 16 and 22 years of age. Mr. Fogler discusses the difficulties that confront young people looking for their first jobs, noting that in the past five years less new jobs have been created that in the previous five.

Featured Personality: SM Miller was born in Philadelphia, PA, on November 22, 1922. The crash of 1929 wiped out his family’s small business and they moved to the Brownsville section of Brooklyn, NY in 1933. The family never managed to recover from the depression and long lived on the outskirts of poverty. He has been self- supporting since 17, working his way through college and graduate school. This experience of poverty and near-poverty has shaped his professional work as an economist and sociologist.

Dr. Miller went to Alexander Hamilton High School in the Bedford-Stuyvesant section of Brooklyn. He graduated from Brooklyn College, and then received an MA from Columbia University in economics. He attended Princeton University on a fellowship and received another MA in economics and then a PhD in sociology, the first PhD in this field awarded by Princeton.

Since 1961, he has been Professor of Sociology in the Maxwell Graduate School and Senior Research Associate in the Youth Development Center of Syracuse University. His research has been on long-run problems of poverty, school dropouts and social mobility. From 1949 to 1961 he was on the faculty of Brooklyn College teaching in both the Economics and Sociology departments and heading the interdepartmental program in social science. He has taught or done research at Rutgers University, the University of Michigan, the US Department of Labor, the Federal Public Housing Administration, Columbia University, and the Rockland County Mental Health Board. In addition, he has been in considerable demand as a consultant and lecturer, especially with labor groups.

His publications range over a wide field – from a detailed study of a labor union, the job experience and attitudes of school dropouts, popular articles on social power and social security, to a comparison of the rates of social mobility in the United States, Russia and other nations, to a many faceted study of them problems of poverty in equality in the United States.

His principle books are: Applied Sociology (co-editor) which will shortly appear; Comparative Social Mobility, which appeared in England in 1960; The School Dropout Problem – Syracuse, published by New York State Division for Youth in 1963. In the same year, his anthology on Max Weber appeared. He earlier co-authored a textbook on economics entitled The Dynamics of the American Economy. He is currently working with Martin Rein of Bryn Mawr College on a book on poverty in the United States, which will extend his previous writings on poverty.

He is married to Jean Baker Miller, who is a practicing psychiatrist and psychoanalyst. They have two children: Jonathan, 8 and Ned, 5.

AMERICA’S CRISES #5: THE HARD WAY was produced for the National Educational Television by the Community Leadership Project and Television-Radio-Film Office of Washington University, St. Louis. The producer is Richard F. Hartzell.

Program 6: Marked for Failure MARKED FOR FAILURE, the first of four consecutive AMERICA’s CRISES program dealing with the state of education in America today, examines the profound handicaps to learning that affect children from depressed areas.

According to the President’s Science Advisory Committee, the majority of slum schools are failures. Subject matter taught does not touch the lives of the children and, as a result, the youngsters become restless, inattentive and inevitably, some become discipline problems. Many minority group children are affected this way, but particularly severe damage is inflicted upon Negro children.

Concentrating its cameras on education in the schools – and on the streets – of New York’s Harlem section, the program illuminates the reasons why these children are kept out of cultural, and ultimately, the economic mainstream of society.

MARKED FOR FAILURE goes on to describe some of the important directions educators are taking to help solve the problem. Particular hope comes from the new pre-nursery classes. The program focuses on one such pilot program being carried out in the New York City school under the direction of Dr. Martin Deutsch of the Institute of Developmental studies, New York Medical College.

The deep and pressing problems of children and parents are seen through the eyes of Dr. Elliot Shapiro, principal of Public School 119 in New York City; Dr. John H. Fischer, president of Teachers College, Columbia University; Cyril Tyson, a sociologist, formerly with Harlem Youth Opportunities Unlimited (HARYOU); Cora Walker, a P.T.A. president; Thelma Johnson, a leader in the drive to integrate New York schools; and “Cleveland,” a twelve-year-old boy from the streets of Harlem.

AMERICA’S CRISES: MARKED FOR FAILURE: a 1965 production of National Educational Television Producer-Director-Writer: Dan Klugherz

Program 7: Child of the Future Videotape Schools and colleges are reluctantly shedding their traditional antipathy to machines and are now exploiting all manner of mechanical and electronic aids. Soaring school budgets as well as widespread dissatisfaction with the current effectiveness of education has initiated a wave of experimentation.

AMERICA’S CRISES #7: CHILD OF THE FUTURE, the second of the series’ four programs on education, points up the immediacy of the child’s encounter with technology and the impact of this technology upon the child both intellectually and emotionally.

The film begins with young children playing with mechanical toys at home. Two important sequences exemplify the manner in which machines play significant roles in the learning process of young children in such major content areas as reading and science. The reading sequences show Dr. Omar K. Moore’s Responsive Environment Laboratory in Manden, Connecticut, where children, age two to seven, use automated typewriters to learn to read and write. The science sequence shows elementary school children “discovering” the scientific principles of wave phenomenon through experimentation with a simple pendulum and then comparing their finds with data presented by an 8 mm film loop.

Other sequences show the effect of instructional television and the use of school radio broadcasts to supplement it; audio devices for teaching forging languages; the coordinated use of low cost school radio and film clips (radiovision) to furnish teachers guidance for elementary art classes; and instruction in visual perception.

Featured Personalities: Professor Marshall McLuhan, director of the Center for the Study of the Extensions of Man, University of Toronto, is the narrator for the program.

Dr. Jerome S. Bruner, professor of psychology and director of the Center for Cognitive Studies, Harvard University.

Dr. Omar Khayyam Moore, professor of social psychology, Rutgers University and director of the Responsive Environments Laboratory Manden, Connecticut.

Bartlett Hayes, curator of the Addison Gallery of American Art, Andover Academy, Andover, Mass.

Robert Gardner, director of Light and Communications Department, Carpenter Center for the Visual Arts, Harvard University.

HB McCarty, director of broadcasting, University of Wisconsin.

AMERICA’S CRISES: CHILD OF THE FUTURE, a 1964 production of the National Film Board of Canada for the Canadian Broadcasting Corporation. Producer-Director: Theodore R. Conant

Program 8: Semester of Discontent Videotape Recent demonstrations and protest meetings at many of the country’s larger universities represent the first major challenges to the status quo which many students and faculty members believe to be inconsistent with good education on the university level. As a result of the protests, a new dialogue has opened among university administrators, faculty members, students, and the public about the nature of higher education.

SEMESTER OF DISCONTENT, the third AMERICA’S CRISES report on education, describes and analyzes the educational issues behind the wave of unrest which has recently struck the American university.

Among the major universities focused on are the University of California at Berkeley, Princeton University, and Cornell University. At these and other locations producer Paul Kaufman, through conversations with administrators, faculty members, students and education experts, examines conditions at the modern university, the changing demands and attitudes of the teaching profession which work against effective undergraduate teaching, and the great strain placed on the university resulting from the commitment to make higher education available to everyone.

In addition, the program analyzes many of the major student-faculty criticisms of the so-called “mass- factory” nature of the university: the large classes, the maze of bureaucratic rules and restraints, and the breakdown of the traditional university community life.

Featured Personalities: Clark Kerr, president of the University of California.

Martin Meyerson, chancellor of the University of California.

Professor Arthur F. Kip, Physics Department, University of California at Berkeley

Professor Paul Seabury, Political Science Department, University of California at Berkeley

Professor Joseph Strayer, History Department, Princeton University

Professor James H. Billington, professor of Contemporary Russian, Princeton University

J. Douglas Brown, dean of Faculty, Princeton University

Professor Douglas F. Dowd, Economics Department, Cornell University

Professor John Summerskill, Cornell Business School

Joseph F. Kauffman, American Council on Education

AMERICA’S CRISES: SEMESTER OF DISCONTENT: a 1965 production of National Educational Television Producer-Writer: Paul Kaufman Co-Directors: Richard Moore and Paul Kaufman Associate Producer: Alice Napier Editor: Larry Silk

Program 9: The Teacher Gap Videotape This one-hour program – the fourth and final education report in the AMERICA’S CRISES series -- explores the shortage of teachers and the poor quality of teaching in the country's public schools. The documentary focuses on the social administrators and teachers in two communities: Newton, MA, where the problems of quantity and quality are being solved; and Bay City, MI, where they are not. Also included in the program are interviews and discussions with other teachers and education experts.

Newton, MA, a city of 94,000, attracts many good teachers because of community attitude as well as good pay. The Massachusetts city (a suburb of Boston) devotes almost half of its tax money to education. As a result, three out of four graduates seek education beyond high school and the dropout rate for the city’s 18,000 students is less than one percent per year. The schools are run by a committee of eight elected, unpaid citizens who could be voted out of office every two years. It operates under a state law which requires that a school system shall receive from local taxes whatever the committee decides is needed. The current committee, which has an average length of service of eight years, is respected for a practice not commonly in use. It outlines broad policy and then allows the professional staffs to run the schools.

Located in northeastern Michigan, Bay City is like the Massachusetts community in many ways – in land area, in total population, and economically. The Michigan city is much more industrialized than Newton, but the major difference recently has been the attitude toward education. In Bay City only one-third of the tax money goes to the schools. In the past three years tax increases were defeated twice, and the result was a cut in the teaching staff. Elimination of some subjects, a shorter high school day, and a period of austerity. Recently Bay City voters approved a slight increase, but much of the new tax money will have to be used just to restore services that had been cut out.

Featured Personalities: US Commissioner of Education Francis Keppel points out that there will be an urgent need for more than two million new teachers between now and 1973

Representative John Brademas of Oregon, a leading member of the House Education and Labor Committee, states that teachers must be paid more money not only because they need and deserve it, but also because society looks upon salary as a mark of status and prestige, and these are important to the effectiveness of the teacher.

Representative Edith Green of Oregon, a former teacher who is also a member of the Education and Labor Committee and is the author of many education bills, discusses the poor image of the teacher and blames the American public for that poor image.

GK Hodenfield, Associated Press education editor, discusses public apathy toward teaching, pointing out that there will be a continued shortage of qualified teachers until the public learns to treat teachers with respect and offer them the salaries and working conditions they deserve. He says, “We haven’t convinced them (the public) yet that education is the best investment they can make.”

Bay City Superintendent of Schools Elwyn Bodley explains why the increase in education monies was so long in coming.

Bay City’s director of elementary and intermediate schools, James Feeney, comments on the difficulty of closing the teacher gap with the low salary schedule that was frozen during the period of austerity.

The principal of the Washington Intermediate School in Bay City, Earl Lavoy, tells how outdated and over-used textbooks resulted in a lack of motivation to learn on the part of the youngsters.

The principal of Kolb School in Bay City, Edmond Borgioli, discusses the effects of austerity, pointing out that teacher morale suffers without annual financial incentive and that the community loses good teachers to other communities.

Douglas Campbell, Bay City’s “Teacher of the Year” in 1963 who now teaches in the neighboring Essexville-Hampton school district, describes how austerity hampers imagination and creativity in teaching methods.

Newton Superintendent of Schools Charles Brown comments on Newton’s highly respected school committee and the city’s nationwide search for fine teachers.

Henry Bissex, Newton teacher and supervisor of the intern teacher training program, discusses the need for a variety of teacher education programs.

Thayer Washaw, a Newton High School English teacher, talks about his decision to join the teaching profession after twenty years in the automobile business.

Henry Atkins, a Newton school principle who also left a business career to go into elementary education, tells why Newton is a good place to teach. He points out that there is high community interest in education and that the Newton philosophy of delegating authority right down to the classroom teacher promotes creativity and gives teachers full scope for their talents.

AMERICA’S CRISES #9: THE TEACHER GAP: a 1965 production of National Educational Television Director-Writer: Larry Pickard Associate Producer: Pat Pels Cameraman: Peter Powell Editor: Eric Albertson Narrator: Dick McCutchen Executive Producer: Larry Pickard

Program 10: Trouble in the Family Videotape This is the first of two AMERICA’S CRISES programs dealing with neurotic problems that concern most Americans, and it is the premiere program of the series for 1965-66 season.

Producer: Harold Mayer

Program 11: The Religious Revolution and the Void This program examines the cross-section of American life - from Boulder, CO to Greenwich Village - in an effort to understand why the nation's young people are steadily drifting away from organized religion and how they can be brought back.

Though, for example, religion is a vital and challenging part of life for Mormons in Boulder, it has turned to mere ritual in sophisticated suburban communities like Westport, CT. And on some of our college campuses and in the nighttime streets and bars of cities like Chicago and New York, religion has been replaced by alienation, lack of involvement in life, lack of faith, and even despair.

There is a revolution within some parts of the church – a revolution that sees the church involving itself in such matters as civil rights, jazz, dancing, and new forms of social work in an effort to identify itself with the young. The young of America – raised on the atom bomb and war – question every aspect of life today, such as loss of identity and individuality through the rise of science and automation. They are asking questions that threaten the very foundations of the church, and the church wants to be there to answer those questions when they are asked.

In the Chicago Lay Area movement – one of dozens of similar groups that have sprung up around the country – young people with advantages come to tutor those who lack those advantages. In Judson memorial Church in Greenwich Village, jazz, poetry, and modern dance are used to keep the services in step with the times. But still the youngsters drift away.

Still we see the drift from questioning to doubt – from doubt of the relevance of organized religion to doubt of the relevance of all out institutions. And the void arises within even the life of the bright, involved young person – desperately searching for some sort of system in a society moving so rapidly that is has lost the old values. This is where the church has failed, in the opinion of Rev. Robert Owen, the so-called “night pastor” of Chicago, whose parish is the streets and bars of the city’s “old town.”

To some of the religious experts assembled for this show, like Dean John Bennett, president of the Union Theological Seminary, the answer is lies in going beyond such areas as civil rights. The alienation among the young covers the whole value system of the nation, and the church must go further into the fabric of American life – into such areas as corporation and union life, advertising and mass communication media. In this way man may find himself again, and regain his capacity to feel - and to love.

The keystone of the new church will be love – love within a society built upon what is human, what is real.

Among those who offer their comments during the program, in addition to Dean Bennett and Father Owen, are Bishop James Pike of California, the Rev. Gibson Daniels of Westport, the Rev. Daniel Mallette of Chicago, philosopher, professor and author Will Herberg, Sumner Whitter of Chicago (executive director of the Eastern Sea Society), the Rev. Rollins Lambert (Negro Catholic cleric in Chicago), and many others, including many young persons.

THE RELIGIOUS REVOLUTION AND THE VOID: a 1965 National Educational Television presentation, produced by Unit-One Film Productions, Inc. Executive Producer: John W. Reavis Jr. Director and photographer: Herman W. Kitchen Writer and narrator: John W. Reavis Jr.

Program 12: The Emotional Dilemma Videotape This program explores one of the most pressing concerns in the nation today – the growing number of Americans who have mental and emotional problems and the limited facilities available to help them.

Actress Vivian Vance, co-star in “I Love Lucy” and “The Lucy Show” series and an Emmy Award winner, sets the theme for this program by describing her own emotional problems and recalling what it’s like to have a nervous breakdown. She also stresses the need for professional guidance in overcoming these mental difficulties.

Dr. Stanley F. Yolles, director of the National Institute of Mental Health and the coordinator of a massive federal mental health program, opens the program by pointing out the need to help America’s emotionally disturbed people.

Harold Boris, a psychologist working on NIMH grant, reports from a rural area of Vermont which surprisingly has one of the highest suicide rates in the country. Like many areas of the nation which are without mental health services, this section displayed an attitude of local resentment and initial suspicion when attempts were made to determine whether local citizens would take part in mental health programs, Mr. Boris is shown getting the reactions of local resident and later discussing the emotion of anger with a group of women.

At the South Shore Community Mental Health Center in Quincy, Massachusetts, parents of problem children are required to attend therapy sessions. One mother tells how emergency therapy has helped her son who had been a school truant. Another mother laments that she has been trying to get help for her child for five years – including two years on the waiting list at the South Shore Center – and that, meanwhile, her son’s emotional problems become more acute.

Saul Cooper, assistant director of the South Shore Community Mental Health Center, comments that one way the agency is trying to alleviate the long waiting period is by sending the staff into the community to establish preventive-type measures. This is being done in schools, police precincts, and in churches where the individual need for emotional assistance often becomes apparent.

Many areas around the country, the program reports, have no waiting lists simply because there are no mental health facilities. A school director and a physician in Great Bend, Kansas, discuss the lack of mental health services and how this lack has affected both students and parents.

New approaches and methods of treatment are explained. Dr. Nathan S. Kline, who has been honored for his work in the development of tranquilizers and more recently, the anti-depressant drugs, describes how prolonged and profound depression restricts many people to the point where they are unable to function normally. The therapeutic value of drugs is seen in the case history of two such women, shown before drug therapy and four weeks later. In a discussion with program producer, Harold Mayer, Dr. Kline notes that drugs can be used alone or in conjunction with other forms of treatment, such as psychotherapy.

A new concept in the field of mental health is seen in Massachusetts where a woman comes in from the street to an emergency care center and receives emotional first aid treatment. Dr. Jack R. Ewalt, director of the Massachusetts Mental Health Center in Boston, reports on the importance of helping people with emotional problems, despite the hour of day and the type of problem.

Dr. Nathan W. Ackerman, a pioneer in family therapy and a clinical director at The Family Institute in New York City, is shown using the new method of family therapy to solve emotional problems. He talks with a young boy who has been in constant trouble and how has threatened to kill himself. After interviewing the youth, his teenage sister, and their parents, Dr. Ackerman recommends family therapy, instead of agreeing with the recommendation of an agency which said that the boy should be sent to a residential treatment center.

Dr. Yolles concludes there is a need to help the millions of Americans who are disturbed with emotional problems and he describes recent federal legislation to establish community mental health centers and the government’s long-range goals.

AMERICA’S CRISES: THE EMOTIONAL DILEMMA: a 1965 National Educational Television production. Producer: Harold Mayer Directors: Harold Mayer and Edmond Levy Writers: Harold Mayer and Lynne Rhodes Mayer Associate Producer and Editor: David Roland Psychiatric consultant: Dr. Stanley R. Lesser and Dr. B. Ruth Easser Case worker consultant: Joan W. Ollodart, ACSW Narrator: Oscar Rose

Program 13: Old Age Part I: The Wasted Years In this, the first of two programs dealing with the problems of the aged, two of the faces of old age are explored – the worker who has retired and the worker who loses his job and finds it hard to get another because of his advancing years.

This program, a picture study of old age in America today, reports from coast to coast documenting the plight of the aged. There are interviews with both senior citizens and government and social workers who bring answers to the challenge posed by this ever-increasing segment of society.

Norman Sprague, director of the employment and retirement program of the National Council of the Aging, defines the changing concept of the word “aging” and what it means to the more than 18 million Americans already past 65.

Cameras are with a worker in his 50’s at an employment interview, reporting on the difficulties many Americans in their middle years’ experience in finding new careers. The program reports also from a post office in Maryland where U.S. Representative Clarence D. Long of Maryland’s Second Congressional District talks with citizens who claim they are being denied employment because of their age. (Congressman Long has introduced legislation that would establish a bureau of older workers within the Labor Department.)

From New York City, Professor Robert Theobold, an economist, Frederick Pohl, a science fiction writer, and Eugene Leonard, a computer specialist, take a hard look into the future, picturing the aged as the first victims of galloping obsolescence.

For many Americans, reaching retirement age is the first step on the road to the poorhouse. The program points out the Labor Department defines adequate income for a single person as $1,800 a year, yet 7.5 million retired Americans do not have adequate income. From San Francisco, the program shows a quarrel between a retired pensioner and practical nurse.

The program reports from across the country on the substandard housing conditions under which most retired Americans are forced to live and there is a vivid contrast with those few wealthy aged who can live in luxury retirement. There are impressive scenes from retirement villages and from the posh high- rise apartment building, Channing House, in Palo Alto outside San Francisco where residents pay from $12,000 to $36,000 to purchase an apartment, plus monthly charge for maintenance of about $195. Channing House residents enjoy cocktail hours, meals, and the assurance of a doctor on the premises.

There are interviews with Channing House President Dr. Russel V. Lee and a resident, R.L. Duffus, an author and formerly on the editorial staff of The New York Times.

Dr. Michael Dasco of the Goldwater Memorial Hospital, New York City, a well-known specialist in geriatric rehabilitation, takes exception to the Channing House concept of sequestering the aged. From the little house near San Francisco there are scenes of senior citizens actively engaged in learning new languages and skills and discussing current events.

From other areas around the country there are reports of senior citizens becoming involved with the mainstream of society. Cameras are with a retired schoolteacher who works for Vista, the Democratic Peace Corps, as she makes her rounds in the Appalachia region of Kentucky teaching illiterate adults how to read; and with a retired Newark, N.J., contractor as he gives advice on a city-improvement project.

But the program comments that much of the work being done by America’s elderly citizens is on a volunteer basis and asks, “Why should old people be the only ones in our society expected to work for nothing?” The program concludes by pointing out recent attempts in various parts of the country by angry and frustrated senior citizens to organize into action groups to affect legislation and political decisions regarding them. From Los Angeles there is a look at a convention of senior citizens, one of the many groups springing up throughout the country.

AMERICA’S CRISES: OLD AGE PART I: THE WASTED YEARS is a National Educational Television production. Producer-Writer: Alvin Yudkoff Filmmakers: Richard Leacock and Nell Cox Researcher: Ellen Cohn Narrator: Herb Duncan Production Facilities: Leacock Pennebaker Inc.

Program 14: Old Age Part II: Out of Sight Out of Mind This program goes into hospitals, nursing homes, and other institutions, for an inside report on the treatment and facilities available to the aged. There are interviews with leading geriatricians, shown testing and rehabilitating elderly persons, and there are segments from hearings of the U.S. Senate’s subcommittee investigation of nursing homes.

Today’s life expectancy is 70.2 years, but Dr. Russel V. Lee, director of an elegant retirement apartment house, Channing House in Palo Alto, CA, reports that with a few major medical breakthroughs man’s life expectancy could hit 126 years. Dr. Charles Barrows, biochemist, talk about experiments underway to increase life span.

There is a report on many devices being sold to the elderly, which are purported to have therapeutic value but which are worthless. Certain gadgets seized by the federal Food and Drug Administration are shown.

From Boston, U.S. Senators Edward M. Kennedy of Massachusetts and Maurine B. Neuberger of Oregon are shown interviewing proprietors of nursing homes and there are scenes of nursing home inspectors.

Rehabilitation programs for the elderly ill are seen at Goldwater Memorial Hospital in New York City where Dr. Michael Dasco works with elderly patients. There is a report from the Middletown State Hospital in New York, considered one of the best in the country for rehabilitating the aged.

AMERICA’S CRISES: OLD AGE PART II: OUT OF SIGHT OUT OF MIND is a National Educational Television production. Producer-Writer: Alvin Yudkoff Filmmakers: Richard Leacock and Nell Cox Researcher: Ellen Cohn Narrator: Herb Duncan Production Facilities: Leacock Pennebaker Inc.

Program 15: The Rise of the New Towns No info in NET microfiche

Producer: Paul Kaufman

Program 16: Crimes in the Streets The relationship between police departments and minority groups is one of the critical problems examined in National Educational Television’s hour-long documentary “Crime in the Streets.”

“Crime in the Streets” focuses on two main aspects of this mounting national crisis – the problems facing local departments, such as manpower shortages, low wages, and insufficient training, and second, the rehabilitation of juvenile delinquents who today commit about half of all serious crimes.

Community relations between policemen and minority groups, particularly non-whites, are discussed by Harold Rothwax, an attorney for New York City’s Mobilization for Youth, Joseph Lohman, dean of criminology at the University of California; John Cassese, president of New york City’s Patrolmen’s Benevolent Association and recruits at the City’s Police Academy.

Mr. Cassese and Superintendent O.W. Wilson of Chicago’s Police Department comment on police training, wages, and efficiency, and the program presents a look at Chicago’s new $2 million police community center, reportedly the most modern in the world.

“Crime in the Street” explores the growing crime rate among teenagers, with interviews with juvenile delinquents, former members of city “gangs,” and experts in the field of rehabilitation.

Among these interviewed are psychologist Saul Pilnick, former director of Essexfields Group Rehabilitation Center in Newark, NJ; Mrs. Trude Lash, executive director of the Citizens Committee for Children in New York City; Dick Rachin, director of the J. Stanley Shepard Home, part of the New York State Division for Youth Program; and Caleb Warrington, director of the Ferris School for Boys in Wilmington, Delaware.

“Crime in the Streets” is a 1966 production of National Educational Television Producer-Director: Jack Willis Associate Producer-Editor: Fred Wardenburg Narrator: Dick McCutchen

Program 17: The Troubled Cities From key metropolitan areas, this program examines what is occurring within cities. Specifically, it explores the flight to the suburbs of middle and upper income families, leaving the cities to the underprivileged non-white minorities. The program reports on urban renewal in Boston and New York., the problem of Negro education in Boston, relocation of families whose dwellings are being torn down for reclamation projects, the anti-poverty program in Newark, NJ and efforts to combat crime in Detroit.

This program presents a critical portrait of the problems facing the nation’s cities. Segments include: from Boston, reports of citizen’s unrest over relocation in the face of urban renewal and the crisis surrounding de facto segregated schools; from New York City, attempts in East Harlem to rehabilitate an entire neighborhood; from Newark, N.J., local opposition to an alleged takeover by outsiders of federal assistance projects; and from Detroit, the problems of minorities, particularly in police relations.

There is an extensive interview with Detroit Mayor Jerome P. Cavanagh and interviews with Mayors John V. Lindsay of New York City and John F. Collins of Boston. Secretary Robert C. Weaver of the Department of Housing and Urban Development comments on the problems of the cities and efforts of the federal government to alleviate them.

AMERICA’S CRISES #17: THE TROUBLED CITIES is a production of National Educational Television Producer: Eliot Tozer Film Editor: Charles Goldsmith Narrator: Dick McCutchen

Program 18: Cities in the Poor, Part I (aka Poverty in the Cities) It has been two years and more than two billion dollars since President Johnson declared a War on Poverty.

Much has happened since then. Riots have scarred many neighborhoods across the country which had been labeled prime targets in the Poverty War; in some areas federal funds have been withdrawn in a confusion of charges and counter –charges; now, the entire Poverty Program has become the center of a national controversy.

For a first-hand look at the anatomy and pathology of poverty, National Educational Television’s camera crews went into heart of poverty pockets to film two hour long documentaries for NET’s “America’s Crises” series.

Focused upon in this segment are two areas of the country which were the scenes of violent disturbances and riots among underprivileged Americans. They are the Watts section of Los Angeles, site of last year’s lootings and burnings, and Chicago, which only recently erupted with outbreaks of violence and gunfire.

On location, NET recorded the frustration, aspirations, and fears of America’s poor – literally one of every six citizens.

Viewers will learn of the lack of motivation that paralyzes the lower class, as they witness a Chicago social worker attempting to help a large family.

They will get a new understanding of the role of neighborhood organizations in finding jobs for the unemployed, setting up recreation facilities for the elderly, and providing health care for pre-school age children.

From Los Angeles, there is a segment on group therapy for young adults, some of whom either witnessed or participated in last year’s riots in Watts.

And the impatience that is growing stronger among the poor is explored through a discussion between two young workers who are dissatisfied by the manner in which Poverty funds are administered.

In a second program, “Cities and the Poor, Part II,” NET will focus on the ferment arising in the nation’s slums and its effects on the Poverty Program.

AMERICA’S CRISES: THE CITIES AND THE POOR is a 1966 production of the National Educational Television Producer-director: James Karayn Correspondent: Paul Niven Editors: Karin Erlebach and RW Jackson

Program 19: Cities in the Poor, Part II (aka Poverty in the Cities) This is the second of a two-part study in the America’s Crises series on poverty in the cities. This program will focus on the actions of the poor trying to break out of their life of poverty and the reactions this has had among the established local governmental bodies and on the middle class. The program will deal with the War on poverty and particularly the conflict over the Community Action program.

While specifically focusing on Los Angeles and Chicago – two cities which recently have been the scenes of bloodshed – the hour-long program reflects what is occurring in every major city in the country.

The program explores the rise of militant groups which had their birth in the civil rights movement and their maturation in the war on poverty. The program reports on how these militant factions are gaining a voice by calling upon the nation’s poor to organize – to demand a police on school boards, in welfare agencies, and on police review boards.

The voice is against the status quo and the so-called “power structure,” and the demand is to be heard now. The program reports how some of these militant groups are helping the poor, while others are merely exploiting them.

There is actual film footage of protest demonstrations in Los Angeles earlier this year over the firing of poverty workers by Mrs. Opal Jones, director of the Neighborhood Adult Participation Project. Mrs. Jones, who represents the established settlement house, is interviewed and reflects on what the demonstrations manifest.

Among those appearing in the program are Luster Miller, director of a militant private group in California; and Mrs. Mary Henry, a participant at the recent White House Conference on Civil Rights and a worker with the Los Angeles Poverty Program.

AMERICA’S CRISES: THE CITIES AND THE POOR is a 1966 production of the National Educational Television Producer-director: James Karayn Correspondent: Paul Niven

America's Town Meeting of the Air (1956) Initial NET Broadcast: April 22, 1956 Number of Programs: 2

General Description of Series: For more than two decades “Town Meeting of the Air” has led American radio in educational programming dedicated to an informed American public. Now “Town Meeting” comes to National Educational Television in a two-program series designed to provoke thought and discussion which will contribute to public knowledge and understanding. Produced by Town Hall, Inc., the series covers the labor question and the controversial topic of public vs. private power. Featured guests include Secretary of Labor James P. Mitchell, Joseph D. Keenan, president of the International Brotherhood of Electrical Workers, Edwin Vennard, president of the Middle West Service Company, and Leland Olds, former chairman of the Federal Power Commission. Moderator is Gunnar Back, Washington newsman.

Program 1: Labor Today Secretary of Labor James P. Mitchell heads the discussion group as “Town Meeting” explores the field of labor, functions of the Department of Labor, and general labor problems today. The program includes a brief history of labor and touches on the areas of all employment, women in the labor market, and labor goals for 20th Century America. With other members of the audience, Archie V. Murray, president of Scaife Company, and Joseph D. Keenan, president of the International Brotherhood of Electrical Workers, ply Mitchell with questions concerning the Department of Labor and its activities.

Program 2: For Our Best Interests: Public or Private Power? A highly controversial topic whenever and wherever power development is considered, the question of pubic vs. private power is debated by Edwin Vennard, president of the Middle West Service Company, and Leland Olds, former chairman of the Federal Power Commission. The program includes statements of position from both camps, followed by general discussion and audience questioning of both speakers. Moderator Gunnar Back supplies background commentary on the discussion topic.

NET Playhouse: The Amorous Flea (1967) Initial NET Broadcast: January 6, 1967 Number of Programs: 1 Running time: 90 minutes

“The Amorous Flea,” a long-run off-Broadway hit, is a musical comedy based on Moliere’s “School for Wives.” Its theme is youth and age in competition for a young maiden’s favors.

Arnolphe is an old goat who has raised the lovely Agnes form age four in total ignorance so that she will make him the perfect wife. He has her in solitary confinement and on the brink of marriage when the handsome young Horace, son of a dear friend, arrives to breach the barricades. Horace makes Arnolphe his confidant and the trouble begins. Conniving servants, false names, and falser friends all add to the general madness and lead to the triumph of love.

Musical numbers in the program include “There Goes a Mad Old Man,” “March of the Vigilant Vassals,” “Closeness Begets Closeness,” “Learning Love,” “It’s a Stretchy Day,” “When Time Takes Your Hand,” and “Man is a Man’s Best Friend.”

The Cast: Arnolphe – Lew Parker Agnes – Imelda de Martin Horace – Philip Proctor Servants – Ann Mitchell and Jack Fletcher

THE AMOROUS FLEA is a National Educational Television presentation. Original stage version produced by Charles Hollerith, Jr. and Jerry Devine Book: Jerry Devine Music and Lyrics: Bruce Montgomery Costumes: Donald Brooks Sets: Bill Hargate Staged by: Jack Sydow Produced for television by Majestic Productions.

NET Playhouse #128: Anatol (1969) Initial NET Broadcast: March 13, 1969 Number of Programs: 1 Running time: 90 minutes B&W or Color: B & W

Suggested Newspaper Listing: NET Playhouse – “Anatol” – the romantic comedy by the 19th century Austrian playwright Arthur Schnitzler about three episodes in the love life of a Viennese man-about-town at the turn of the century.

Program Description: The play is made up of three episodes in the love life of Anatol, a rich man-about-town of Vienna at the turn of the century. His friend, confidant, and adviser is Max, who tells the stories.

In the first episode, Anatol is giving his mementos into Max’s safe keeping. A bundle of letters, a scrap of a veil, a photograph, a pressed flower; through these he recalls his past loves. He recalls a romance of only a few hours which he remembers as having a lasting mark in the heart of a little circus artiste. What he doesn’t remember is that she is a friend of Max’s. When she happens to arrive at Max’s rooms for a visit and sees Anatol again, she doesn’t remember him at all and has entirely forgotten their enchanted evening.

Another memory: Anatol has organized a farewell supper for his then current mistress. He is leaving her for a younger, less extravagant woman. But when the mistress, during a very healthy meal, forestalls him, he is furious. She announces that this is positively their final supper together because she has fallen madly in love with a man from the back-row of the chorus.

But Anatol gets caught in the end. It is his wedding morning. Btu old habits die hard and an old flame has spent the night with him. The problem is how to get out of the house to his wedding without letting his girlfriend know why he must rush out.

Background on the playwright: Arthur Schnitzler was born in Vienna in 1862 and died in 1931. He made his reputation, as a Viennese wit with “Anatol,” an early play, along with his two, bets-known works, the play, “La Ronde,” and the short novel, “Leutnant Gustl.” His style in all of these works is characterized by a lighthouse of touch, a gaiety and delicate irony, reminiscent of “Old Vienna” itself.

“Anatol” has been translated by Harley Granville-Barker, the famous Shakespearean scholar, dramatist (“The Madras House”), and producer, who introduced many continental dramatists to England, among them Ibsen and Schnitzler.

The cast: Anatol – Robert Hardy Max – John Wood Mimi – Moira Redmond Bianca – Priscilla Morgan Lona – Elvi Hale

NET Playhouse – “Anatol” is a National Educational Television presentation produced for the British Broadcasting Corporation by Bernard Hepton. It was directed by Christopher Morahan. Producer for NET is Kay Chessid.

Anatomy of a Revolution (1961) Initial NET Broadcast: May 21, 1961 Number of Programs: 15 Origin format: Videotape Running time: 30 minutes

General Description of Series: An apt description was prepared by the man who wrote this series – Crane Brinton, professor of history at Harvard University. Said Professor Brinton: “I am anxious not only to present the drama and ‘human interest’ of revolutions, which I think the visual materials will make fairly easy, but I also want to have the audience think about these problems: how revolutions come about, what they really achieve, in what ways revolutions are – in terms of social psychology – pathological or at least abnormal, how it may be possible to achieve necessary social, political, economic changes without the worst phases of revolution.” Professor Brinton deals with his topics analytically, dissecting revolutions not by period but by theme, aim, method, success, weakness, or failure. Each program is enhanced and vividly illustrated by visuals – film clips, photographs, cartoons and portraits.

Featured Personality: Crane Briton is McLean Professor of Ancient and Modern History as well as the Lowell Television Lecturer at Harvard University. This background indicates considerable experience in both television and education – an attractive combination for this series. Although the greatest portion of his career has been spent at Harvard, he did receive his PhD from Oxford University in England, was visiting professor at Knox, Beloit, and Pomona Colleges, and did work for the US Army’s OSS. He has also written a dozen books about European history, including The Anatomy of a Revolution, A Decade of Revolution, and Ideas and Men: The Story of Western Thought. He is a regular contributor to a number of newspapers and learned journals.

Program #1: Varieties of Revolutions The program begins with a ten-minute film clip concerning Castro’s Cuban revolution, the Hungarian revolution, and the post-World War I German and Italian revolutions. Professor Brinton turns form the violence of the film to a calm analysis, as he outlines different kinds of revolution. He schematizes and classifies revolutions to show the pattern that underlies most such experiences. He also contrasts successful and abortive revolutions as well as the observers of Gandhi, Lenin, and Hitler. In conclusion, he asks that feelings of indignation or righteousness be suspended and that the revolution be considered as simply as historical phenomenon which must be understood before it can be approved or condemned.

Program #2: The Antecedents of Revolutions This program is concentrated on the factors that produce a revolution, not the romanticized contrasts between downtrodden serfs and callous aristocrats. Economic revolutions are prompted by attempts to balance wasteful budgets through oppressive taxes; political revolutions by a hope for democracy or the search for a strong leader; and social revolutions by new patterns of social mobility or lack of opportunity for ambitious men. There are also racial and nationalistic causes. Before describing the forces that can forestall or even halt the most popular revolution, Professor Brinton analyzes each of the foregoing causes.

Program #3: The Role of the Intellectual Beginning with Milton’s effect on the Puritan revolution, Professor Briton here turns to the most profound revolutionary determinant – the necessary intellectual stimulation toward change. The intellectual most likely begins his thought and action provoking work several decades or even generations before an actual revolution occurs. Often, the professor remark, the intellectual is not merely a man of words. The number of university students, scholars, lawyers, and philosophers who have actually fought for change is large and eloquent. The program ends with a scene from Beaumarchais’ play, The Marriage of Figaro – one of the most outspoken pre-French Revolution attacks against privilege and corruption.

Program #4: The Beginnings of Actual Revolution When does a revolution begin? The moment of crisis is often recognizable; for instance, crises were apparent when Charles I of England invaded the House of Commons to arrest some of its members, and when a mob stormed the Bastille. But do these explosions occur spontaneously? Or are they planned? The greater part of this program is devoted to analyzing the relation between conspirators – who may direct the course of action – and the masses of people who have a real grievance but may not be aware of a remedy.

Program #5: The Struggle between Moderate and Immoderate In the period immediately following a successful revolution, there exists a strong desire to legitimize the seizure of power. This however, is difficult to achieve and almost invariably leads to a struggle among various units within a revolutionary group. By careful analysis of the Puritan, French, and Russian revolutions, Professor Brinton is able to reach provocative conclusions about the strengths and weaknesses of moderate and radical factions within such revolutionary movements as well as interesting reasons for their failures or successes.

Program #6: Dual Sovereignty and the Progress of Revolution A revolution poses several problems, not only to the inhabitants of the country involved, but even to nations physically or diplomatically close. Which government is legitimate? What effect will or should diplomatic recognition have? For that matter, where does an “illegitimate” government come from and how does it get started, ask Professor Brinton. Using the French and Cuban revolutions as examples, he comments on the activities of the national underground and on the support such an underground movement can get from foreign powers. He also deals with the phenomenon that appeared after the French revolution, when its offshoots, agitating in other countries, produced what amounted to an international revolution in Europe. Finally, he notes that neither internal conspiracy nor international support can produce a revolution if the general climate of opinion within a country is not disposed to accept it.

Program #7: The Reigns of Terror and Virtue Carefully, Professor Brinton here plots the political course of a revolution after it captures a government. He dissects the pattern of purges, revolutionary justice, acts of repression, and concentration of power that make up a “reign of terror,” an outgrowth of the terror able to justify itself in moral terms. This program deals largely with the political aspects of both results.

Program #8: The Reign of Terror and Virtues of Social Life The revolution can affect the common man in a variety of ways: it may change his name or his title, or it may change the name of the seasons, months, days, or places in which he lives. It may even try to substitute a new “revolutionary” religion for his traditional beliefs. Professor Brinton draws examples from Nazi Germany, Soviet Russia, and Revolutionary France that are at once both amusing and sobering. The “reigns of terror and virtue” may require more emotional attention and participation than an average citizen can supply over lengthy periods of time, or they may repress him and so lose his support of the revolution.

Program #9: Explanation of the Reign of Terror During a “reign of terror,” ordinary men act in an extraordinary way, remarks Professor Brinton. Why? Because a revolutionary government has an exaggerated accumulation of problems. It must be acutely concerned with national defense; it is basically unstable; it has immense economic difficulties; and, finally it may often contain the fervor of a religious mission and so produce a fanaticism conducive to spiritual dictatorship. Professor Brinton suggests that the absence of one of these factors may well mean that a “reign of terror” will be considerably modified.

Program #10: Types of Revolutions Who are the men who make revolutions? Men of words like Paine and Voltaire. Fanatics like Robespierre. Practical men of action – Napoleon or Stalin – who consolidate the effects of revolution. Each of the three is necessary to a revolution. Film clips, illustrations and graphics are used to good advantage to produce lively portraits of each type.

Program #11: Types of Revolutions (continued) Continuing his analysis of the men who make revolutions, Professor Brinton produces some challenging ideas about the conditions that encourage such upheavals. He also describes the lives and careers of such en as Tom Paine, Henry George, Samuel Adams, Lafayette, Percy Bysshe Shelley, Trotsky, and Hitler – men of widely divergent aims, methods and orientations.

Program #12: The Beginning of the End In this program Professor Brinton discusses a revolutionary government’s shift away from terroristic policies to the “normalcy” of pre-revolution life. In particular he examines the Russian and Irish experience during this century, as well as the sequence of events in Mexico in the 1930s. He describes, among other things, the position of established religion in revolutionary societies and draws some interesting conclusions from its loss and gain of influence. Photographs, engravings, and drawings are again used to good advantage.

Program #13: Russia – Permanent Revolution? An articulate, forceful and often controversial analysis of Soviet Russia is presented in this program. In most respects, declares Professor Brinton, the Russian revolution has been completed. Yet the symbols of revolution remain. What has been achieved by the revolution? What patter has it followed? In what sense is it a revolution at all? Newsreels and documents supply a wealth of informative commentary to create a most lively program.

Program #14: The Achievements of Revolution Revolutions are seldom entirely successful, suggest Professor Brinton. What can they hope to achieve? And what must a revolutionary be prepared to see unchanged? Professor Brinton has some very perceptive comments to make on those social patterns that are fundamental, that reflect deep-rooted opinions and characteristics, or that can arbitrarily be changed because they are arbitrarily imposed.

Program #15: Some Other Representative Revolutions In this final program Professor Brinton points to revolutionary manifestations that deserve more attention than perhaps they have yet received. Among these are our own Civil War, which he calls abortive; the Indian revolution, which culminated in independence in 1947; the Israeli war for independence which although not a revolution in the classic sense, contains several features of traditional revolutions; and various colonial revolutions (Indonesia, Africa). At the end of the program, Professor Brinton reflects on the general character and potential of revolutions, and he leaves the viewer with several provocative questions and ideas with which to examine current events.

And All That Jazz (1964) Initial NET Broadcast: June 7, 1964 Number of Programs: 1 Origin format: Videotape Running time: 30 minutes

AND ALL THAT JAZZ is about the influence of jazz on contemporary American ballet. With commentary by Harry Geldard, original music by Clyde Camnello, John Carroll, and Mark Spencer, and performance by a dance ensemble, the program traces jazz from its origins in African rhythms, through American ballroom and dance hall performance, to the present when jazz has become prominent on the ballet stage.

AND ALL THAT JAZZ opens with a brief illustrated history of the American slave and his contributions to this country’s dance, a contribution that saw its artistic culmination in Bill “Bojangles” Robinson. After the ensemble performs a short dance number in the style of the vaudeville soft shoe, host Harry Geldard discusses the importance of the dance hall performers like Fred Astaire who, by moving into the motion picture field, set the dance standards for the whole country. Then, illustrating the Hollywood production style of the 1940s, the dancers perform a number in the manner of Gene Kelly. Following a brief reference by Mr. Geldard to the importance of modern dance and innovators like Ruth St. Denis and Ted Shawn, the ensemble offers a number typical of what might be called “commercial” jazz dance, as seen in night clubs and on television. The host then ties together the themes of contemporary jazz and ballet and projects possible future trends. The program is capped with a ballet choreographed in the style of “third stream” jazz and illustrating a possible amalgam of jazz and ballet.

Featured Personalities Harry Geldard (host): Born in England, Harry Geldard once studied to be a minister but chose the stage rather than the pulpit. He is now producer-director of the Bonfils Theatre in Denver, CO. His theatrical experience includes seven years of acting with leading English repertory companies (he appeared at time, in fifty-two plays a year), roles in nine major productions in London and New York, and directing assignments in England, Canada and the United States. He also appeared in “Call It a Day,” Canada’s first TV drama and “Space Command,” his own TV series that ran two years.

Allan Baker (dancer): Currently heading the Baker School of Dance in Denver, Colorado, Allan Baker was born in England, went into vaudeville at the age of eight, and appeared in many British feature pictures as a child actor. He was a scholarship student at Sadler Wells and has danced with the Royal Ballet of London, the Old Vic Theater Company, the New York City Ballet and the Ballet Theater. He has also performed in musicals (including the London production of “Oklahoma!”) and has directed nine plays off-Broadway and three operas, the latter under a Rockefeller grant. Mr. Baker has choreographed for BBC Television and for night clubs in Paris and London, and was a ballet master of Nora Kaye’s “Ballet of the Two Worlds.”

Constance Garfield Baker (dancer): Miss Garfield (Mrs. Allan Baker) now the ballet mistress of the Baker School of Dance in Denver recently completed a European tour with Nora Kaye’s “Ballet of the Two Worlds” in which she was featured as premiere danseuse. She has trained with some of the great Russian teachers – Balanchine, Vilzak-Schollar, Madame Volkova and Madame Proobrejinska. Miss Garfield began her professional career with the Ballet Russe de Monte Carlo when she was fourteen. Since then she has appeared as a soloist with the Grand Ballet de Monte Carlo, has been guest artist with the Nederlands Ballet in Holland and the New Ballet Company in England, and has created original roles for the New York City Ballet, the Ballet Theater, and the Ballet Alicia Alonso.

Robert Cockle (dancer): Born in Kansas, Robert Cockle attended Oklahoma State University and later did his professional preparation in dramatics and dance at the American Theater Wing, the Ballet Russe, and the American School of Ballet. He is a veteran of many off-Broadway and summer stock productions, and for more than two years he appeared in leading supper clubs and hotels throughout the United States and Canada with his own dance act.

Ted August (dancer): A singer and dancer, Ted August has appeared in Broadway and national companies of “Guys and Dolls,” “Can Can,” “Plain and Fancy,” “Pajama Game,” “The King and I,” and “Destry Rides Again,” and has been seen in numerous summer stock musicals. He lives in New York where he is studying drama with Herbert Berghof. His television credits have included “The Ed Sullivan Show,” “Omnibus,” and “The Bell Telephone Hour.”

Raquel Miller (dancer): A pupil of Ruth Beckford, Miriam Lanova, Kyra Nijinsky, Valdimer Kostanko, David Hamilton, and Walton Bisserstaff, Raquel Miller has danced extensively in night clubs around the country and in theaters in San Francisco.

AND ALL THAT JAZZ: a 1963 production for National Educational Television by KRMA, Denver Executive producer: Curtis Davis Producer: Tom Mossman Director: James W. Case

And No Bells Ring (1960) Initial NET Broadcast: Number of Programs: 1 Running time: 60 minutes

The point of view of the brochure, New Directions to Quality Education, has been translated into a television report title, AND NO BELLS RING, which is being made available in the Flexible Package. The report is the outgrowth of a four-year study by the Commission on the Experimental study of the Utilization of the Staff in the Secondary School, appointed by the National Association of Secondary School Principals. The Ford Foundation and the Fund for the Advancement of Education provided the funds.

Fanfare #16: And Now, All the Way from Bakersfield, CA…Merle Haggard (1971) Initial NET Broadcast: January 24, 1971 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes

Merle Haggard, country’s music “Okie from Muskogee,” is the subject of an intimate profile on NET’s Fanfare.

Titled, “And Now, All the Way from Bakersfield, CA…Merle Haggard,” the program enacts the drama prior to the Country Music Association awards in Nashville. At these ceremonies, Haggard emerges as the country music “entertainer of the year,” top male vocalist, and performer with the best single record and single album.

Merle Haggard the performer is seen in wide-ranging concerts from Providence, RI to Pueblo, Colorado, and many of his best-known songs are contained in the hour program (“Okie from Muskogee,” “Fightin’ Side of Me,” “Mama Tried,” “Working Man’s Blues,” “Mama’s Hungry Eyes,” “Today, I Started Loving You Again,” and “Branded Man.” Through these songs and through Haggard’s comments the program seeks to define him in human and in social terms. His youthful vagabondry is suggested when he sings of his wild oats (“Mama used to pray my crops’d fail”) and of his prison years(“In spite of Sunday learning … I turned 21 in prison”).

His current popularity is delineated in scenes with his admirers we’re your fans, we all love ya,” shouts a woman outside the auditorium in Hartford, Conn. “Oh my goodness, oh my gosh,” replies Haggard.

“And Now, All the Way from Bakersfield, California … Merle Haggard,” is a production of the NET Division, Educational Broadcasting Corporation. Produced and directed by Eliot Tozer, and transmitted nationally by The Public Broadcasting Service.

Realities: And the Meek Shall Inherit the Earth (1971) Initial NET Broadcast: June 14, 1971 Number of Programs: 1 Running time: 60 minutes

General description EG Marshall narrates this film study of the Menominees, a tribe of American Indians who maintain the only Indian governed county in the nation – Menominee County, locate west of Green Bay, Wisconsin.

The ENT program focuses primarily on the Menominees’ struggle to preserve their way of life. Essentially, this means they want clear title to their land and the economic means for survival.

Until two decades ago the Menominees were largely self-sufficient due to the century old logging and lumber mill operation on their land which they worked under the management of the Bureau of Indian Affairs. In 1951 the Menominees won a large claims settlement from the US, increasing their tribal treasure to 10.5 million dollars. And that was their undoing. The federal government decided that the Menominees were ready for termination, that is, they were ready to become independent taxpayers instead of a tribe under the management of the BIA.

In 1961 Menominee County was formed and the logging operations became Menominee Enterprises, Inc. Each tribal member received $1500, plus 100 shares of stock in the corporation and a $3000 bond. It sounded good except for two factors: the mill now had to pay taxes, and the individual Indians no longer owned their land (the corporation owned it and it had to be sold to the Indians in lots.)

“They had to buy the land on which they had built their homes, land where their families had live for generations,” explains producer-writer Ann Delaney.

Taxes quickly depleted the tribal treasury. Services were cut. Self-sufficiency began to disappear.

And now tribal leaders are selling land to “white settlers” (vacationers who are putting up cottages on lakefronts) in a desperate attempt to raise the county’s tax base. Twelve hundred lakeside lots have been sold so far, and because there are only 500 Menominee families, there is a pervasive fear that the Menominees eventually will lose control of their county if enough cottages become permanent residences.

Suggested Newspaper Listing: Realities … and the meek shall inherit the earth” – EG Marshall narrates this film study of the Menominees, a tribe of American Indians living in Wisconsin, and their struggle to preserve their way of life.

Realities – “… And the Meek Shall Inherit the Earth” is a production of NET Division, Educational Broadcasting Corporation. Producer-writer: Ann Delaney This program was made possible by grants from the National Endowment for the Humanities and The William H. Donor Foundation, Inc. This program is transmitted nationally by PBS, the Public Broadcasting Service.

And There Was Light (1966) Initial NET Broadcast: N/A Number of Programs: 1 Origin format: Film Running time: 30 minutes

This is the story of light and the development of electricity. Through animation and film footage of historical events, the history of light and electricity in America is told from the days of the Mayflower through the first successful United States space flight.

Andy and the Friendly Lion (1969/1970) Initial NET Broadcast: N/A Number of Programs: 1 Origin format: Film Running time: 60 minutes

Special television adaptation of an original musical play for children. The play is a production of the very active Area Theatre, famous for its animal productions of children’s classics and original musicals.

Producer: Paul K. Taff

Animals of the Seashore (1959) Initial NET Broadcast: N/A Number of Programs: 15 Running time: 30 minutes

General Description of Series: “Animals of the Seashore” is organized around the intertidal environment as a unique, diverse, exacting, and above all interesting habitat for living organisms. The general approach is to analyze the physical features of the beach and to illustrate how different animals meet the conditions imposed on them by their environment. Because marine animals comprise a large segment of the animal kingdom, the coverage is extensive though nontechnical. The series is planned to interest both teenagers and adults. Emphasis is placed on becoming familiar with the different kinds of animals, their particular niche and special adaptations, how they live, what they do, and where they fit into the general scheme of the living world. The series was produced by KCTS-TV, Seattle.

Featured Personality: Dr. Dixy Lee Ray Dr. Ray was graduated with a BA in zoology from Mills College in 1937, and completed requirements for a MA degree the following year while also earning a General Secondary Teaching Certificate. From 1938 through 1942, she taught at the Oakland, California, High School. She received her PhD degree from Stanford in 1945, and immediately joined the faculty of the University of Washington where she now holds the position of associate professor of zoology. In 1952-53, Dr. Ray was awarded a Guggenheim Fellowship enabling her to study at the California Institute of Technology and at the University of Wisconsin and to visit marine biological stations in Northern Europe and Scandinavia. During the winter of 1955-56, under the auspices of the Office of Naval Research and the National Academy of Sciences, she worked at the zoological station in Naples, Italy, which has been called the most famous of all marine biological stations. Currently she is serving on the Hydrobiology Advisory Committee (a joint Office of Naval Research – American Institute of Biological Sciences Committee) to advise on research in the field of marine biology. Most of her research since joining the Washington faculty has been at the Friday Harbor (Washington) laboratory, operated by the University. She has published several papers on her work.

Program #1: The Seashore: Its Features and Inhabitants The first program of this series is introductory and defines the seashore by pointing out some of the more easily recognized geographical features and physical characteristics. Exposure during the period of low tide is one of the most obvious and difficult problems faced by intertidal animals; all shore forms are essentially aquatic and must somehow live through periodic uncovering by the retreating tides. This is dramatized by motion pictures and still shots taken of the same beach at intervals during a tidal cycle. Several common seashore animals are shown; some from the living display in the studio aquaria and some from movies taken on the beach at low tide. These animals, whose special means of protecting themselves are pointed out includes sea anemones, starfish, snails, barnacles, and crabs.

Program #2: Animals of the Exposed Rocky Beach This program opens with a consideration of the tremendous force with which ocean waves strike against a rocky reef or headland. Such wave shock and the hard immovable nature of the shore pose special problems for survival and limit the kinds of animals able to live in this environment. Even so, a rocky exposed beach is well populated and emphasis in this program is placed on those animals that have a special way of protecting themselves from the force of wave action or of taking advantage of the solid substratum. Selected examples include some of the more interesting and common animals and their adaptations, such as the hermit crab whose soft coiled abdomen is protected by inserting it into an empty snail shell. Hermit crabs are shown in detail, and a group of hermits can be seen feeding and fighting. The curious and unusual method by which one hermit removes another from a snail shell has been photographed. Other examples of adaptations to life on the exposed rocky coast include: sea urchins that burrow into rock; bother acorn and gooseneck barnacles, their method of attachment and ability to close their shells for protection of the soft body; chitons and limpets and how they protect themselves, feed and hold onto rocks with a powerful and muscular foot; and mussels that withstand the force of fast moving water by fastening themselves down with strong elastic byssal threads that they spin for this purpose.

Program #3: Animals of the Exposed Sandy Beach In contrast to the relative stability of a rocky beach, the exposed sandy shore is constantly being shifted as the surf breaks over it. This creates another very special problem for intertidal animals, and only a few species are adapted to live under these conditions. Both still shots and motion pictures illustrate the main features of such a beach. Among the most successful inhabitants are razor clams whose digging activities are shown. The ability to burrow quickly and rather deeply is essential for survival on the open sandy coast, and two other animals, a burrowing snail and the beach hopper (commonly called “sand fleas”), help to illustrate this. Depending upon the angle at which waves strike ashore, the beach may be eroded or may be built up by sand deposition. In the latter case, a sand bar may form and protect inshore areas from the main force of the surf; in such shallow more protected places, eel grass (which is the only truly marine flowering plant) may take root, grow and provide shelter for a whole community of animals. Such an eel grass bed is shown with some of its associated animals, e.g. the curious and beautiful stalked jellyfish and several nudibranchs or shell-less snails including one with a remarkable ability to swim.

Program #4: Animals of the Protected Rocky Beach Along a rocky beach protected, by its location, from the full impact of the surf, there is plenty of food and shelter, and space itself becomes a limiting factor for the almost bewildering variety of marine animals that can live here. To illustrate some of the different kinds and there adaptations to particular habitats, a number of forms are chosen; these include shrimps (shown feeding and swimming) brachiopods, flatworms, tubeworms and sea cucumbers. The curiously modified grunt fish or Northern sea horse that can walk on its fins and climb rocks is also shown in its natural setting. On gravelly beaches the stones may be rolled even by small waves, and the heavy shells of clams living here help to protect these animals. This program closes with a consideration of two of the most important scavengers of the upper parts of a rocky shore. Both of these are crustaceans, on the beach hopper which is shown in greater detail than in the previous program, and the other is the ubiquitous though often overlooked rock scrambler.

Program #5: Animals of the Protected Sandy Beach The most outstanding characteristic of a sandy beach is, of course, the sand itself, and attention is now directed to this by examining grains of sand under a microscope (magnification approx. 20 times). Again, the emphasis is first of all on the special physical features of the beach and how these affect the lives of the inhabitants or even determine what kinds of animals will be found there. A sandy area in protected waters provides living space for so many animals that larger predators are attracted; examples of these are sharks and skates whose swimming activities are shown. Perhaps the most universally found inhabitant of the quiet sandy shore is the san dollar. Beds of these are filmed, and views of individual animals and of the movements of their spines and tube feet, taken through a microscope, help to illustrate how these animals survive half buried in the sand. Moon snails, sea pens, various worms and sea cucumbers are other sand dwellers that are briefly featured, and the program ends with scenes of brittle stars moving about and capturing food.

Program #6: Animals of the Muddy Beach A mud flat, characterized by quiet water and the soft cozy consistency of the bottom, supports a surprisingly large and diverse population of animals. Most of these burrow below the surface and make their presence known only by holes and castings; these are pointed out in movie film and still pictures of a muddy beach at low tide. Various clams live on such shores and several different types, soft shell, long-neck gaper or horse clams, geo-ducks and bent nose clams are presented and compared. The digging movements that cockles use to bury themselves are shown on film. Starfishes are a common predator of clams, and the startling “escape reaction” used by cockles when stimulated by the presence of appropriate starfish species is an astonishing and dramatic sight. Worms are also typical mud inhabitants and a number of these are featured. Finally, ghost shrimps are considered. These animals construct extensive underground galleries and show remarkable adaptation to their environment in the form and use of their appendages.

Program #7: The Molding and Nature of the Shore Throughout the first six programs the major easily recognized types of beaches and representative animals that are typical of each habitat are emphasized. Now attention is directed to a more general consideration to try to understand better the nature of the shore itself. The intertidal area is the meeting place of land and water; yet the beaches are not everywhere the same and they may differ strikingly even over short distances. To illustrate this, aerial movies of the San Juan Islands (in northern Puget Sound) are utilized. These make it possible to see a variety of beaches and headlands, their contours, and the evidence of continuing interaction between land and water. This leads to a discussion of the distinctive water movements; current, waves and tides. By means of films, stills and demonstrations, each of these is considered and their causes and effects are briefly described. Living organisms also play a part both in protecting and building up the land, and in destroying it. Rock-boring clams and urchins are examples of important destructive agents, kelp beds and other large algae protect the shore, various tube worms contribute to its substance, and many smaller or inconspicuous forms do their part in building a more solid substratum or stabilizing a soft one. The program ends with a short film clip of the octopus, included here because many of them construct dens in shallow water.

Program #8: Animals of Ships, Floats and Piles Given reasonably unpolluted sea water, the potential number of marine animals is so great that space to live in may be at a premium and every structure added to the sea becomes a new substratum to be explored. The hulls of ships, the under surface floats and the supporting piles of docks and wharves, all are inhabited. Those animals that live on the structures without damaging them are considered first. There are movie shots of feather duster tube worms and tunicates or “Sea Squirts” taken in the field, and close ups of these same animals kept in the studio tanks. Hydriods, barnacles and sea slugs are shown living on an old automobile tire that serves as a bumper for a float. But there are destructive animals too, and none are better known than the teredo or “shipworm” and the small but equally harmful pest, Limnoria. It is estimated that these two animals cause, on a worldwide basis, about half a billion dollars damage every year. How they live in wood and ultimately destroy it is illustrated and the tiny Limnoria is shown through the microscope.

Program #9: Animals in Deep Water Beyond the low tide area the land dips lower and is never uncovered by the receding waters. But her, too, many marine animals live. Some of them are similar to the shore dwellers, some are distinctive and never seen unless brought to the surface from their deep water habitat. In this program the technique dredging for bottom living animals is demonstrated on movie film. Animals collected in this manner and shown alive on the screen include the exotic basket star, the cushion star that secretes great quantities of slime when handled, deep water sponges and delicate cup corals. Scallops also are featured, and their surprising ability to swim when stimulated by the presence of starfish is highlighted. The program closes with a brief look at animals dredged from mud: among these is Rossia, the curiously modified bottom living squid.

Program #10: Plankton This program is concerned with plankton … all those organisms both plant and animal that live in the sea water itself, either floating passively near the surface or swimming weekly and unable to make headway against currents or other water movements. Most of these organisms are small or microscopic in size, but many of them reach a considerable age. Of these the jellyfish form the prime example. Most jellyfishes are quite harmless; live specimens are shown swimming around the studio tanks, and the variations in size, shape, and swimming habits are illustrated by motion pictures. Many seashore animals spend their larval or juvenile phases as members of the plankton. Such animals are represented by larval crabs filmed as they gather around a night light suspended in the water from the laboratory float at Friday Harbor. A planktonic baby octopus, less than an inch long and almost transparent, is also shown. The micro-plankton, in cold waters these are predominantly diatoms, constitute the great pasturage of the sea on which all marine life ultimately depends. Methods of collecting micro-plankton are demonstrated, the organisms themselves are seen through the microscope and the reason for the necessity of more knowledge and understanding of planktonic life are considered.

Program #11: Animals Associations Few animals really live alone, and the associations that develop among them are always interesting and often astonishing. In some cases, associations between different types of species of animals or between animals and plants may lead to relationships of symbiosis or commensalisms. Camouflage is also a common feature and living examples of several such relationships help to illustrate these phenomena. Another kind of association involves quite startling reactions that take place between certain species of marine animals. The jumping cockles and swimming scallops, both stimulated by star-fish, have been seen on previous programs; additional reactions shown by use of film include a brittle star-hermit crab reaction and the activities of a sea anemone that swims when touched by certain starfish. The significance of these reactions and the research currently directed toward better understanding of the behavior of seashore animals are briefly discussed.

Program #12: Embryology In this program, the embryology development of animals is the central topic. With the sand dollar as an example, spawning of eggs and sperm is first shown, and then the gametes are collected and observed through the microscope so that the essential features of both egg and sperm cells can be seen. The eggs are fertilized in a drop of seawater on a microscope slide an events such as the elevation of the fertilization membrane can be observed. From cultures started earlier, living sand dollar embryos in various stages of development provide material that illustrates the early embryonic phases through which all animals typically pass. Some of the ways in which the young are protected during their development are shown by examples of larvae swimming around within the enveloping membranes and jelly masses that are characteristic of a number of marine species. Finally, parental care is demonstrated by movie films of a female octopus protecting her brood of young.

Program #13: The Classification of Marine Animals This program deals with the organization of the animal kingdom. There are a great many different kinds of animals and representatives of all known types live in the sea or along the shores. To appreciate this vast diversity is a difficult task; to know them all is quite impossible. But fundamentally, there is only one kind of living matter, and the interrelationships in the animal world make comprehension of the broad scheme of living things much easier. These relationships are expressed, in a general way, by the classification system that groups animals into large categories, or phyla whose members all have their bodies constructed on the same basic plan. Throughout the preceding programs, the various animals have been treated in ecological groupings and have been referred to by their common names whenever possible. Now the animal kingdom is briefly surveyed, and the familiar seashore animals place in their proper phyla. Living material, film and still pictures are used for illustrative purposes.

Program #14: Economic Aspects of the Shore Treatment of this important topic is divided into consideration of, 1) the useful products, 2) destructive agents, and 3) recreational advantages of the shore as one of our great natural resources. In the first category come sea foods, exclusive of the fish, and the numerous edible species are discussed and examples shown. Some attention is given to the intelligent use of marine food resources and to the possible expansion of a seashore agriculture to include forms in addition to the oyster which is now so successfully farmed.

A variety of minerals, fresh water, oil sand and direct harnessing of the power of the tides and other important economic aspects that are either already realized or are potentially possible. The destructive forces of sea water and of several marine animals are recalled and reviewed in this context. The program closes with a serious look at the shore as an important recreational asset.

Program #15: Basic Research in Marine Biology The purpose of this program is to illustrate what marine biologists do and how they go about trying to solve the problems that they choose to investigate. In this, the final program of the series, the accent is on basic research. To illustrate some of the questions that biologists are investigating, a suspension of disassociated sponge cells is examined under the microscope; this leads to a brief discussion of the field of cellular biology. Film clips taken at the Friday Harbor Laboratories show a number of research scientists whose investigations are directed toward elucidating the activities of cells and issues. The functions of various organs and systems are also under study. Examples include research on the clam heart, on excretion in the octopus kidney, and on nerve activity in the squid. The importance of teaching and the training of young scientists is illustrated by showing a film of a class of graduate students and a number of their individual research projects being conducted at the Friday Harbor Labs.

Animated Puppet Films (1969) Initial NET Broadcast: N/A Number of Programs: 7 Origin format: Film Running time: 30 minutes

Seven unique animated puppet films in color portraying classic folk and fairy tales by Hans Christian Andersen and the Brothers Grimm. The films feature the lifelike movements of puppets in beautiful three dimensional color sets. The puppet movements are skillfully achieved by a stop-action technique of photography in which puppet movement is created frame by frame to create the illusion of continuous action.

The titles of the fairy tales are as follows:

Seven at One Blow Jorinde and Jorningel The Princess and the Pea Valiant Hans Till Eulenspiegel The Master Thief The Swineherd

Anthology (1956) Initial NET Broadcast: July 23, 1956 Number of Programs: 10 Origin format: Film Running time: 30 minutes

ANTHOLOGY is a series of informal discussions with leading poets of our time. The Poetry Center of San Francisco State College will cooperate in the production and will make the poets available for the programs. Such people as Cummings, Roethke, Kunitz, Shipero, Renroth and Winters will appear. Richard Moore will act as host. The writings of the various poets will be read and evaluated and the philosophy of the poet, his beliefs and motivations, will be revealed. Limited visual devices will be introduced at the discretion of the producer.

Playhouse New York – Classics for Today: Antigone (1972) Initial NET Broadcast: October 7, 1972 Number of Programs: 1 Running time: 90 minutes Contractor/Producer: WNET

“Now and again – in the three thousand years since the first Antigone, other Antigone’s have arisen like a clarion call … their cause is always the same – a passionate belief that moral law exists, and a passionate regard for the sanctity of human dignity” – Jean Anouilh

Genevieve Bujold, Fritz Weaver and Stacy Keach head the cast in this television premiere of Jean Anouilh’s “Antigone,” based on the Greek classics by Sophocles.

Produced for WNET/13 by Jac Venza, “Antigone” launches a series of four programs entitled, PLAYHOUSE NEW YORK – CLASSICS FOR TODAY, which will comprise the first third of PLAYHOUSE NEW YORK’S 1972-73 season on the Public Broadcasting Service.

As Anouilh has characterized her, Antigone, played by Genevieve Bujold, is the perfect foil for her uncle Creon, played by Fritz Weaver, as they clash ideologically in the universal struggle between reason and emotion. Many of Canadian actress Bujold’s appearances in American have been as classic heroines. She recently played the title role in George Bernard Shaw’s “Saint Joan” on commercial television and received good critical notices for her Anne Boleyn opposite Richard Burton in the 1970 film, “Anne of the Thousand Days.”

Fritz Weaver is one of this country’s most respected classical actors. He has a long and impressive list of credits on and off-Broadway, as well as in television and films. Mr. Weaver starred as Sherlock Holmes in Alexander Cohen musical “Baker Street” on Broadway; and for his performance in “Child’s Play,” was awarded the “Tony” as Best Dramatic Actor of the 1970 Broadway season.

Stacy Keach is the Greek Chorus in this production of “Antigone.” In his role as omniscient observer, he comments infallibly on the dramatic action, maintaining a perspective for the audience. Keach has won continuous praise from New York critics for his stage parts, beginning with his 1967 off-Broadway portrayal of “MacBird!,” a satiric role which earned him both the Obie and Vernon Rice Awards. New York Times critic Clive Barnes said of him, “For all his comparative youth (he) is one of the most seasoned classic actors.” Two of his films, “Fat City” and “The New Centurions,” are now playing in movie theaters around the country.

Antigone’s tragic epic begins before the curtain rises. Oedipus is dead. His two sons, Eteocles and Polynices, have agreed to share the Theban throne, each to reign in alternate years. But at the end of the first year, Eteocles refuses to relinquish the throne to his brother Polynices. And in the civil war that ensues, the two brothers kill one another. There uncle, Creon, who then becomes king, holds a proper funeral for Eteocles, with whom he has sided. But he issues orders that the corpse of Polynices be left unburied, a rotting example to all who defy Creon’s supreme authority. He further threatens to put to death anyone who attempts to give Polynices religious burial.

Soon after Anouilh’s play begins, Creon’s guards discover Antigone trying to bury her brother Polynices. She believes it will insure his immortal soul’s dignified journey to the gods. Her defiant act revealed she is brought before Creon who tries to buy her obedience and loyalty with sweet reason. But Antigone is unbending and refuses to agree, not only to the desecration of Polynices, but more so to the compromising alternatives offered by Creon. She goes to her death proudly, a martyred symbol of spiritual independence.

Conforming to the original Sophoclean theme, Anouilh’s script raises those large and timeless questions concerning human values, man’s dignity and the relationship between supreme and human laws. His “Antigone” was written and produced in Paris in 1943 during the German occupation of that city, and might have symbolized France as she attempted to hold onto her own spiritual independence in the face of the Nazi “New Order.”

Gerald Freedman, who directed the original production of “Hair” for the New York Public Theatre; this year’s critically acclaimed “hamlet,” with Stacy Keach; and last year’s “Colette,” with Zoe Caldwell, has directed this production of “Antigone” for Playhouse New York. It was filmed in the lobby and reception areas of the Juilliard School in Lincoln Center, New York City.

The cast: Antigone – Genevieve Bujold Creon – Fritz Weaver Chorus – Stacy Keach Nurse – Aline MacMahon Haemon – James Naughton Ismene – Leah Chandler Jonas – Louis Zorich 2nd Guard – Frederick Coffin 3rd Guard – Edwin Owens Messenger – Michael Lombard Page – Shawn McGill Eurydice – Betty Miller

Suggested Newspaper Listing “Playhouse New York – Classics for Today: ‘Antigone’” – An original television production of Jean Anouilh’s classic with Genevieve Bujold as Antigone, Fritz Weaver as Creon and Stacy Keach as the Chorus. Anouilh’s drama comments on the universal struggle between rationality and idealism. Stacy Keach will host the entire four-part series, “Playhouse New York – Classics for Today.”

“Antigone,” produced by Jac Venza in association with David Griffiths, is a production of WNET/13. Director: Gerald Freedman Executive producer of the PLAYHOUSE NEW YORK series: Jac Venza Transmitted nationally by PBS, the Public Broadcasting Service

NET Drama Festival: Antigone (BBC) (1961) Initial NET Broadcast: N/A Number of Programs: 1 Origin format: Film Running time: 100 minutes

The Plot: Antigone is the daughter of Oedipus, who death touched of a civil war for control of Thebes. Her two brothers have killed each other in a shameful battle for the kingdom, and Creon, Oedipus’ brother, has become king. To bring about some degree of civil unity, he has been ordered that one brother be given a hero’s burial, while the other, Polynices, be left to rot, the Theban posthumous punishment for treason. Antigone defines this edict and is caught attempting to bury Polynices. Creon finds he must uphold his order by condemning Antigone to death. Despite his arguments, she continues to defy him and finally is buried alive. Creon’s son Haemon, Antigone’s fiancé, refuses to live without her and joins her in the tomb.

The Cast: Antigone – Dorothy Tutin Creon – Basil Sydney Chorus – Noel Willman Haemon – David McCallum Ismene – Jennifer Wilson Nurse – Rosalind Atkinson

Produced by Michael Elliott for the British Broadcasting Corporation

Set designed by Frederick Knapman

Dorothy Tutin (Antigone) also appears in NET DRAMA FESTIVAL as another Anouilh heroine of quite a different sort in the title role of “Colombe.” Recently acclaimed for her performance as Juliet in the Stratford-on-Avon production of “Romeo and Juliet,” she is acknowledged as one of England’s most talented young actresses. Her versatility is recognized even so far afield as Sydney, Australia, where the Sunday Mirror commented: “We have seen her on the screen here in the elegant artificialities of Wilde’s ‘The Importance of Being Earnest’ and in Dickens’ romantic ‘Tale of Two Cities’; she was charming in both of them, but gave little hint of the depth and subtly she showed as Antigone.”

Basil Sydney was born in England in 1894, the son of a provincial theater manager. His first stage appearance was in 1909. After touring with a small repertory company, he appeared at the Old Vic in 1914, playing Claudius in “Hamlet.” In 1914 and 1915 he toured America with Granville Barker’s company, appearing in “Fanny’s First Play” by GB Shaw. His film appearances include “Caesar and Cleopatra” (with Cedric Hardwicke and Vivian Leigh), Oliver’s “Hamlet,” in which he played Claudius, and “Treasure Island.”

Background Information: This modern treatment of the Greek classic by Sophocles was written by Jean Anouilh, one of France’s foremost playwrights. The play was first produced in Paris in 1944 during the German occupation, and was written for the Resistance. Substitute for [..ing] Creon a cynical Vichy politician wearing a uniform of expediency and see Antigone as the Spirit of Resistance, and the play fits into the time and circumstances. Curiously enough, the Nazis missed the point and they play escaped suppression.

There is a more universal quality to the work, however, than this particular association would indicate, perhaps because of the nature of the original. Sophocles (495-406 BC) was the first writer of his time to show how a person’s own actions can bring about certain results. Always before, characters had been at the mercy of a blind fate. More popular during his own lifetime than either of his contemporaries, Aeschylus or Euripides, Sophocles showed a deep understanding of human nature. This quality has sustained his dramas through the centuries, and even without modern adaptations they appear natural and real.

The Chorus, which Sophocles increased from twelve to fifteen members, was used to comment on the action of the play. Anouilh has retained this device, but has reduced the chorus to one person who sets the various scenes verbally and offers philosophic comment on the action. The Chorus is in modern dress; the rest of the costumes are unrelated to any specific period, a device intended to lend a quality of timeliness to the story.

Any Resemblances (1970) Initial NET Broadcast: September 15, 1970 Number of Programs: 1 Running time: 60 minutes

Derived from the novelist Marya Mannes’ literary pieces “Any Resemblances,” this color film will be a one-hour documentary essay focusing on the eastern end of Long Island. As a microcosm of American life, the film will explore the very diverse American types within these geographical confines and reveal in what ways they live together and – at the same time – apart. The film will be made in collaboration with Marya Mannes.

NET Executive Director: Chris Davis Producer: David Loxton Contractor: Tom McDonough Films

NET Festival #44: “Apollo” & “Igor Stravinsky” (1968) Initial NET Broadcast: October 13, 1968 Number of Programs: 1 Origin format: Videotape Running time: 90 minutes

Please Note: NET Festival #44 has been revised and expanded. The program (originally announced as an hour long with the working title “Stravinsky ‘Apollo’”) will now be in two portions totaling 1 ½ hours. The breakdown is as follows:

“Apollo” – approx. 38 minutes: This portion of the program contains a rehearsal segment of about eight minutes plus a performance segment of about thirty minutes of Stravinsky’s “Apollon Musagete” performed by soloists of the New York City Ballet under the direction of George Balanchine (both describe in the Program Information of August 28, 1968).

After a station break, the program continues with:

“Igor Stravinsky” (repeat) – approx. 50 minutes: This is a television profile of the composer, originally presented by NET as the first portion of the documentary-program “Igor Stravinsky” broadcast in Festival of the Arts, February 18, 1966.

It consists of informal vignettes showing Stravinsky at age 83 to be as fascinating as ever. Friends and associates of this great 20th century composer visit with him and discuss his genius. Participating in the program, a great deal of which takes place during a recording session, are his colleague Robert Craft; writer-critic Nicholas Nabokov; Columbia Records’ Masterworks Director John McClure; the guitarist Julian Bream; and Stravinsky’s second wife, painter Vera de Bosset.

Igor Stravinsky was born June 18, 1882 in Oranienbaum, Russia. The son of an opera singer, he spent his youth there and in nearby St. Petersburg. He studied then with Anton Rubinstein, later with Rimsky- Korsakov. His association with Diaghilev in Paris produced some of the greatest ballet scores of all time – “Firebird,” “Petouchka,” “The Rite of Spring,” and “Apollon Musagete.” This latter ballet consecrated a new austerity and soberness of orchestral style. A great musical innovator, in the last decade he has embraced a linear, serialistic style of writing. He became a French citizen in 1934, and an American one in 1945, taking up residence in Beverly Hills, California.

“Igor Stravinsky” is a production of the National Film Board of Canada. Producer: Roman Kroitor Director: Roman Kroitor and Wolf Koenig Narrator: Don Brittain

Another Description: The program is in two portions:

The first portrays soloists of the New York City Ballet under their choreographer, George Balanchine, preparing for a performance of Igor Stravinsky’s “Apollon Musagete.” This portion illustrates Balanchine’s unique contribution to choreography: the blending of classical and modern techniques.”

The second portion of the program features a complete performance of Stravinsky’s ballet “Apollon Musagete.” The telecast of the ballet – an attempt to give an optical interpretation of a musical performance – was produced by Studio Hamburg in 1965. The work is danced to a recording of “Apollon Musagete” made in Hamburg in 1964 by the NDR Symphony Orchestra under the composer himself. A new Balanchine choreography for “Apollon Musagete” matches the rapid tempo of this musical performance.

The dancers are Jacques d’Amboise, Suzanne Farrell, Gloria Govrin, Patricia Neary, and Karin von Aroldingen.

NET Festival – “Stravinsky ‘Apollo’” (working title) is a National Educational Television presentation. A production of Studio Hamburg, Germany Directed and photographed by Robert H. Pflanzl Artistic supervisor L Prof. Rolf Liebermann, the composer and general manager of the Hamburg Opera

NET Journal #238: Appalachia: Rich Land, Poor People (1968) [Re-aired June 1969] Initial NET Broadcast: November 11, 1968 Number of Programs: 1 Running time: 60 minutes B&W or Color: B&W Contractor/Producer: NET

Suggest Newspaper Listing: NET Journal – “Appalachia: Rich Land, Poor People”: An award winning study of a coal rich land and the festering poverty first publicized by President Kennedy almost a decade ago.

Program Description: This program first aired on November 11, 1968. It was one of three cited by Saturday Review in its award to NET Journal for distinguished programming during the past year.

This program is about the gap between a coal-rich land and its wasted people. Appalachia, a mountainous region largely centered in the southeastern United States, was the first section designated as a poverty area under the Kennedy Administration. Therefore, this program concerns the thriving germ of poverty despite the presence of federal money, as well as the area’s natural resources.

The documentary focuses on the Collins family, whose plight epitomizes that of the Appalachia residents of northern Kentucky and West Virginia. A miner for 10 years, Collins lost his job when the company mechanized its operation. Since then, he has had little work, and has relied on welfare to provide a meager existence for his family of five. A man of 36, he has seemingly no future, and must look to old photograph albums for a sense of the hope that he and his wife once envisioned.

Unlike Collins, almost a million Appalachians have left the area since 1950. But for the 1 ½ million remaining inhabitants, the land and the facts of industrial life offer little prospect for hope. The wealth of Appalachia is underground, and the profits accrue to the coal companies, the program notes. “Some of America’s largest corporations like Bethlehem, US and Republic Steel take millions of dollars of coal annually from Appalachian counties. Yet many of those same counties are pauper counties.” Contributing to this imbalance is the fact that outside coal and land companies pay relatively little in state income taxes and local property taxes. So, “there is little money for schools, park, or health services.” One county tax assessor unwittingly sums up when he admits that no land surveys are made: “You just have to trust the figures of the coal companies.”

The coal companies themselves justify it as true private enterprise – “an example of how the country was founded …. Do it any other way, it’s just socialism. If we’re wrong, then the country is wrong.

Encouraged by VISTA volunteers, some of the local residents are attempting to organize. Their cause in some cases coincided with the abortive Poor People’s Campaign of the past summer. They are especially piqued about a 45 percent cut in their welfare payments by the West Virginia State Legislature. But as yet their efforts have had little impact. Predictably, the middle class exhibited shock and fear when presented with the threat of organized demands. At one Chamber of Commerce meeting, professional anti-communist Herbert Philbrick confronts the dangers of red infiltration throughout the country, especially in Eastern Kentucky. At this meeting, which was filmed by NET, local people turn their venom against the camera crew for “treading on damn dangerous ground” with “your boots and fuzzy faces.”

NET Journal – “Appalachia: Rich Land and Poor People” is an NET production. Produced and written by Jack Willis

Appalachian Spring (1960) Initial NET Broadcast: June 1960 Number of Programs: 1 Origin format: Film Running time: 60 minutes

This film of Martha Graham’s ballet set to Aaron Copland’s music has won a first prize in the television category at the Venice Festival of Documentaries and Short Subjects. It is only full-length ballet by Martha Graham on film and the music on which the ballet is based won a Pulitzer Prize in 1945.

“Appalachian Spring” is a folk tale set in the Appalachian wilderness of Pennsylvania during the pioneer period of American history. Its characters are a young pioneer, his bride (Martha Graham), a pioneer woman, a wandering preacher and his small band of followers. The dance tells of the young couple’s wedding day, the building of their house, their celebration, the preacher’s dire sermon, the pioneer woman’s gentle blessing, and the day’s end as they start life together.

The film was a result of a question asked of Martha Graham at WQED, Pittsburgh, in 1956, following the premiere of the NETRC show, “A Dancer’s World.” She answered that if any ballet of hers was filmed, it should be “Appalachian Spring.” The filming took place during the summer of 1958. Produced for the Center by WQED, in cooperation with Chatham College, the world premiere of the film was held at the college chapel January 14, 1959. The film was produced by Nathan Kroll, and directed by Peter Glushanok.

Featured Personalities: Martha Graham was born in Pittsburgh and at the age of ten moved to Santa Barbara, California with her father, a physician. She did not study dancing until she was in her third year of high school. She studied at the Denishawn School in Los Angeles. She became a teacher there and later a soloist with the Denishawn Concert Company. During 1924-25, she taught at the Eastman School of Music in Rochester, NY and made her debut in recital in 1926. In 1932 the Guggenheim Foundation gave her the first scholarship it had awarded to a dancer. Since 1939 she has toured the United States extensively, and in 1954 she and her company spent four months in Europe. In 1955-56, they toured the Far East under the International Exchange program.

Aaron Copland has become identified with music that is typically American in spirit. He is a prolific composer for orchestra, piano, organ, voice, and violin. His Third Symphony was described by Serge Koussevitzky as the greatest American symphony. In 1950, his musical score of the motion picture “the Heiress,” won him an Oscar. He also composed music for “Of Mice and Men,” and “Our Town.” His repertoire of compositions and his devotion to the development of young creative talent and musical organizations have earned him the title of dean of contemporary American composers.

Isamu Noguchi, who designed the sets for the film, has studied in New York, Paris, Peking, and Kyoto. He has been exhibiting since 1929. In 1952, he designed the Peace Park bridges in Hiroshima. He executed the relief sculpture on the Associated Press Building in New York City.

NET Journal: April is the End of Summer (1967) Initial NET Broadcast: December 18, 1967 Number of Programs: 1 Origin format: Film Running time: 60 minutes

Thailand, an American fortress which is potentially “a second Vietnam,” is the subject of this Intertel documentary by Australian Broadcasting Commission. From Bangkok in the south to northern villages that are targets of communist insurgency, the ABC program captures Thailand in its simmering heat and its international undercurrents.

The program concentrates on three personalities – Air Chief Marshal Dawee Chullasapya, a leader of Thailand’s predominantly military government, who is seen in his office, at a golf tournament, a youth rally, and several official gathering; Khun Bu, headman of a village complex in the northeast and Latchee, 49-year-old chieftain of an Akha tribe in the northern hills.

It is in the mountains of northern Thailand that much of the opium from Southeast Asia is handled, for export to addicts around the world. The film shows the opium trade being practiced by members of the Kuo Min Tang, a military group that retains its discipline and its uniformed status though its members left China some 20 years ago.

Among the scenes depicted in the film are the hearing of a divorce case, a temple procession, the drilling of a female militia, the exotic, tourist-oriented life of Bangkok, and primitive existence elsewhere in the country.

NET JOURNAL – APRIL IS THE END OF SUMNMER is a presentation of National Educational Television, produced for Intertel by Australian Broadcasting Commission. Producer-director: William Fitzwater Writer: Tony Ferguson Executive producer: Colin Dean Narrator: Kit Denton

Arab Ferment (1964) Initial NET Broadcast: February 16, 1964 Number of Programs: 3 Origin format: Film Running time: 30 minutes

General Description of Series: These three half-hour programs which comprise this series show current conditions in the Arab world through objective reporting, documentary film footage, and on-the-spot interviews with national leaders and men and women in the street. ARAB FERMENT focuses on three areas: Saudi Arabia (”A Land Awakening”), Egypt (“A Land Awakened”), and Israel and its conflicts with the Arab world (“Palestine – A Land Apart”).

Program #1: Palestine – A Land Apart The first program looks on two sides of one of the world’s most spiny conflicts: the relations between the Arab countries and the State of Israel which stands in their midst. Ludovic Kennedy reports from Israel and Robert Kee from Jordan, and from their vantage points they view the tensions of today and the prospect of tomorrow. Especially at issue are the simmering refugee problem on both sides of the line and the impact of the tremendous technical advances in Israel upon Arab though and politics. A highlight of the program is an exclusive interview granted to Kee by King Hussein of Jordan, and another with President Nassir of Egypt. The Arab-Israeli conflict in the Middle East is poignantly illustrated by a scene in which a girl waits on the Jordan side of the wire fence which marks the division between Jordan and the border home of the Arab refugees in Israel. The girl is waiting for the man she will marry in two years’ time. By Arab custom, she was betrothed soon after birth, but the fence has separated them ever since. Soon she hopes to cross and marry him, but when she does so she will be separated forever from her family in Jordan.

Program #2: Egypt – A Land Awakened Egypt, like Saudi Arabia, is a nation which rises among its enemies, its allies, and its neighbors, multifarious questions. But on fact is beyond doubt: For the first time in its history, the land of the Sphinx is becoming one nation. There are no longer two worlds, one for the rich and another for the poor. Instead a consolidation of the lives of Egypt’s twenty seven million people is taking place in a big upsurge of nationalism, a social and economic pattern which is part of President Nasser’s dream for the entire Arab world. In this program commentator Robert Kee examines the Egypt of the present day; the bustling advances being made in the industrial growth of what was once almost wholly an agricultural country: the busy Suez Canal, program on the building of the Aswan Dam; the imminent submersion of the Temples of Abu Simbel because of modern technology; and the fabulous one-time palace of ex-King Farouk in Cairo, a symbol of derelict majesty; a memory of faded glories. The highlight of the program is an exclusive interview by commentator Kee with President Nasser, in which the President defines his approach to the extension of his own revolution to other countries.

Program #3: Saudi Arabia – A Land Awakening In this program on Saudi Arabia commentator Ludovic Kennedy presents scenes which are customarily hidden to the camera’s eye due to the veil of secrecy surrounding this Holy Land of the Arab world. Viewers see fascinating and rare film footage of Mecca; of the first political rally ever to be held in Saudi Arabia in which over 70,000 Bedouin tribesmen reaffirm their allegiance to the Saudi royal family (threatened by the hostility of Yemeni Republican leaders and President Nasser); of a Prince’s desert hunting party, and of an interview with Prince Faisal, the Prime Minister and the man responsible for many of Saudi Arabia’s recent reforms. Some of the most interesting scenes are of Riyadh, the Saudi Arabian capital and seat of Government, now a ferment of old and new, traditional and modern, and a reflection of far-reaching changes that are taking place due to the coordination of tremendous private wealth and national aspiration: a modern city emerging out of a backward town of mud huts.

Credits: ARAB FERMENT: a 1963 production of TV Reporters International, Ltd Jeremy Murray-Brown is the producer.

Archaeology and the Bible (1960) Initial NET Broadcast: N/A Number of Programs: 10 Origin format: Videotape Running time: 30 minutes

General Description of Series: In an effort to understand the variety of places and times that formed the setting and background for the Bible, the Biblical archaeologist searches for ancient clues lost under the sands of the Holy Land. In ARCHAEOLOGY AND THE BIBLE, Dr. Nelson Glueck explores and analyzes some of the Biblical clues that have led to the exciting discovery of cities, temples, and artifacts. Pictures of the areas involved and examples of pottery and art dating from Biblical times illustrate the discussion.

ARCHAEOLOGY AND THE BIBLE was produced by WCET, Cincinnati Director: John Morris

Featured Personality: Dr. Nelson Glueck is the president of Hebrew Union College and a renowned archaeologist. He has written the books Rivers in the Desert and The River Jordan.

Program #1: Relationship of Archaeology and the Bible Dr. Glueck explains that it is not the task of the archaeologist to prove the theology of the Bible. The Bible is first a book of theology and then a book of history. The archaeologist’s concern is with the Bible’s historicity. He searches the Bible for clues that will lead to discovery of old buried cities and, as a result, to an understanding of Biblical civilizations.

Program #2: Importance of Pottery Identification Pottery is the most indestructible substance the archaeologist hopes to find, according to Dr. Glueck. Although pottery may be broken, it will not decompose. The archaeologists, using fragments of pottery, is able not only to reconstruct the original jar but to identify the date of its manufacture. Various potted pieces are used to demonstrate pottery dating methods.

Program #3: King Solomon’s Copper Mines Dr. Glueck is perhaps best known for his discovery of King Solomon’s copper mines. In this program, he describes how he assembled Biblical references to copper to trace the location of the mines. The series of Biblical references with location slides illustrates the steps taken in the important discovery.

Program #4: King Solomon’s Seaports In this program, Dr. Glueck describes his interest in the location of one of King Solomon’s ancient seaports. Using Biblical references literally, the archaeologist discovered a number of artifacts as well as the ancient seaport. Many of the articles unearthed are shown on the program.

Program #5: Edom, Moab, and Gilead These three areas were the scene of the Israelites’ early wanderings. One of the most famous Biblical personalities, Ruth, was a Moabite. Through his research, Dr. Glueck is able to document and explore Ruth’s character. Using a number of artifacts, he traces cultural differences between the Jews and the civilizations of the three areas.

Program #6: The Civilization of the Nabataens In this program, Dr. Glueck considers one of the most highly civilized Biblical races, the Nabataens. From 9 BC to 40 AD, the Nabataen nation extended from southern Syria to Jordan. The Nabataens used advanced methods of water and soil conservation, created magnificent buildings, and made some of the world’s most unusual and delicate pottery. The program is richly illustrated with photographs and artifacts.

Program #7: Mountain Streams and Valley Cities Here, Dr. Glueck deals with the importance of excavating valley cities and tracing the streams of Jordan. Of particular interest is Dr. Glueck’s documented report on many of the discoveries made at various digs in the Jordan area: a prehistoric burial place, a desert hunting palace, a pagan temple dedicated to Pan, and pagan symbols used in Jewish temples. Once again, a variety of visuals – slides and artifacts – are used to illustrate Dr. Glueck’s comments.

Program #8: The Beginning This program examines the existence of prehistoric man in the Holy Land. Dr. Glueck describes the remains of early man found on Mt. Carmel and at the Sea of Galilee. Dr. Glueck also theorizes about the relationship between early man and the Jewish people. Pictures of the discovery sites as well as sculpture and wall drawings dating from 10,000 years ago are shown.

Program #9: Heartland of Conscience Perhaps the greatest figure in Biblical literature is Abraham. In spite of the fact that he lived 2,000 years before the birth of Christ – long before Biblical narratives were recorded – Abraham and his people are still an archaeological subject. By comparing more modern civilizations to the Bible’s description of Abraham’s people; by identification of pottery; by intensive examination of existing digs, archaeologists are able to study the world of Abraham.

Program #10: The Cross and the Candelabra This is the story of the people who lived in the Negev region of Israel – largely desert – during the Byzantine period. This area of the world is one of the most important for the study of the beginnings of the Christian era. Slides, which accompany Dr. Glueck’s commentary about the cities of Byzantine Empire, form a framework for a fascinating history of the period.

Fanfare #29: Arlo Guthrie (1971) Initial NET Broadcast: April 25, 1971 Number of Programs: 1 Running time: 30 minutes B&W or Color: Color

(This program was originally part of the “Sounds of Summer” series; it aired as “Mississippi River Festival: Joni Mitchell and Arlo Guthrie” on August 3, 1969. Only the portion involving Arlo Guthrie will be presented on “Fanfare.”)

Arlo Guthrie – folksinger, composer and star of the film based on his song “Alice’s Restaurant” – is seen performing during the 1969 Mississippi River Festival. Accompanying himself on six- or twelve-string guitar and piano, he is heard in a wide selection of songs, many of his own compositions. They include “The Motor Cycle Song,” “Amazing Grace,” “Wheel of Fortune,” “Oh Mary Don’t You Weep No More,” “Black Mountain Rag” and “Coming Into Los Angeles.”

The program captures the informality of a summer concert, as spectators extend from the amphitheater to the sloping lawn area of the Southern Illinois University campus in Edwardsville, Illinois. Guthrie himself personifies this informal spirit as he performs with his sidemen: John Pilla, guitar; Bob Arkin, bass; and Paul Motiam, drums.

Arlo’s style derives from both modern folk expressions and the tradition of his father, the late Woody Guthrie, a classic figure in American folk music during the ‘30s and ‘40s. Today his son Arlo is among the leading – and most colorful – performers of folk music.

Fanfare – “Arlo Guthrie” is a production of NET Division, Educational Broadcasting Corporation. Producer: Dan Loundsberry Director: Alvin R. Mifelow Executive producer: Craig Gilbert

Arms Control (1962) Initial NET Broadcast: January 17, 1962 Number of Programs: 4 Origin format: Film/Kinescope Running time: 30 minutes

General Description of Series: The possibility of total destruction by nuclear war has brought strong pressure for finding ways to limit or perhaps demolish nuclear weapons. This series of programs presents some careful and realistic thinking on the subject. It consists exclusively of conversations between men in positions to be particularly well-informed on arms control: Henry M. Wriston, president emeritus of Brown University, president of the American Assembly, and author of a number of books and articles on subjects of national importance; the Honorable John J. McCloy, former US High Commissioner of Germany and now advisor to President Kennedy on disarmament; and Arthur Hadley, author of the recent study The Nation’s Safety and Arms Control. No gimmicks or special effects are used to detract or distract from the effective, sober, and informative discussion.

ARMS CONTROL was produced in cooperation with the American Assembly at the New York University Television Production Center. The host for all four programs is Theodore FX Higgins, executive director of the Foreign Policy Association of Pittsburgh, Pennsylvania. Mr. Higgins is also producer of this series. Executive producer is Donald Hillman of the National Educational Television and Radio Center, and the director is Sam Silberman.

Program 1 Mr. TFX Higgins introduces the program by explaining why the American Assembly has chosen to discuss arms control at this moment, and why and how the citizens of the USA, even those who are not working for the federal or local government, should be concerned with problems of arms control. Mr. Wriston and Mr. McCloy then being their discussion by outlining the progress that has been made in arms control up to this point. They agree that the failure of the Geneva disarmament talks has been a great setback, but point to the increased strength of the United States’ moral position after the Soviet resumption of nuclear testing – a strength that may provide new impetus for disarmament talks. Mr. McCloy proposes some principles that are, he feels, prerequisites to successful arms control; an ability to cope forcefully with international disputes, an agreement on nuclear test ban, and the involvement of the United Nations in any arms control system. The force and weight of intelligent public opinion is essential, both men agree, to the development of imaginative and constructive foreign policy in this as in other areas.

Program 2 To begin the program (after the insulations by host TFX Higgins), Mr. Wriston and Mr. McCloy define and distinguish two important terms: arms control and disarmament. Next, both outline some of the differences between the criticisms aimed at the USA and those directed at the USSR. Mr. Wriston emphasizes the moral positions of both nations in the eyes of the world, and then turns the conversation to an analysis of the factors that must be understood in the arms control discussion. In particular, he and Mr. McCloy discuss the policing in arms control discussion, the agencies now working on this problem, and the way each of these agencies functions. While some of the material discussed in this program is of a somewhat technical nature, the program as a whole should be really accessible to any interested viewers.

Program 3 The major emphasis of this program is on the question of US national security. Mr. Wriston is joined by Arthur Hadley, author of The Nation’s Safety and Arms Control. The United States, it is pointed out, used to avoid what George Washington called “entangling alliances.” Now it is connected by an alliance system with more nations than any other great power in history. This, suggests Mr. Hadley, is one of the United States’ greatest source of strength. He points out, however, that no nation can ever be entirely secure. The two men then turn to the financial aspects of arms control; Mr. Hadley suggest that, paradoxically, increased expenditures on armaments may not yield increased security and that a controlled disarmament may even be more costly than present expenditures for military purposes, because of the expenses of controlling and supervising it. Other topics explored include the problem of surprise attack, the functioning of the DEW line, inspection systems and their limitations, the effects of stockpiling of weapons, and the implications of a possible miscalculation by even on soldier.

Program 4 Joining Mr. Wriston again is Mr. Arthur Hadley, for a discussion of the political implications of the arms race and arms control. OF interest to both participants is the increasing tendency of the smaller nations to arm themselves more and more. Related to this is the concept of the “national interest.” Mr. Wriston and Mr. Hadley explore different interpretations of this concept and the implications of each. Other points discussed are: the theory of unlimited (nuclear) war, the feasibility of establishing an effective international police force, and the definition of a “major power.” This is the last program of the series, but rather than summarizing the content of the previous programs, it suggest some of the extensions of ideas mentioned earlier and develops their political ramifications.

Art and Man I, II & III (1962-1965) Initial NET Broadcast: September 14, 1962 Number of Programs: 12 Origin format: Film & Videotape Running time: 60 minutes

General Description of Series I: This series explores and analyzes the character, work and creative spirit of eight European artists – past and present. The painters and sculptors are Bassano and Caravaggio (Italy), Grunewald and Arp (Alsace), Zadkine (France), Durer, Holbein and Baldung Grier (Germany). Documentary film of the artists’ paintings and sculpture and films of the countries which influenced their work highlight the series. Each program is introduced and tied together by the interpretive remarks of Jean Marie Drot and Ed Wegman.

ART AND MAN was produced in France for National Educational Television by Radiodiffusion Television Francaise. Writer, producer, director: M. Drot Narrator: Elanore Boris, Richard Hauser and Ed Wegman

Featured Personalities: Jean Marie Drot, a graduate of the Sorbonne (doctorate in philosophy), is a distinguished novelist and art critic. Since 1953, M. Drot has been producing films on art for Radiodiffusion Television Francaise. Since 1958, he has produced more than one hundred films, each dealing with the work of a particular artist or the art of a particular region. M. Drot is also the producer of IMAGES OF ART, another RTF series which was broadcast by National Educational Television.

Ed Wegman, reporter for National Educational Television throughout the series, has a master’s degree in journalism from Columbia University. He worked for the New York Times from 1942 to 1950 and, while there, served as head of the broadcast desk for WQXR (the newspaper’s radio station). In 1950 he moved to UNESCO’s radio and film division. From 1952 to 1961, he was associated with the Development of Corporation for Israel, and in 1961 he took a producer’s position for radio station WNEW, New York City.

Mrs. Elanore Boris, one of the two narrators, had a long and varied career as an actress in the United States before moving to Paris in 1955. She first appeared with Children’s Theatre of the Actors Company in Chicago. After working with the Actors Lab in Hollywood, Mrs. Boris – her stage name was Elly Pine – attended the Actors Studio in New York. She appeared on Broadway in “All You Need is One Good Break” and in a variety of off-Broadway productions including “Our Town” and “The Doll’s House.”

Richard Hauser, also a narrator for this series, appeared with the Art Theater Group in Paris in 1960. Mr. Hauser has translated the work of the contemporary French playwright, Claudel.

Program 1: Italy: Two Italian Realist Painters This program deals with the emergence of a sense of realism in the late Renaissance. M. Drot and Mr. Wegman briefly discuss the work of the late Renaissance painter, Jacopo Bassano (1510-1592). The discussion is illustrated by films of Venice, the city where Bassano first worked, films of his paintings; and films of his home – the town of Bassano at the foot of Mount Grappa. M. Drot and Mr. Wegman then turn to the life of another Italian, Caravaggio (1573-1610) whom they link to Bassano. Although the “Mannerist” School was extremely popular at the turn of the seventeenth century, Caravaggio’s exceptional handling of composition and shadow kept him from inclusion. Films of his magnificent paintings – which later had such as profound influence on Rembrandt – are shown.

Program 2: Alsace: The Merging of Two Cultures A remarkable filmed journey into Alsace shows the medieval fascination with death and mysticism in Mathias Grunewald’s (1485?-1530) work. In particular his world famous Isenheim Altarpiece is shown. The camera pays special attention to scenes from the Annunciation, the Nativity, the Temptation of St. Anthony, the Meeting of St. Anthony and St. Paul, and the Crucifixion. Use of free adaptation of Biblical texts and music by Stravinsky and Prokofiev add unusual power to the sequence showing the famed altarpiece. The second half of the program is devoted to the twentieth century fantasies of Alsatian sculpture, Hans Jean Arp (1888-?). In an interview (voice over translator) Arp tells how his abstract sculptures are related to contemplations of Strasbourg’s extraordinary Gothic cathedral. The program’s concluding portion is devoted to a retrospective exhibition of Arp’s work in Paris.

Program 3: The Quercy: Romanesque Art in South Central France This program deals with the artistic vision of the Apocalypse popular during the Medieval and Renaissance eras and the effect these interpretations have had on the modern artist. Filmed sequences of Albrecht Durer’s (1471-1528) engraving, “The Apocalypse,” depict the end of the world according to the book of Revelation and dramatically recreate the morbid preoccupation with death in the fifteenth century. M. Drot and Mr. Wegman then join the Russian-born artist, Ossip Zadkine (1890-?) en route to his home, the Quercy in South Central France. The Quercy is also the site of Romanesque sculpture and frescoes which have great influenced Zadkine. During an interview (in English), Zadkine discusses his reasons for leaving Paris and explains that Quercy countryside’s meaning to him as an artist. The program shifts to filmed sequences of Zadkine’s frescoes at Les Arcs and his sculpture at Moissac. Both the frescoes and the sculpture are generally related in theme to Durer’s “Apocalypse.” M. Drot considers the effect of Durer’s “Apocalypse” on Zadkine’s artistic attitudes.

Program 4: Germany: The Obsession with Death Renaissance art in Germany is especially associated with the work of three outstanding artists: Hans Holbein (1497?-1543), Hans Baldung Grien (1484-1545), and Albrecht Durer (1471-1528). (Durer’s work is also discussed in program number 3). The first half of the program is devoted to Holbein and Durer. Although the transition from Catholic mysticism to Protestant realism influenced Holbein he continued to work with traditional subjects: suffering, death and redemption. This tradition was continued in the work of Albrecht Durer. The drama of the passion is eloquently stated in Durer’s famous engravings. The last half of the program is devoted to Hans Baldung Grien, one of the least known but most vital of the early sixteenth century German painters. Baldung began his artistic career a Catholic but became a Protestant during the Lutheran Reformation. Thus, his work begins with powerful paintings and engravings of Biblical subjects, but gradually shifts to defining the characteristics of visual reality – textures, movement, and light. In addition, he becomes concerned, as an artist, with life and mythology. His last canvas, “The Seven Ages of Woman,” is as much an expression of philosophy as a work of art.

NOTE: THE NEXT FIVE PROGRAMS ARE TO BE INTERLACED THROUGHOUT “FESTIVAL OF THE ARTS.”

General Description of Series II: These five programs – numbered five through nine to follow the four ART AND MAN programs broadcast last year – analyze the character, work, and creative spirit of six outstanding European artists and, in addition, take the viewer on an unusual trip through Amsterdam, Holland. The artists are Andrea Mantegna, Alexander Calder, Eugene Delacroix, Gustave Courbet, Paul Cezanne, and famed art dealer, Daniel Henri Kahnweiler. Each program is introduced and tied together by the interpretative remarks of Jean Marie Drot and Ed Wegman.

ART AND MAN, a 1963 co-production of Radiodiffusion Television Francaise and National Educational Television Writer, producer, director: M. Drot Narrator: M. Drot and Ed Wegman

Program 5: Amsterdam Travel Diary This program, a new departure in this series, sets off in search of the meaning of a city rather than that of an individual artist. M. Drot advises the viewer at the outset to approach Amsterdam by boat.

With this thought, the program plunges into Amsterdam’s past as one of the world’s cultural centers. The viewer renews his acquaintances with Rembrandt, with Vermeer, with Frans Hals, Quotations from Claudel, Proust, and others give echoes of the reactions of many great men who were impressed by Amsterdam and its artists.

Yet Amsterdam is very much a city of today. A vigorous new colony of painters and sculptors, many from other parts of the world, makes Amsterdam something like Paris at the turn of the century. The viewer meets Willem Sandberg, director of the Stedelijk Museum and one of the most vital figures in modern art. The painters known as the “Cobra Group” (Copenhagen-Brussels-Amsterdam) owe their growing success largely to his support. Viewers also meet Karel Appel (painter), Werner Couzijn (sculptor), Peter Schaat (composer) and Aldo van Eyck (architect).

A visit to Anne Frank’s hideaway, a tiny pair of rooms behind a door disguised as a bookcase, is a reminder of what Amsterdam suffered during the war. This brings to mind Albert Camus’ famous novel “The Fall,” written in Amsterdam, and its story of a lawyer overwhelmed with remorse. Scenes of Amsterdam at night, its secret side streets and beckoning lights, fill the screen as a section of “The Fall” is read.

Program 6: Mantegna The story of Andrea Mantegna’s life as a painter reveals the curious and unique relationship between the artist and his patron in Renaissance Italy. Mantegna worked principally for the Gonzaga family, in Mantua, decorating their rooms with oils and frescoes, creating entertainments, even dressing up their cakes with confectionery figures. Yet Mantegna also devoted his inner creative spirit to the search for a rendering of reality, often in a highly dramatic fashion which moved away from the simplicity and stylization of the Gothic and Byzantine.

Perhaps Mantegna’s chief inspiration was Isabella d’Este, wife of Francesco Gonzaga, and called by many in her time “first lady of the world.” She was beautiful, intelligent, wealthy, and independent. M. Drot’s guest, Jan Lauts, Curator of the Karlsruhe Museum in Germany and a special student of this period, helps the viewer become better acquainted with the world of Isabella d’Este. Her taste for antiquity, for Greek legends, for mythology, answered a corresponding interest in Mantegna. He created for her many large, detailed paintings, depicting event which she would describe to him, prescribing for him even the color schemes he was to use, the placing and proportion of the figures, their position and attitude. What for other painters was an impossible restriction, for Mantegna became a challenge and a discipline within which he found his freedom.

Among the many works of Mantegna which the viewer sees are: the frescoes in the Oventari Chapel in Padua, the Alterpiece of San Zeno, the Camera degli Sposi, and the famous “Madonna of Victory” are the leading examples. Most were gathered together in Mantua for a spectacular retrospective exhibition on Mantegna, the first time in history that all these works were gathered in one place. The film also introduces the viewer to Mantua, Padua, Verona and other locations important to Mantegna’s life.

Program 7: Alexander Calder: Engineer in Space Pennsylvania born, then for many years a resident of California and for a long time now dividing his time between Connecticut and France, Alexander Calder is widely recognized as one of this century’s leading sculptors. His mobiles and stabiles have provoked much imitation, though no other artist has been able to capture the freedom and verve of Calder’s work.

For M. Drot, Calder is first of all a man of high good humor who relishes everything in life deeply. He sleeps 12 hours a day, eats and drinks with gusto, enjoys surprising his friends with puns, quips, and unexpected thoughts. To go in search of Calder, the man and artist, Drot turns first to Alain Prevost, son of poet Jean Prevost, who talks about some of his disconcerting experiences with Calder. In Calder’s studio at Le Palud south of Paris, the viewer watches Calder work, sees his sculptures, and listens to the words of writer Jean Paul Sartre – a Calder enthusiast.

Calder is preparing to leave Le Palud and return to the United States. Traveling from New York north through the Connecticut countryside, the viewer comes to Roxbury, to Painter Hill Road, and to Calder the giant, like a modern Vulcan. His wife Mary, the niece of Henry James, tells us something of what it is like to live with such a man. “I’m always laughing,” she says, adding that on the whole she prefers France to the US, though her friends don’t like to hear her say it.

The viewer leaves Calder as he drives back to New York, where he will meet the Spanish painter Joan Miro.

Program 8: French 19th Century Painters This film begins with a short introduction to French realism in the 19th Century, particularly the romantic spirit of Eugene Delacroix (1798-1866). Delacroix’s illustrations for Shakespeare’s “Hamlet” give us evidence of an attitude toward dramatic characterization which had disappeared from the classic dogmas of the 18th century.

Concern with daily life and with a certain revolutionary social attitude brings the narrators to Gustave Courbet (1819-1877). This painter of still life’s, country sides, farm scenes, and landscapes was imprisoned in 1871 for his participation in the revolt of the Paris Commune and the toppling of great column in the Place Vendome. “My aim is to translate the custom ideas, the physical appearance of my time … in a word, to create a living art.” At the Salon of 1850 no one understood his “Burial at Ornans.” “The Studio,” perhaps Courbet’s best known work, was refused by the selection committee for the Salon of 1855. Napoleon III struck his canvas “Bathing Girls” with a riding crop, outraged at the solid, robust nudes. Courbet was convicted in 1872 and died in exile.

The French search for the meaning of reality cannot be better summarized than in the work of Paul Cezanne (1839-1906). This modest painter, who lived almost all of his life in Aux-en-Provence, and always kept his local speech, was to create a revolution which leads directly to the cubists, to Picasso and Braque. Yet within his lifetime, only his dealer Vollard and a few close friends had any inkling of the value of his work. We meet one of those friends, Mme. Gasquet whose husband was one of Cezanne’s most devoted companions. Mms. Gasquet was filmed in 1956, at the age of 85, two years before her death. She tells us of Cezanne’s three principles – “a bath, then Mass, then sketches after Michelangelo ... and then I’m ready, at home in body, spirit and thought” – of the inadvertent discovery of his great canvas “Woman with Rosary” which Cezanne was using as a receptacle for ashes from his stove; of his pain on attending the first and only one-man show held in his lifetime in 1904, when he cried out, “My God, Gasquet! They’ve framed them all!” Cezanne was driven by his exceptional sensitivity to constant effort, self-criticism, and doubt, which finally brought about his death. He died of pneumonia following over-exposure in a violent rainstorm while he tried to capture his beloved Mount St. Victoire on canvas one more time.

Program 9: Daniel Henri Kahnweiler The world does not contain many more men like Daniel Henri Kahnweiler, elder statesman among art dealers and a legend in his own time. Kahnweiler is the last of the great individualists, in the tradition of Joseph Duveen, Ambroise Vollard, and Duran Ruel. Trained to be a stockbroker, by a German family determined that he would enter an honorable profession, Kahnweiler worked for a while in the stock exchanges of London and Paris. But in 1904 he quit. He said to himself, “I have taste. I have some money. I think I know what a good picture is and if I am right such pictures must eventually be recognized.” And he opened his first small gallery on the Rue Vignon.

The painters whom Kahnweiler has represented over the past 60 years from a roster of great names almost without parallel in this century: Vlaminck, Derain, Braque, Picasso, Juan Gris, Leger, Klee Andre Masson, and many more. Kahnweiler is perhaps best known for having been Picasso’s sole dealer since 1905, when they signed a simple one page contract together long before even the art world had recognized the Spanish genius. Kahnweiler risked his judgment and his capital on unknown artists and canvases and sculptures which first passed through his hands today can be seen in leading museums the world over.

Yet Kahnweiler did not achieve this success without suffering. In 1914 the contents of his gallery were confiscated, as property of an enemy alien. It took years for him to build back up after the war. In 1940, his property was confiscated again, but this time by the German occupation forces, for Kahnweiler is a Jew. Today Kahnweiler is a partner with Michel Leiris, who will carry on his work.

This film traces Kahnweiler’s career and includes extensive sequences spoken by Kahnweiler himself and major segments devoted to the “Fauves, the Cubists, Picasso, Gris, Henri Laurens, George Braque, the poet Guillaume Apollinaire, the poet Max Jacob, and the many books which were published by Kahnweiler with illustrations by great artist for texts, plays, poetry, and novels by the great new writers.

General Description of Series III: The three programs are a continuation of the ART AND MAN series NET introduced to the American television public in 1962. The series – conceived, written, and directed by Jean Marie Drot – attempts to discover the essence of a creative personality, a city or a country. In the past the programs have been presented on such artist as Caravaggio, Grunewald, Arp, Durer, Holbein, Mantegna, Calder, Delacroix, and Cezanne; one on the great art dealer Daniel Henri Kahnweiler; and one on the city of Amsterdam. Each program is tied together by the interpretive remarks of M. Drot, of noted living artists, and of others.

ART AND MAN, a 1964 co-production of Radiodiffusion Television Francaise and National Educational Television Executive Producer: Curtis Davis Writer, producer, director: Jean Marie Drot Narrator: M. Drot and Malcolm Davis

Program 10: Chess Games with Marcel Duchamp This program, which won the Grand Prize at the Bergamo Festival, is a fast moving exploration of the art, personality, and ideas of Marcel Duchamp. Duchamp, born in France in 1887, came to the United States shortly after his “Nude descending a Staircase” caused a now legendary furor at the 1913 New York Armory Show. Since then, the US has been his home and he has become a naturalized citizen. His role in the history of modern art has been a significant one – as an early proponent of avant-garde techniques and philosophies, and today (having long since put aside his brush) as an adviser to younger artists.

A fascinating subject for the sensitively directed camera, Duchamp is seen during this hour as a chess player who sits back between moves to tell his opponent, Jean Marie Drot, about his past and his present. Slowly the viewer begins to understand the words of the artist which are flashed on the screen as the program begins – “There is no solution because there is no problem.” These are the words of a painter who looked for himself in Impressionism, Fauvism, and Cubism, but ultimately abandoned all doctrine and formed his own “anti-art” whose only rule was that there is no rule, no aesthetic. (This approach was responsible for the post-World War I movement known as “Dada,” of which Duchamp was, in some respects, a part in our own day its equivalent has come into literature in the “Absurdist” school.) Today his feelings that “art is a mirage” are just as strong as in the past. His belief is in the artist, not in art. As in a shipwreck, he says, “it’s every man for himself.”

During the course of this program a number of prominent personalities from the art world comment about Duchamp, among them – Georges Staempfli, Naoum Gabo, Philip Johnson, Nicholas Callas, Hans Richter, Jeanne Reynald, and Bill Copley – each, though not necessarily agreeing with his principles, showing deep respect for Duchamp himself and admiration for his understanding of young artists of today. Copley, who calls Duchamp “the only person I know who’s totally a myth,” points out that he did not really stop painting in the 1930s; he simply brought his art into life and therefore no longer needed canvas. Duchamp’s view of his lack of productivity is somewhat less poetic: “I need an idea and I haven’t had an idea for a long time.” Simply to repeat what is already done is an action related to death, he feels. Therefore, producing nothing preferable.

For the most part in “Chess Games with Marcel Duchamp,” the artist is his own commentator. Articulate, genial, sometimes sad, often ironic, he talks to M. Drot with a refreshing candor. At his one man show in Pasadena, California, he walks from picture to picture explaining the development of his style and the notion of his “ready-made” works of plastic art, or reminiscing warmly about his father who was willing to support three artists’ sons by patiently doling out their inheritance whenever they needed it. He talks with composer Edgar Varese who came to the United States at the same time Duchamp did a half a century ago. And he roams about the lonely streets of New York, the city he loves for the freedom it gives him.

Program 11: A Restless Peru (or The New Inca) A Latin American country with a rich cultural past, a problematic present and a hopeful but uncertain future is the subject of this ART AND MAN program. The viewer sees Peru not in the orderly, statistical terms of a travelogue, but as an impressionistic experience, the usual trademark of Jean Marie Drot.

The opening scene takes place in the streets of Lima on November 22, 1963, shocked Peruvians are just getting word of John F. Kennedy’s assassination in Texas and the first bulletins are claiming that Mrs. Kennedy, Vice President Johnson, and Governor Connelly too are dead. The tumult in the streets is a many voiced echo of the newsboys’ chant: “La muerte de Kennedy!” From these confused and saddened faces the camera moves to another face – that of a young Peruvian painter, Ferdinando de Szyslo, who only two days before the American president was shot had met John F. Kennedy at a White House reception of Latin American intellectuals and had been amazed by the President’s interest in the problems of Latin America. Szyslo’s warm memory of President Kennedy’s concern underscores an important theme of the program, stated in the concluding narration: it helps a country involved in social change to feel the interest of its neighbors.

During the program the viewer sees Peru as a land of great suffering for the many and of contentment for the few (such as Pedro de Osma who is seen in his villa where every square inch of wall space glitters with fabulous Peruvian art, or the famed collector and hunter Mujica Gallo who displays his ancient gold fingers). The vast majority lives with an economic dilemma – restricted by illiteracy to menial labor which, when it is available, is not adequately remunerated. Rents in Lima, where a common daily wage is twenty cents, are high, and one-half of the city’s one million people must resign themselves to the filth and disease of the “barriadas,” the vast slum area. Here the viewer meets Father […], a French priest who works among the poor and describes the conditions. The painter Szyslo talks of the agony an artist feels when surrounded by such conditions, and of the need for immediate reform without which a violent revolution could take place in Peru.

Another artist, Alberto Quintanilla, a Peruvian Indian living in Paris, speaks of the plight of his townspeople in Cuzco the ancient capital of the Incas. Alberto describes the Indians in Cuzco as unhappy, unfed, with no hope of a better life. As a youth, he says he felt like a slave, for his life was run by the Church and the military, never by his own people. Someday, he feels, the Indians will take over.

The viewer visits Cuzco (80,000) and the Andes city of Ayacucho (30,000). In both places, as in the Lima slums, there is a look of resignation in the faces of the men, women and children. Mme. Marie- Madelaine Second-Grabbe, a French resident of Ayacucho, speaks of the atmosphere of oppression. “They do a little work and then wait.” On feast days, which, she says, can easily turn into orgies it is not unusual for young girls to conceive and find themselves becoming mothers at the age of twelve. When no father comes forward the child is considered the offspring of whichever saint was being celebrated on the day of conception. Guillermo Daly, a professor at the University of Ayacucho, talks of the need for a massive education program.

F. Belaunde-Terry, president of Peru, speaks of the future of his country in a special interview with Jean Marie Drot. A reform movement is underway, he says, which can be put to a great use because of the good will among the people and the desire to work together. He talks about utilizing the resources of the “high jungle,” of constructing a major new highway, of agrarian reform. He says it is time for a conquest of Peru by Peruvians, and expresses confidence that “a very mature country” with a great cultural tradition and a feeling for pacific solutions can solve its problems.

Program 12: New York Travel Diary (or A Frenchman Loose in Manhattan) This program is an impressionistic view of New York by Jean Marie Drot, with particular emphasis on the relationship of the artist-inhabitants to the city.

After the viewer sees a quotation by Valery Larbaud – “I have memories of cities as one has memories of love.” -- The narration describes the sensation M. Drot feels as he begins his conquest of New York, while the camera reveals scenes the peripatetic visitor encounters. “New York,” Drot observes, “is a Cubist city by day, but at night the cubes begin to melt.” At night in the city our loneliness turns us inside ourselves and we hasten to return home “without so much as a glance at our neighbors.” In a bar Drot meets Carlos Bassaldua, an Argentine painter “who came to New York as one goes to join the Foreign Legion.” The two discuss the “feel” of New York and agree that the city’s excitement is in the knowledge that something is always about to happen. You can turn a corner and run into a lady who might give you millions of dollars, say Bassaldua. “Or kill you,” Drot adds. To the Argentine New York is the place for a painter to be today.

Drot meets with a number of artists. There is Marcel Duchamp (the subject of ART AND MAN Program 10) who tell of first coming to New York as a result of his great “succes de scandale” – “Nude descending a staircase” – at the 1913 Armory Show. Ever since he has had a close friendship with the city, which he finds a good milieu for an artist.

Robert Motherwell and his wife Helen Frankenthaler agree. They feel that New York has become the hub of activity in contemporary art that the strongest influences now emanate from New York, not Paris.

Jacques Kipschitz, the sculptor who has a studio in Hastings outside New York City, speaks of having – though in his seventies – found continued youth in the industrious feeling of his environment.

Against a musical background by Bartok, Varese and Miles Davis, M. Drot sets out to capture the moods of this sprawling metropolis and to discover its fascination for the artist. He visits the Brooklyn Bridge at dawn, nocturnal Broadway with its seductive blinking lights, Coney Island in December; the Macy Parade at Thanksgiving; a fire in a building; Wall Street during the holiday; Washington Square where chess players sit absorbed in their game, unaware that the thermometer reads 20; the buildings along Park Avenue, shining new modern-day cathedrals which glorify men while their medieval precursors glorified God; and Harlem later at night, a mythological place which “like heaven is what we wish it to be according to what we are” and where the music “strikes at the heart and doesn’t miss.

He stops in on Edgar Varese, the avant-garde composer, who creates his “disturbances in the atmosphere” in his Greenwich Village studio; Philip Johnson, the architect who extols the conglomerate beauty of New York, “a marvelous mixture and a mass mess”; David Rockefeller, president of Chase Manhattan Bank, whose new downtown building (designed by Skidmore-Owings-Merrill) is decorated inside with numerous works of contemporary art chosen by a committee of art experts (Duchamp dismisses this passion for modern art as fetishism, a materialist religion that treats paintings as a commodity); and John Rewald of the Museum of Modern Art who is seen at midnight putting the finishing touches on an exhibition of Redon works which is to open the following day.

Many of the haunting drawings and paintings by Redon run through Drot’s mind as he studies the city at night, and he wonders – “Is it beauty or horror?”

Art in Living (1957) Initial Broadcast: N/A Number of Programs: 13 Origin format: Kinescope Running time: 30 minutes

A series of half-hour lectures and demonstrations by Professor Joseph H. Cox of the School of Design, North Carolina State College. On at least one program he will have Roy Gussow, Sculptor in the NCSC School of Design as guest. The objectives of the series are to promote better understanding among laymen of the problems of the artist and designer, and to create more awareness of the basic principles of design as a pattern of thinking and living. Besides the conventional illustrative techniques of slides, blackboard, pictures, and actual objects, Professor Cox will use music and literature for comparative purposes.

Art of Seeing (1962) Initial NET Broadcast: October 6, 1963 Number of Program: 4 Origin format: Videotape Running time: 30 minutes B&W or Color: B&W Contractor/Producer: WNDT

Series Description The opening narration of the first program sets the theme for this series:

“We use our eyes, for the most part, merely to get through life as if it were an unfamiliar room – to get from one end of living to another without stumbling over the furniture of the world itself on the way. But there is another way – a sharper way of seeing…If we are aware, if we really see, there can be joy and wonder in the most commonplace sight. Is it the way the skilled photographer sees.”

In each of these four programs, Ernst Haas uses photographs (his own and those of other major photographers), film, and works of art to show perception is a neglected art but an improvable part of living.

The Art of Seeing, a production of WNDT, New York Executive producer: James Benjamin Producer: William M. Altman Director: Kirk Browning Associate producer: Berenice Weiler Scenic designer: Otis Riggs Lighting director: Fred Manning

Featured Personality Ernst Haas is acknowledged as one of today’s leading photographers. According to Edward Steichen he “has made some of the great contributions to photography.” Mr. Haas, who now makes his home in New York, was born in Vienna in 1922. His formal education was originally directed toward medicine, but conditions in Europe forced him to abandon any thought of a career in that field. He turned to philosophy and painting, and finally to photography. Of himself and his work, he says this: “Disinterested in scientific objectivity, I want to transform reality with a poetic conception by relating the unrelated into a vision 00 forcing the viewer to feel what I felt as well as to think what I thought. I believe photography can be an art and I want to give everything to help achieve it. There is only you and your camera – the limitations of your photography are in yourself, for what we see is only what we are.”

Mr. Haas was voted one of the world’s ten greatest photographers in an international poll conducted by Popular Photography magazine among educators, critics, editors, and art directors. He has received numerous awards for his color photography, and his pictures have been shown at the Museum of Modern Art and the Metropolitan Museum in New York, where examples of his work are in the permanent collections. A book on his studies of nature in close up is scheduled for publication by Macmillan this year.

Program 1: Sight and Insight (a.k.a. The Frame) Explaining the difference between photography and other arts, Ernst Haas points out that the photographer hangs frames in reality, and his own particular view of reality determines where the frames are placed. He discusses and illustrates the combination of emotion and geometry that goes into making a picture, and how appreciative perception of accidental moments can illuminate our lives.

Program Evaluation Report

Content: In this first of four programs with photographer Ernst Haas, the objective is to assist the viewer in the refining of his ability to see creatively. Haas speaks of his own attitude toward perception, and then, through the use of some film sequences and a succession of many revealing photographs (both his own and those of others) he begins to explore aspects of seeing, and specifically the ways in which the photographers use the photographic frame as a discipline. Haas also touches upon the difference between photography and the other arts, stressing the fact that in all other arts the element of memory and reconstruction is an essential part of their creation, whereas in photography it is in some ways like an accident, an instantaneous reading in and writing out. Haas uses many examples to show how emotional and structural elements in a picture are made use of and played against one another by various photographers.

Credits:

Pictures from Magnum Photos Inc. by - Henri Cartier-Bresson - Bruce Davidson - Burton Glinn - Elliott Erwitt - Ernst Haas - Hiroshi Hamaya - Edward Weston

Lighting director – Ferd Manning Scenic director – Otis Riggs Production Assistant – Shirley Seaton Associate Producer – Berenice Weiler Directed by – Kirk Browning Producer – William M. Altman Executive Producer – James Benjamin

Produced for the National Educational Television & Radio Center A production of EBC Educational Broadcasting Corporation New York

NET house logo © 1962 National Educational Television & Radio Center

Program 2: The Decisive Moment While the attempt to freeze a memorable moment is as old as art, the mechanical ability to freeze a fraction of a second of reality has only become possible within recent years. In this program, Ernst Haas describes and illustrates the various kinds of moments the photographer seeks to record. There are the obvious moments – such as those in sports – to which everyone reacts. But the artist-photographer takes many frozen moments and chooses the decisive one, where form and content combine to transcend the mere recording of the immediate event – to function as an anchor between past and future.

Program Evaluation Report

In this second program in the series, Ernst Haas is concerned with the problem which all photographers face at one time or another, particularly those concerned with the photographing of action, which is the ability to capture the precisely right moment. Haas gets into this subject via a short recap of program one. He then goes on into the work of such photographers as Cartier-Bresson, elaborating on the ways in which the photographer’s keen observation enables him to record of freeze one single moment, or an entire series from which the ideal moment may later be chosen. Haas concludes with the point that much may be learned about a photographer’s point of view through a study of his chosen moment.

Credits:

Pictures from Magnum Photo Inc. by - Werner Bishop - Henri Cartier-Bresson - Robert Capa - Bruce Davidson - Elliott Erwitt - Ernst Haas

Lighting director – Ferd Manning Scenic director – Otis Riggs Production Assistant – Shirley Seaton Associate Producer – Berenice Weiler Directed by – Kirk Browning Producer – William M. Altman Executive Producer – James Benjamin

Produced for the National Educational Television & Radio Center A production of EBC Educational Broadcasting Corporation New York

NET house logo © 1962 National Educational Television & Radio Center

Program 3: Stretching the Moment In this program, Mr. Haas says, “We take the decisive moment and stretch it – in time, in motion, in an idea.” He traces the idea of capturing motion in time from an ancient frieze of a lion hunt through modern photographs of sports in which three exposures in one picture show different moments in the same action. He shows how artists and sculptors have used linear details in their work to give the effect of motion, and points out that it is not only the animate movements that give the effect of motion. Any cut through a cabbage, he says, will give us form and a feeling of the motion of growth. In this sense, he adds, modern painting is a return to the source of dynamics in nature and motion, leading to the “liberation from subject matter.” It is not so much concerned with what an object is bur with what it means. It goes beyond reality to the meaning.

Program Evaluation Report

Ernest Haas is concerned in this third program in the series of four with the photographer’s attempt to capture the sense of time in a single still photograph. Motion, or the pulse of life, is really the subject of the program. There is a demonstration of the ways in which man has translated motion into still form at various times, beginning with the prehistoric cave drawings. Haas develops the point that every moment is related to every other moment, and that the photographer attempts to transform several of these into a single moment showing the relationship in time and place between them. Many kinds of visual materials are used, not only photographs but also a statue, a piece of stone, and even a head of cabbage. Mr. Haas gradually carries us from the vision of a photograph as a recorder of time and toward photographs as a pure abstraction.

Credits:

Pictures from Magnum Photo Inc. by - Werner Bishop - Ernst Haas - Edward Weston

Lighting director – Ferd Manning Scenic director – Otis Riggs Production Assistant – Shirley Seaton Associate Producer – Berenice Weiler Directed by – Kirk Browning Producer – William M. Altman Executive Producer – James Benjamin

Produced for the National Educational Television & Radio Center A production of EBC Educational Broadcasting Corporation New York

NET house logo © 1962 National Educational Television & Radio Center

Program 4: Beyond Reality Pursuing the concept of “liberation from subject matter,” Ernst Haas discusses abstraction. “Now it is no longer a question of what it looks like,” he says, “but an expression of what it seems to be.” He shows how Mondrian and Picasso, when confronted by nature, find their own abstractions in natural objects and scenes. All the forms that art has striven to imitate are found in nature, Mr. Haas says, and by increasing our perceptive ability we can see these forms as beautiful in themselves, and we can enjoy their beauty as part of an entire vision.

Program Evaluation Report

The photographer’s liberation from literal subject matter is examined in this concluding program of the series. Ernst Haas shows us how abstraction is the “taking away” of certain qualities, illustrating this point with drawings by Picasso. Comparisons between contemporary sculpture and a collection of rocks carry this point still further. Mr. Haas even has the studio blacked out into silhouette at one point and shows us how each one of us has his own interpretation of reality and of the abstract.

Art of Singing (1962) Initial NET Broadcast: October 7, 1962 Number of Programs: 4 Origin format: Videotape Running time: 30 minutes

General Description of Series: This series looks at the problems of discipline and insight which a singer must face in concert and opera, and discovers how the voice is trained and how the singer tackles the preparation of a given work. During the series a young student works toward the proper interpretation of a classical piece of music; a young artist out of school performs operatic selections requiring more advanced training; and finally, Martial Singher, the teacher in the series, sings some of the most significant songs from his repertoire and comments on the interpretation of concert music. THE ART OF SINGING is a production of WSMB, Michigan State University, East Lansing. Producer: Don Pash Associate producer and director: Bob Page

Featured Personality: Martial Singher, the distinguished French-American baritone, is voice instructor and director of the opera department at the Curtis Institute of Music in Philadelphia and voice teacher at the Mannes College of Music in New York City. For a number of years he has also been associated with leading summer schools including Juilliard; Aspen, Colorado; and Marlboro, Vermont; and has now succeeded Lotte Lehmann at the Music Academy of the West, Santa Barbara, California.

Mr. Singher was born in the Basque country in the south of France. He made his operatic debut years ago in Amsterdam in Gluck’s Iphigenie en Tauried, with Pierre Monteux conducting the Concertgebouw Orchestra. Subsequently, he became a leading baritone of the Paris Opera and the Opera Comique, and at the same time gained recognition as a distinguished recitalist on the Continent. During this period he sang with the Teatro Colon in Buenos Aires and gave recitals extensively in South America. He made his debut with the Metropolitan Opera in 1943 in the title role of Claude Debussy’s Pelleas and Melisande. From that time he has been a favorite and highly respected artist in America.

William Workman, baritone, who appears on the first and second programs, is presently a student at the Cultural Institute of Music. A native of North Carolina, he made his operative debut at the age of eighteen with the Charlotte Opera Company as Morales in George Bizet’s Carmen. In addition to his studies at the Curtis Institute of Music, Mr. Workman is compiling his AB degree in English at Davidson College in North Carolina.

Benita Valente, soprano, who appears on the third program, won the 1960 Metropolitan Opera Auditions and has been a member of the Metropolitan Opera Studio. This fall (162) she begins a season with the Freiburg (Germany) Opera. She has also made appearances at the Marlboro Music Festival, devoting some of her time there recording with the world renowned pianist, Rudolph Serkin.

Lawrence Smith, pianist and accompanist for these programs, holds his BS in Music (summa cum laude) from the Mannes College of Music. He has appeared extensively as piano soloist, chamber music pianist, and accompanist.

Program 1: Basic Physical Facts: Explanations and Demonstrations TRT 29:09 This class is an introduction to voice training and a summary of Martial Singher’s concepts of what the singing voice is. William Workman is the student. In this presentation Mr. Singher signs “Der Doppelganger” by Franz Schubert; and William Workman performs “Simple Gifts” from Old American Songs by Aaron Copland. Lawrence Smith is the accompanist.

Program 2: Interpretation and Expression: A Study of Classical Arias with a Young Student TRT 28:50 This class deals with some of the principles of interpretation as studied by a young student still at work on classical music. William Workman, accompanied by Lawrence Smith, sings “Se voul ballare” from The Marriage of Figaro by Mozart, the Aria of Caron from Alceste by Lully, and “Where Ever You Walk” from Semole by Handel.

Program 3: Interpretation and Expression: A Study of Romantic Excerpts with a Young Performer TRT 29:02 Benita Valente, a former student of Mr. Singher’s at the Curtis Institute of Music, and now an accomplished concert and operatic singer, demonstrates how she is fulfilling the demands of her teacher in truly artistic interpretations. She performs the [calise] from Bacchianas Brasileiras No .5 by Villa Lobos, the Aria of Susana from The Marriage of Figaro by Mozart, and three excerpts from La Traviata by Verdi.

Program 4: A Story of Song Interpretation from Manuscript to the Concert Stage TRT 29:05 Marital Singher, who gave the premiere in Paris in 1933 of Maurice Ravel’s song cycle Don Quichotte a Dulcinee, reminisces about his experiences with the great composer. Accompanied by Lawrence Smith, he sings the three songs of the cycle; “Chanson Romanesque,” “Chason epique” (dedicated to Singher), and “Chanson a boire.” In this performance he states in detail his principles of song interpretation.

The Art of the Theatre (1957) Initial NET Broadcast: April 23, 1957 Number of Programs: 12 Origin format: Film Running time: 30 minutes

General Description of Series: This series depicts how and why Theatre is a Fine Art. The programs introduce the audience to each of the collaborative artist of the theatre: the playwright, the director, the actor, the scenic designer, the costumer, the makeup designer, the lighting designer, the composer – the artists, designers, craftsmen and technicians of the Theatre. The program illustrates the work of each and show how all combine to present the play to the audience – to create the “illusion” of the theatre. Examples and illustrations are drawn from other fine arts by guest painters, sculptors, dancers, violinists, art critics and symphony conductors. Sketches, illustrations and dramatic vignettes from plays are used throughout. By examining the medium, subject and form of theatre art and by showing the creative efforts of the contributing artist of the theatre, it is planned to increase the audience’s understanding and appreciation of the theatre. The series was produced by KUON-TV, the University of Nebraska Television.

Featured Personality: Dr. Dallas S. Williams Dr. Williams is Associate Professor of Speech and Dramatic Art and Director of the University Theatre at the University of Nebraska. He received his PhD in Theatre and Dramatic Literature from Louisiana State University and has been a teacher of Theatre and Drama for 20 years. For the past 13, he has been Director of Nebraska’s University Theatre. Dr. Williams is president of the National Collegiate Players; a member of the Advisory Council of the American Educational Theatre Association; and chairman of the Stage Movement Project, and the American Educational Theatre Association.

Special Guests: Several faculty members of the University of Nebraska appear with Dr. Williams in more than one program. They play parts representing various figures in the world of art. They are:

Max N. Whittaker (the play director), Assistant Professor of Speech and Dramatic Art, and Director of the Laboratory Theatre

David Syler (the sculptor), Assistant Professor of Art

LeRoy K. Burkett (the painter), Assistant Professor of Art

Emanuel Wishnow (the violinist), Professor of Violin and Conductor of the University Orchestra and String Ensemble

Norman Geske, Director of the University Art Galleries

The dramatic sequences in every program feature students from the University Theatre.

The scene designer is portrayed by Norman Leger, Director of Lincoln, Nebraska Community Playhouse and co-owner producer of the New London, New Hampshire, Playhouse.’

Program 1: The Theatre: A Fine Art This introductory program compares Theatre Art with various other art forms and discusses the three major forms of expression in Fine Arts: medium, subject and form. In theatre art, two aspects of “medium” are the stage and the auditorium; the “subject” is found in the script of the play; the production style of a play is the “form.” A painter, concert violinist, ballerina, actor, play director and scene designer assist Dallas Williams in explaining why Theatre is an Art and in paralleling the other Fine Arts with the Theatre. Illustrating Theatre as one of the Fine Arts are: an actress portraying Queen Elizabeth, a model of the University of Nebraska’s Howell Memorial Theatre; examples from “Idiots Delight,” “Winterset,” and “Harvey,” and sketches from “The Consul,” “Mary of Scotland,” and “Blithe Spirit.” Appearing on this program with Dr. Williams are Norman Leger, LeRoy K. Burkett, Emanuel Wishnow, Max M. Whittaker, and Norman Geske.

Program 2: Auditorium and Stage: The Medium for Illusion This program explains and illustrates the characteristics of the “medium” of the Theatre Art and shows how these characteristics serve in creating Theatre. There is a brief history of the evolution of the stage platform. Then the program examines the relation of the stage and theatre auditorium to the other Fine Arts and to the theatre itself. It covers the stage and playing area as the director’s medium in artistic creation, the basic functions of the stage and theatre auditorium, how the audience is an integral part of Theatre Art, the seven characteristics of the medium of Theatre Art, and the theatrical performance as a synthesis of a variety of arts. Illustrations include models of a Greek theatre, the Arena Theatre and the University of Nebraska Howell Memorial Theatre, paintings, works of sculpture, dramatic vignettes from “Mary of Scotland,” “School for Scandal,” “Hamlet,” and “The Inspector General.” Appearing with Dr. Williams are LeRoy Burkett, David Seyler, Emanuel Wishnow and Max M. Whittaker.

Program 3: Stage and Backstage: Space for Illusion Here the viewer meets the complete production crew of a play: the designers, craftsmen and technicians who along with the director and actors help produce the play. There is a tour through the backstage of a theatre introducing the many people involved, the places they work, and the tools they use in creating the Art of Theatre. Viewers follow one play, “The Inspector General,” from the first production rehearsal through to the curtain on opening night and see the part each member of the production – from the technical director to the last stage hand and prop girl – plays in helping to create an art form. Joining Dr. Williams on the program are Max M. Whittaker and Norman Leger.

Program 4: The Play: Idea for Illusion This program discusses the play, the idea for illusion in the Theatre, and the subject of Theatre Art, both from the point of view of the playwright and of the stage director. The script is vitally important to the Theatre but it is only half complete when the dramatist finishes it; all of the collaborative artists are dependent upon it. Viewers meet the playwright and look into his problems of writing the play. The director then analyzes and interprets the play, preparing for the production. A special drama scale ranging from tragedy to farce is used on the program. In following the dramatis through writing the play and the director through his lengthy production analysis preparatory to rehearsal, many examples and illustrations are used: “The Doll House,” “Death of a Salesman,” “Macbeth,” “Tartuffe,” “Blithe Spirit,” and “Othello.” Appearing with Dr. Williams is Max M. Whittaker.

Program 5: The Actor: Character Creation for Illusion This program examines the actor’s contribution to Theatre as an Art. The thesis of the program is that an actor is an artist and acting is an art. The viewer follows the actor and the director through study analysis, discussions, and rehearsals of “Romeo and Juliet.” He sees the actor as he creates his character through the two main processes of visualization and expression. He sees how the actor is helped by other artists of the theatre in creating his character: the costumer, the light designer, scenic designer and makeup designer. Joining Dr. Williams on the program is Max H. Whittaker.

Program 6: Dialogue: Speaking for Illusion This program looks into that element of theatrical production known as “Dialogue.” It explains how the playwright composes dialogue to catch the ear of the audience, the devices and techniques used by the actor to give the dialogue its fullest expression, the importance of dialogue to Theatre Art, and the part dialogue plays in helping create the Art of the Theatre. Illustrations include vignettes from “Cyrano,” “Othello,” “Julius Caesar,” and “School for Scandal.” The approaches and techniques of such famous actors as Sir Henry Irving and Mrs. Fiske are discussed. Appearing on the program with Dr. Williams is Max M. Whittaker.

Program 7: Movement and Gesture: Action for Illusion This program discusses the contributions of the stage director to the play and thus to the Art of the Theatre. It shows how and why the director is an artist and directing an art. The viewer looks into the director’s responsibilities in regard to stage movement and composition. An artist examines these problems from the point of view of several paintings; a stage director parallels these problems for the stage. A dramatic vignette graphically knows what a play would be like without stage movement and composition. An Artist (Norman Geske) and a Stage Director (Max M. Whittaker) compare the principles of good design with their respective art forms. Scenes from “Mary of Scotland,” “Winterset,” and “The Glass Menagerie” are used. The methods of such leading stage directors as Elia Kazan, Guthrie McClintic, George Kaufman, Harold Clurman and Margaret Webster are discussed.

Program 8: Color and Cloth: Costumes for Illusion This program is devoted to a very special kind of clothes: costumes for the stage. It examines costuming as one of the contributing Arts of the Theatre. One of the elements of production, costuming is an art and the costume designer is the artist. The viewer sees the problems, techniques, and procedures involved in the designer’s creation of costumes for a play. He follows the costume designer chronologically through all the steps. The program is illustrated throughout with plates, sketches and actors in actual costumes. Among the examples are costumes for such dramatic characters as Othello, Sir Peter Teazle, Antigone, Mio, Queen Elizabeth, Hamlet, and Frian Lawrence. A montage of scenes shows the costume designer in every phase of his work.

Program 9: Highlight and Shadow: Makeup for Illusion This program studies the production element of makeup. Makeup is an art and the makeup designer is an artist. The viewer looks into the art of stage makeup to see its function in the theatre, the various styles of makeup, the tools and makeup equipment and how these tools are used. He examines the art of makeup to see its contribution to the Art of the Theatre and the creative process involved in designing a stage makeup. Extensive examples and illustrations of makeup are used throughout: Pierrot the clown, Kubla Khan, Cyrano, Shylock, and stylized masks for the stage. Pictures of Paul Muni, Helen Hayes, and Henry Fonda in various roles are included.

Program 10: Scenic Styles: Design for Illusion This program details the element of theatrical production known as scenic design; scenery is an inseparable part of the play. The program introduces the viewer to the scenic designer and his work, the problems he faces as an artist of the theatre, and how he creates the scenery that appears on the stage. The viewer’s learns the objectives of stage scenery and sees the different styles of scenery common to the theatre. Examples and illustrations of stage settings are taken from “Winterset,” “Macbeth,” “Liliom,” “Mourning Becomes Electra,” “Blithe Spirit,” “The Taming of the Shrew,” and “Shoemaker’s Holiday.” The works of such famous contemporary American designers as Jo Milziner, Robert Edmund Jones and Lee Simonson is discussed along with styles, realism and theatricalism and stage design. Appearing with Dr. Williams is Max M. Whittaker.

Program 11: Spots and Floods: Light for Illusion This program examines a special kind of light: stage light. The viewer sees how stage lighting is used to paint various effects, and to create atmosphere and mood. The program includes a brief history of stage lighting from the Greek theatre through candle, kerosene and gas. Illustrations are drawn from “Ghosts,” “The Importance of Being Earnest,” “Death of a Salesman,” “Macbeth,” and “The Tempest.” A montage shows the lighting equipment: gels floods, strips, dimmers, bulbs, etc. The setting up of lighting and the modern light booth are explained. Max M. Whittaker joins Dr. Williams on the program.

Program 12: Music and Effects: Sound for Illusion This final program studies the element of theatrical production called sound: music and sound effects. The viewer sees the sound designer at work, learns of his tools and equipment and of his techniques and methods used in creating music for a play. The part that sound and music contribute in creating the Art of Theatre is illustrated in examples from “King Lear,” “The Cherry Orchard,” “Street Scene,” “Petrified Forest,” “Ah! Wilderness,” “Night Must Fall,” “Hotel Universe,” and “Glass Menagerie.” There is a brief summary of the preceding programs. Joining Dr. Williams is Max Whittaker.

NET Festival #121: Arthur Penn: Themes and Variants (1970) Initial Broadcast: May 26, 1970 Number of Programs: 1 Origin format: Film Running time: 90 minutes B&W or Color: Color

The complex vision of Arthur Penn is conveyed in this program through a subtle interweaving of film clips with private views of the noted director. Penn is seen at his New York and Stockbridge homes and on location (in Stockbridge and Calgary, Canada) during filming of the forthcoming “Little Big Man.” He illuminates various stages in his career in relation to his psychological and intellectual growth. During the program, the private and public worlds of Arthur Penn are also evaluated by actor Warren Beatty, who produced “Bonnie and Clyde” and also starred in Penn’s earlier “Mickey One”; playwright William Gibson (“The Miracle Worker,” “Two for the Seesaw”); folksinger Arlo Guthrie, whose song, “Alice’s Restaurant” became the basis of Penn’s most recent film; and Penn’s wife Peggy, a psychologist who is doing research on children’s play configurations.

Robert Hughes, the film’s producer, has previously created film profiles of three noted writers – Robert Frost, Vladimir Nabokov, and Ralph Ellison. “Robert Frost – A Lover’s Quarrel with the World,” produced for WGBH, Boston, won Hughes an Academy Award.

In terms of Penn’s directing technique, the scenes on location are especially vivid. “Little Big Man” stars Dustin Hoffman as Jack Crabb, only white survivor of the Battle of Little Big Horn. In one scene, Penn instructs Hoffman in the use of a gun, and introduces a mugging effect as he wiggles his hands and rolls his head – “It’s like Jerry Lewis, it’s wonderful …. Now go snake-eyed,” he continues, squinting at Hoffman.

Penn then speaks of the value of improvisation, whereby an actor actor’s spontaneity can invest a scene with unexpected excitement. He uses the instances of “The Miracle Worker,” in which Patty Duke was left free to improvise during a fight with Anne Bancroft, and “Bonnie and Clyde,” in which Warren Beatty achieved a bizarre effect by wiggling a match between his teeth while he drank soda and spoke with Bonnie (Faye Dunaway). Penn defines the process as a search to find behavioral ways to achieve looseness” among actors who are too often used to the rigidities imposed by a shooting schedule. In a scene from “Left-Handed Gun,” Paul Newman (who plays Billy the Kid) and his co-actors engage in a flour-throwing game. This scene marks a departure from the usual Western hero. Actually, says Penn, “They’re cantankerous, giddy kids,” whose play has “sexual overtones – as it has for all of us.”

Warren Beatty stresses the director’s influence within this improvisational framework. He explains that Penn began with “people who evolved out of the Group Theater.” It was “a psychologizing group” that had “fallen out of favor” for its “stumbling and mumbling.” As actors, they needed “something more to sustain them.”

According to playwright William Gibson, “all actors become enamored of being directed by Arthur.” He quotes Anne Bancroft’s remark that she becomes “so soft I can feel a speck of dust settling on my skin,” when Penn directs her.

Penn’s career as a film director is seen in both biographical and psychological terms. His first work was as a floor manager of the Colgate Comedy Hour during television’s formative years. Under producer Fred Coe, Penn became director of the “First Person” series. He continued his association with Coe as director of the film “Left-Handed Gun” and the Broadway play “Two for the Seesaw.” He followed with a succession of hit plays and entertainments – “The Miracle Worker,” “An Evening with Mike Nichols and Elaine May,” “Toys in the Attic,” and “All the Way Home.”

This phase of Penn’s career is catalogued in the NET film, but the emphasis throughout is on film – the film in which Penn has made his most distinctive contributions. Penn’s early works were “Left-Handed Gun,” “The Miracle Worker,” “Mickey One,” and “The Chase” – films that have achieved varying respect and from film critics. But “Bonnie and Clyde” represented Penn’s breakthrough as a filmmaker. Accordingly, the NET program focuses on this film and the meaning of its thematic material for Penn.

He speaks of both fame and myth in terms of these Depression Age bank robbers. Stories of Bonnie and Clyde were published “in the newspapers of my childhood. They wanted to go down in history.” Therefore, they became mythical figures, which “engendered a kind of overkill,” a fact which Penn felt “necessary to document in the ending.” He offers a detailed description of the filming of their death scene, which achieved, “a kind of spastic sensation that verges on dance. It was formulated in my gut – the way that film had to end for me.” Penn describes the wiring of Warren Beatty and Faye Dunaway for the […] four […] filming – each of which was done with four cameras all […] at different speeds.

In terms of the work’s sexual implications, Penn says “the sexual experience is an extension of other aspects of life. It’s something one just includes…as part of the lexicon of character.”

In discussing “Alice’s Restaurant,” Penn notes parallels between his own parental relationship and that of Arlo Guthrie toward his dying father, Woody. He recalls that his own father was “a rather elusive figure,” with whom “I sought an association.” Today, the “quest for the father,” remains a “raw and open subject” for Penn, since he finally found this association during his father’s years of terminal illness. However, Penn acknowledges the place of this theme in his work.

Returning to his current “Little Big Man,” the program shows Penn directing Hoffman in a scene in which he must save his life by the force of his invention. Penn then views this scene at the movieola of his editor, Deedee Allen; he mirrors the laugh of General Cassandra in accepting Jack Crabb’s story and speaks of the “symbiotic relationship between Crabb and “this hallucinated maniac.”

Penn is also seen at home reading Mark Twain’s scatological “1601” to his wife Peggy and children Matthew and Nelly.

NET Festival is an NET production Producer: Robert Hughes

Arts and Artist: Great Britain (1959) Initial NET Broadcast: January 17, 1962 Number of Programs: 10 Origin format: Film/Kinescope Running time: 30 minutes

General Description of Series: “Arts and Artist: Great Britain” brings to life some of the works of Britain’s greatest artists, covering such areas as the artist’s place in Great Britain today, religious art, and cartooning. Among the artists considered are Walter Sickert, John Piper, Henry Moore, and Stanley Spencer. Besides showing the works of the various artists, the series pictures their homes and studios as well as the parts of England and the Continent which most influenced their work. There are discussions relating to the various artists to their contemporaries. The series was produces by the British Broadcasting Corporation.

Program 1: Walter Sickert The work of the great British painter, Walter Sickert, comes virtually to life under the expert photographic hands of the BBC television service. A smooth British voice in the background tells how Sickert, a 19th century painter, was influenced at first by Whistler and later by the French and Viennese artists. Sickert, says the narrator, likes the commonplace things of everyday life and felt that the basis of good painting was good craftsmanship and good drawing. A number of his paintings are brought “close- up” by the cameramen. The cameramen also visit Sickert’s birthplace and show actual scenes from the British life which Sickert loved.

Program 2: Black on White This program is cleverly contrived review of British cartooning and caricaturing of the last fifty years and might well be considered a review of the British life as seen by the cartoonist for the same period. The review begins with Britain’s first great cartoonist, William Hogarth, whose specialty was the lampooning of virtue versus vice, and takes the viewer through the work of such men as James Gilray, Thomas Roland, George Cruikshank, and finally to David Low. The entire program is built around actual reproductions of the work of these artists and can well be called first class entertainment as well as education in an important phase of British art.

Program 3: John Piper John Piper is described by the narrator as a romantic painter of architecture, landscapes and the sea, but one who also sees beauty in the abstract and places it on canvas. This program not only reviews the life and work of the great British painter but actually shows the artist at work in his home.

Program 4: The Wallace Collection This is the presentation of art at its best as one reviewer puts it. The BBC cameras follow a guide, Bernard Braden, as he tours Hartford House wherein is housed one of the world’s finest collections of art, the Wallace Collection, given to England by a wealthy, aristocratic family. As the guide passes among them, the works of the world’s greatest artists come to life.

Program 5: English Lakes Here is presented the importance of the Lake Country in British Art. The area did not produce a native school of art; rather it was an inspiration to visitors such as the Towne brothers, Constable, Wordsworth, and Ruskin. Norman Nicholson discusses the area as it is today and the lesson it still has to teach.

Program 6: Cookham Village Painter Stanley Spencer, known for his realistic detail and portraiture, is presented in Cookham Village, a town he loved and made famous through his paintings. The program gives considerable emphasis to Spencer’s religious art, as the camera picks up details of his cathedral paintings. The artist is shown at work in his studio.

Program 7: War and Peace This program is a study of the influence which both war and peace had on the work of Stanley Spencer. The first part shows paintings inspired by his service in Macedonia during World War I. Included is his well-known “Resurrection in Macedonia.” The film’s second part concerns his tour of duty as an artist in the shipyards during World War II. The program studies more of Spencer’s religious art.

Program 8: The English Country Church The English country church has always played a vital part in English life. This film considers both the church’s relationship to English history as well as architecture’s relationship to the church’s history. As each type of church architecture is discussed, such as Norman, medieval, Gothic, and renaissance, examples of the types are shown. This program was one of the most popular when it was shown in England by the BBC.

Program 9: Henry Moore This addition to the series previously distributed by the Center is subtitled, “A Sculptor’s Landscape.” The work of Henry Moore is seen in a series of visual studies of Moore’s abstract sculpture. Simplicity and directness are used to show that apparently abstract art is related to humanity and the everyday world. The specially composed music for this film is based on electronic instruments and the use of special sound effects. Sir Ralph Richardson is the commentator.

Program 10: Lowry and Butler The other addition to the series is made up of two fifteen minute programs. One is a study of the industrial painter, LS Lowry, as well as his work. The film was built around tape-recording so that Lowry provides his own commentary. Lowry’s intensified power and artistic impact in his impressions of industrial seems in the North of England are effective on television. The other half of the program is a profile of Reg Butler, sculptor, at work. It includes shots of the controversial “Unknown Political Prisoner,” which won for him one of the most valuable international prizes for sculpture ever given.

The Arts and the Gods (1958) Initial NET Broadcast: N/A Number of Programs: 10 Running time: 30 Minutes

General Description of Series: Greek myths and the art that they inspired is the subject of this 10-program series. The myths are those which have survived most commonly in the visual arts and literature, and the subjects will be illustrated by statuary, vases, paintings, and other objects of art. In some of the programs the myths are acted out by the Mary Anthony Dance Theatre, a group of young men and women who have received critical acclaim for their new approach to dance in the theatre.

Each program originates from the Metropolitan Museum of Art in New York City, in a gallery housing part of the Greek collection. The Metropolitan Museum has the most extensive collection of art in the Western Hemisphere, with more than one million individual objects of art, and has one of the finest collections of Greek art in this country. “The Arts and the Gods” is the first television series to originate from the Metropolitan. Curators and other experts from the Museum assisted in the selection of myths and objects of art, and served as consultants on factual material. The series is produced by Marilyn Kaemmerle, directed by Frank Pacelli, and written by Blair Chotzinoff.

Featured Personality: Alexander Scourby is a noted television artist, and was narrator of the motion picture film, “Victory at Sea,” and of the NBC-TV production of “Antigone.” He has recorded more than 200 Talking Books which are issued by the Library of Congress to adult blind residents of the US including both Homer’s The Iliad and The Odyssey. Mr. Scourby is host of eight programs; for the other two programs (which are indicated in the following descriptions), the host is Charles Korvin, stage, screen, and television artist.

Program 1: The Gods Are Born Guests: Miss Edith Hamilton (Scholar, author of “The Greek Way,” “Mythology,” etc.) The earliest Greek myths from Chaos to the 12 Olympians; brief character sketch of the major gods as seen on Greek vases and as statues; the story of Prometheus; and dance sequences by The Mary Anthony Dance Theatre.

Program 2: Athena and Aphrodite Discussion of two goddess, stressing their Olympian functions and characteristics as they appear in mythology. Stories of Aphrodite’s birth, marriage to Hephaestus, and love of Ares and Adonis. Stories of Athena – her birth and contest with Poseidon over designation as patron goddess of the city now called Athens. Statures, vases and painting.

Program 3: Apollo and Artemis Functions of the Olympian twins … their birth and connection with the sun and the moon. Stories of Apollo and Daphne, Artemis and Actaeon, Artemis and Callisto, Apollo and Marsyas, and Apollo and Phaeton. Statures, vases and paintings.

Program 4: Death and the Brides Stories of Demeter, the grain goddess, and her mourning over the abduction of her daughter, Persephone, to the underworld to be Hades’ bride; and of Orpheus and his attempt to bring his bride Eurydice back from the underworld. Illustrated by statues, vases and paintings.

Program 5: The Trojan War The Judgment of Paris, the abduction of Helen of Troy, the stories of individual conflicts as reported in Homer’s Iliad, the Trojan Horse, and the sack of Troy.

Program 6: The Odyssey Starting at the close of the Trojan War, Odysseus’ adventure-filled trip to his home was traced, including his final reunion with his son, Telemachus and his wife, Penelope. Discussion of major incidents popularly attributed to writings of Homer. Illustration by statues, vases and paintings.

Program 7: Perseus The hero’s life from the time of Zeus’ visit to Perseus’ mother, Danae, through Perseus’ slaying of the Gorgon Medusa, and rescue of the Princess Andromeda. Illustrated by statues, vases, and paintings.

Program 8: Herakles The legendary strongman’s birth, childhood, labors and death. A discussion of the art of Greek pottery painting, which preserves for us many visualizations of the hero’s life. Illustrated by statues, vases, paintings.

Program 9: Theseus Host: Charles Korvin The great hero of Athens, Theseus, is followed through his adventures and meetings with other heroes, beginning with his birth as the son of Poseidon, his adventures on the road to Athens, his capture of the Marathonian bull, his slaying of the Minotaur and his adventures after becoming the greatest king of Athens.

Program 10: The Classical Heritage Guests: His Excellency, George Melas, Greek Ambassador to the US The impact of classic art on the art of later times, including our own in both content and form. The program will trace back through time classicism and the development of pictorial traditions.

The Arts Around Us (1957) Initial NET Broadcast: April 14, 1957 Number of Programs: 13 Origin format: Videotape/Kinescope Running time: 30 Minutes

General Description of Series: Man’s creative activities and their interrelationships are explored in this 13 program series. Produced by Hofstra College, the series features Dr. Malcolm H. Preston, chairman of the Fine Arts Department at Hofstra and an artist in his own right. Dr. Preston illustrates techniques and principles at the easel and also employs, for illustrative purposes, originals, prints, models and photographs of selected art works. Artwork for the series was loaned by the Museum of Modern Art, Metropolitan Museum and Alan Galleries of New York. The series concentrates on painting as an art but also touches on literature, architecture, sculpture, music and drama.

Featured Personality: Dr. Preston is chairman of the Fine Arts Department at Hofstra College and a well-known American artist in his own right. His paintings have been exhibited through the US, and he received the Emily Lowe award for painting in 1950, 1952, and 1954.

Program 1: What is Art? Using illustrative work of Picasso, El Greco, Daumier and Raphael, Dr. Preston, our host lecturer, defines are in this opening program. Beauty, communication, order, universal truth, significance and intent to please are all components of a work of art.

Program 2: Elements of Art At his easel, Dr. Preston demonstrates in charcoal and oils the basic elements of art, including line, form color and texture. These are the tools used in artistic expression, he tells his viewers. The lecture also includes a comparison of similar elements in music and literature and Dr. Preston discusses use of elements in design.

Program 3: Art as Order The order which the artist brings to his elements and materials is desired in everything from our arrangement of furniture in a room to the architectural design of our buildings, Dr. Preston points out in this discussion. Highlight of this program is large scale models of the Parthenon and the Manufacturers Trust Building in New York.

Program 4: Art as Communication Simple lines and forms and the development of symbols as art communication are discussed by our host in this program. Conventions used in communication of theater and dance are demonstrated by a group of Hofstra College students. Communication of ideas are illustrated in pictures by Picasso, Levine and Watteau.

Program 5: Nature of Creativity – Part I Psychology intertwines with art in this program, with a demonstration of the stimuli which motivates the artist and the influence of his environment on the artist’s creative impulse. Analyzing the process of artistic creation are Drs. Matthew Chappell and Herman Goldberg of the Hofstra Department of Psychology.

Program 6: Nature of Creativity – Part II Revising the original creative idea is the topic of this sixth program in the series. Dr. Preston demonstrates how the artist musters his skill, technical knowledge and experience to shape his original vision into the finished work of art. Again exploring other creative fields, Dr. Preston compares an original Beethoven manuscript with the finished work.

Program 7: Role of the Artist in Society American painter Ben Shahn and Mark van Doren, teacher, author and lecturer, appear with Dr. Preston in this discussion of the artist’s role in society. Using selected works of art, Dr. Preston and his guests discuss the artist as a reporter, crusader and prophet in various periods of history.

Program 8: Role of the Critic in the Arts As in the preceding program, the series departs from its usual format to bring a panel of outstanding guests to its audience. Critics illustrate their methods and functions with selected artworks. Guests include newspaper art critics, Carlyle Burrows of the New York Herald Tribune and Stuart Preston of the New York Times and music critic, Winthrop Sargent of New Yorker magazine.

Program 9: You, the Beholder Fifteen original paintings of contemporary artists, valued conservatively at $10,000, are viewed in this program, courtesy of the Alan Galleries of New York. Various levels of understanding, including visual, historical, and esthetic, are demonstrated and discussed.

Program 10: Changing Styles in Art This program is an attempt to determine what style is and what the factors are those changed style from era to era. Automobiles, costumes, home interiors, and architecture are viewed and discussed as changes in style. Dr. Preston illustrates on his easel that it is the emphasis, not the elements, which change with art style.

Program 11: Art Today In this discussion of modern art, Dr. Preston considers the determining factors in our society which led our creators to produce the kind of art illustrated. Depression, war, unstable peace, psychology … all has influenced the artists’ strokes on the canvas.

Program 12: American Art Dr. Preston reviews the American art presented in this series in an attempt to define those characteristics which are distinctly American. Sense of humor, regionalism, dynamic quality and pride in our beginnings are tentatively advanced as American qualities reflected in our creative work.

Program 13: Are You an Artist? Eight Hofstra students are viewed at work painting, drawing, and sculpting. The students are selected to represent different media and levels of achievement and skill. In conclusion, Dr. Preston discusses the value of participating in the creative act and the difference between the professional and the amateur.

As Fairs Go (1964) [Working Title was World’s Fair in America] Initial NET Broadcast: September 13, 1964 Number of Programs: 3 Origin format: Videotape Running time: 30 Minutes Contractor/Producer: WNDT

General Description of Series: AS FAIRS GO takes a delightful yet sometimes questioning look at world’s fairs, from the first one in 1851 and to the current New York World’s Fair. Through historical film footage, animation, vignette recreations, still photographs, narration, and a camera tour of the 1964-65 exposition at Flushing Meadows, the series contrasts the fairs of yesterday and today, looks at each of them as a representation of a people and an era, and probes behind the glitter and fantasy for the real purpose of a world’s fair.

Program 1: The Time of a Fair RT 29:45 “The time of a fair is anytime – in summertime – when people decide its birthday time – or progress time – or just a time to celebrate time. And though they don’t seem to care if its prosperity time, depression time, peaceful time, or wartime time, the fair reflects the time of every time it’s time for a fair.”

So begins the first program of the series. “The Time of a Fair” reviews the character, tone, and temperament, of world’s fair from the Victorian Age to the present. It examines the personalities of four outstanding past fairs to determine how each reflected or rejected the temper of its time, then concludes with a brief look at the current New York World’s Fair and asks some questions about its personally, which is still in the process of being formed.

By means of still photographs, documentary film footage, vignette recreations, and narrations, viewers see highlights from:

§ The Crystal Palace, London – 1851 § The Centennial Exposition, Philadelphia – 1876 § The World’s Columbian Exposition, Chicago – 1893 § The World of Tomorrow, New York – 1939 § The New York World’s Fair – 1964

Credits “The Time of a Fair”: produced for National Educational Television by WNDT, New York Executive producer: Curtis Davis of NET Producer-Writer: Arnold Rabin Director: James Elson

Program 2: Two for the Show RT 29:07 Its 9 am at the 1964 New York World’s Fair. The whistle blows and the turnstiles roll. The rush is on as thousands hurry into the fairgrounds – the children running, the adults at a more relaxed pace.

Just what kind of impact has this year’s fair had upon children and adults? “Two for the Show” follows a boy of five as he visits the fair, and also presents the reactions and comments of adults during their tours of the New York exposition.

The cameras focus on the Indonesia pavilion and its traditional Javanese dances that include the fight between the giant and the monkey; the exotic boats at the Hong Kong exhibit; the General Motors Futurama, the plastic monsters in Sinclair’s Dinoland; the striking US pavilion, and the magnificent Michelangelo “Pieta” at the Vatican pavilion. In the evening the cameras scan the brilliant traditional fireworks display.

Credits “Two for the Show”: produced for National Educational Television by WNDT, New York Executive producer-Writer: Curtis Davis of Director: Karl Genus

Program 3: Anatomy of a Fair RT 28:47 Why a world’s fair? Behind all the glitter, fantasy, and lavishness, there is a purpose. This program asks and attempts to answer questions like these: How does a world’s fair begin? What is it for? How is it financed? Who should and should not be allowed to make a profit from such an exposition? Whose idea was it?

“Anatomy of a Fair” compares the operations and approach of several past fairs with those of the current New York exposition. Through historical footage, animation and still photographs, it tells the story of how David R. Francis, governor of Missouri, built the St. Louis Fair of 1904 with Congressional recognition and support, and attracted foreign exhibits.

It tells how the 1964 New York World’s Fair was conceived and initiated by New York attorney Robert Kopple, who resigned is executive vice president of the fair corporation he had organized when Robert Moses was chosen as fair president. The approach of Mr. Moses – in choosing to ignore recognition by the Bureau of International Exhibitions in Paris – is contrasted with that of Grover Whalen, who won the bureau’s approval for the 1939 New York World’s Fair. The program also takes up the controversy of the bustling midway, which has been eliminated from this year’s fair.

The purpose of a world’s fair is perhaps best illustrated, the program notes, by the striking industrial and transportation exhibits at this year’s exposition in New York, where man’s serious achievements are celebrated in a fantasy that appeals to almost every taste.

Credits “Anatomy of a Fair”: produced for National Educational Television by WNDT, New York Executive producer: Curtis Davis Producer: Arnold Rabin Writer: Clair Roskam Director: Philip Beigel

Series credits: AS FAIRS GO: a 1964 National Educational Television production Executive producer: Curtis Davis

Asia in Ferment (1956) Initial NET Broadcast: N/a Number of Programs: 11 Origin format: Videotape Running time: 30 Minutes

This series will highlight the geographic, economic, political and cultural influences operating in the India-Pakistan area. Program titles include:

§ India-Pakistan § Their Lands and Peoples § Social Customs and Family Life § Economy of India and Pakistan § Education and Health in India § Political Development of India § India and Pakistan Face the World

Dr. Amiya Chakravarty of Boston University, Dr. Malcolm Pitt of Harvard Theological Seminary and Dr. Eustace Seligman will be among the specialists featured in the series. These programs will serve as a telecourse for grades 10-12 in the State of Connecticut.

NOTE: There is a hand written note on the microfiche dated November 16 that “none will be used.”

NET Journal: Asian Prayer, Asian Sword (1968) Initial NET Broadcast: September 9, 1968 Number of Programs: 1 Origin format: Videotape Running time: 60 Minutes B&W or Color: B&W

Suggested Newspaper Listing: NET Journal – “Asian Prayer, Asian Sword”: Two half hour documentaries: one on religion in Japan – a secular, nationalistic ritual; another on terrorism in Tibet, directed by Tibetan exiles against Red Chinese forces.

Program Description: The first half-hour consists of a documentary on Japanese religion – a nationalistic, secular ritual, with considerable formalism and a high degree of striving for joy. Shintoism, founded in the sixth century, has become intermixed with Buddhism, the program notes; and since the war, a new cult has formed – the fanatical, politically-oriented Sokagakkai. This cult, with its emphasis on restoration of pre-war Japanese values, deserves a shudder of recognition, according to the program.

Seen here are a variety of rites with religious overtones – some as bizarre in this context as wrestling and ceremonies for broken needles. It is noted that athletics and military performance are not incompatible with the religion of modern Japan. Christianity, which was encouraged by General MacArthur at the end of World War II, has not become popular. And traditional Zen Buddhism is a meditative religion left largely to monks.

In the second half-hour, British producer Adrian Cowell lives with a band of exiled Tibetans in the mountains of Nepal. There he notes the fanatical determination of the band to strike against the Red Chinese who drove them from their land. The documentary culminates with a raid into Tibet and the shooting of Red Chinese soldiers before the band returns to its adopted land.

NET Journal – “Asian Prayer, Asian Sword” is a NET presentation, based on film produced by Studio Hamburg, Germany and Associated Television in Britain. NET producer: Bill Weston

Asking for Trouble (1967) Initial NET Broadcast: August 20, 1967 Number of Programs: 1 Origin format: Videotape Running time: 30 Minutes

Suggested Newspaper Listing: ASKING FOR TROUBLE: Summer erupts in Baltimore, target city for a CORE action project, in this British view of American race relations.

Program Description: “We’re always asking for trouble – any kind that the racists are prepared to give, we’re prepared to meet.” A few days after speaking these words to BBC reporter Desmond Wilcox, CORE deputy director Lincoln Lynch was in jail for his part in the Baltimore riots. The half-hour documentary ASKING FOR TROUBLE, filmed in Baltimore by BBC, during early July 1966, captures the mood of the city on the eve of riots.

Chosen as the target area for summer 1966 by CORE, Baltimore is a familiar northern city. Negroes may soon outnumber whites, but their lives are restricted by ghetto conditions. There is here the atmosphere that foments rioting. Whites, threatened by Negro demands, answer with their own angry parade. And an insignificant incident – here, Negroes demanding to be served in a “whites-only” bar – leads to turmoil.

The program includes a visit to the office of Mayor McKeldin by Negro women protesting the inadequacy of their welfare checks. At the same time, CORE workers are persuading local people to register for the forthcoming elections. The camera moves between these scenes and Negro rallies – one of which is led by CORE national director Floyd McKissick. The police chief, meanwhile, counsels prudence. But the program ends with an angry white crowd protesting with angry platitudes the serving of Negroes at a local bar, and Negroes singing “Freedom” a short distance away.

“Asking for Trouble” is a presentation of National Educational Television, produced by the British Broadcasting Corporation. Producer: Julian Jacottet Editors: Desmond Wilcox and Bill Morton Camera: Brian Tufano Sound: Freddie Downton

NET Special: Assessment of Cambodia (1970) Initial NET Broadcast: June 30, 1970 Number of Programs: 1 Running time: 60 Minutes B&W or Color: Color Contractor/Producer: NET

Program Description: The program will be in two parts. First, the Cambodian situation and the President’s report on Indo- China will be discussed by a panel consisting of the following: Joseph Kraft, syndicated columnist, moderator; Senator Thomas J. McIntyre (D – New Hampshire); Senator George Murphy (R – California) and Robert Boyd, Washington Bureau chief, Knight Newspapers. The two US Senators were members of the President’s “fact-finding” committee on Cambodia, and both Kraft and Boyd have been to Indo- China recently.

The second part will consist of regional reports from four public television reporters on the public reaction to the President’s report. They are Joseph Russin of the program “Newsroom” on KQED, San Francisco; James Lehrer from “Newsroom,” KERA, Dallas; Harry Homewood from WTTW, Chicago; and a reporter from WQED, Pittsburgh. NET Washington correspondent David Prowitt will moderate.

NET SPECIAL – “Assessment of Cambodia” is produced by National Educational Television. Producer: Jim Karayn

Astronomy for You (1959) Initial NET Broadcast: N/A Number of Programs: 13 Origin format: Kinescope Running time: 30 Minutes

General Description of Series: This series of programs is designed for the adult layman who has a curiosity about the skies and the makeup of the universe in which we live. The terms used during the series are fully explained and materials from a number of great observatories and institutions of learning are used for visual illustration. The series begins with the solar system and works outward, stimulating interest in this area and awakening a desire for further study and investigation.

Featured Personality: James S. Pickering James S. Pickering is assistant astronomer at the American Museum-Hayden Planetarium. He has been a special lecturer at the Planetarium since 1951 and is a member of the regular lecturing staff as a sky show narrator and course instructor. He supervises the Planetarium’s program of special performances for children, business and industry groups and conventions. For 24 years, prior to joining the Planetarium, Pickering was a department store executive. He received his BA degree from Columbia University in 1921, and taught English and French at the Browning School in New York for a short time. He is a member of the Amateur Astronomical Association, the American Association for the Advancement of Science and the American Association Variable Star Observers. His latest book, 1001 Questions Answered About Astronomy, was published by Dodd Mead in June 1958.

Program 1: The Small Planets James S. Pickering discusses five of the nine known planets of the solar system. He covers the appearance, position, motions and physical properties of these small planets, but deals with the Earth in program number three of the series.

Program 2: The Giant Planets James S. Pickering discusses the four giant planets of the solar system which lie at distances of more than five hundred million miles from the Sun. He explores their physical properties, appearance, motions and their satellites.

Program 3: The Earth is Space RT 29:00 The Earth is considered as an object in space and a member of the solar system rather than from a geographical point of view by James S. Pickering. The Earth’s position, relative to other planets, its structure, its various motions and the effect of these motions upon its inhabitants are discussed.

Program 4: The Moon RT 29:04 James S. Pickering discusses the Earth’s only natural satellite, which has always held a fascination for mankind. He discusses the surface characteristics of the Moon, its motions, phasing and its appearance.

Program 5: Minor Members of the Solar System RT 29:16 In and out among the planets in the solar system there travel a number of minor planets, the asteroids, the comets, and meteors. James S. Pickering discusses the important features of these small objects.

Program 6: The Sun RT 29:10 The controlling body of the solar system is the Sun – an average star and the only star whose surface we can see. James S. Pickering, in this program, treats the Sun as a star, studying its surface and composition and the manner in which its energy is produced.

Program 7: How Time and Distance are Measured RT 29:00 The natural divisions of time come from the motions of the Earth and the Moon. Man’s adaptation and refinement of time to his own uses are considered and explained by James S. Pickering. The various methods of measuring and estimating distance are discussed, also.

Program 8: Fingerprints of the Stars RT 29:10 James S. Pickering deals with the various instruments and the methods of using them to give astronomy the knowledge of stellar composition and to study the objects in space. Radiation, particularly light and its analysis and recording through various instruments, is discussed.

Program 9: Star Gazing RT 29:03 James S. Pickering discusses the appearance of the skies. The celestial sphere, the constellations, and the stars as we see them are located and described by Pickering.

Program 10: The Nature of the Stars RT 29:02 James S. Pickering discusses the classification of the stars, their physical properties, magnitude, sizes and possible evolution.

Program 11: Nebulae and Clusters RT 29:00 James S. Pickering discusses the various groupings of stars, double and multiple stars, and galactic and globular clusters. The gaseous nebulae, dark nebulae and planetary nebulae are described and discussed.

Program 12: Our Milky Way Galaxy RT 29:07 James S. Pickering discusses the gradual conception and changing picture of the Local or Milky Way Galaxy from an all-embracing universe to just one of the countless galaxies. It’s probable appearance is given with it dimensions and stellar population. Also discussed are the reasons for our belief in the present estimate of its size and physical make up.

Program 13: Galaxies and Universe RT 29:03 James S. Pickering explores astronomy’s present conception of the universe, it’s probable expansion, the meta-galaxy and the possibilities of other systems of plants.

At Home with Your Child (1956) Initial NET Broadcast: N/A Number of Programs: 12 Origin format: Kinescope Running time: 30 Minutes

General Description of Series: This series is designed essentially for the new parents or parents of very young children and features Dr. Anne B. Wagner, chief of the maternal and child health division of the Pittsburgh Department of Health. AT HOME WITH YOUR CHILD demonstrates the practical angles of child care, including the physical and emotional characteristics of each developmental level from the new born child to the kindergarten youngster. Station WQED in Pittsburgh produced the series in cooperation with the Pittsburgh Department of Health.

Program 1: Preparing the Home for the Baby Dr. Anne B. Wagner, chief of the maternal and child care division of the Pittsburgh Department of Health, opens the program by outlining the purpose of the series: to demonstrate the practical angles of child care, ranging from the new born baby to the kindergarten child. Essential articles in the nursery are viewed, accompanied by a discussion of how the physical atmosphere of the home affects the infant. Dr. Wagner outlines the effects of heating, ventilation, refrigeration, and health of other household members on the new born child.

Program 2: The New Baby Comes Home Enter the star of the series, the new baby, with Dr. Wagner to present an introduction and discussion of his physical characteristics and the type of behavior normal to a very young infant. Using live models, she demonstrates how to dress the child and lists items of clothing necessary for a layette.

Program 3: Baby Gets a Bath With the assistance of Public Health Nurse Mrs. Elizabeth Gittings, Dr. Wagner illustrates how to perform the ritual of the infant’s first bath at home. The demonstration emphasizes safety measures, how to hold the child and the use of practical home equipment. Dr. Wagner also discusses the proper care of the baby’s tender skin.

Program 4: Making the Formula An emotional and physical consideration in breast feeding versus bottle feeding opens this program. Dr. Wagner stresses that both the mother and the child must be considered in making this decision. In a demonstration of bottles, ingredients in the formula, measuring these ingredients and sterilizing the bottles by the terminal heating method.

Program 5: Mother Takes a Night Out Baby is growing up and there’s time now to consider mother’s need for recreation. Qualifications of a good baby sitter head the discussion list, followed by an interview with a teenage sitter who, in turn, outlines what she expects of parents. The program includes a demonstration of spoon feeding the infant.

Program 6: Baby Visits His Doctor To stress the importance of regular health supervision, a typical “well baby visit” to his doctor is shown. The doctor gives baby a thorough examination, followed by a demonstration of the child’s first shot. He also discusses with mother the sleeping habits of infants, feeding the child and where parents should take the child for medical advice.

Program 7: Baby Graduates to the High Chair At six months, baby has grown a great deal and is now ready for the high chair. Dr. Wagner demonstrates the use of the high chair and discusses changes accompanying the six month’s’ growth, including development of vision, motor abilities and social responsiveness.

Program 8: Baby Sits Up At the milestone of nine months, the baby has learned many new things, including how to sit up and to crawl. Safety in the home is of double importance now and a playpen should be purchased at this time. Dr. Wagner discusses proper toys for this age group and the physical and emotional developments of the nine month infant.

Program 9: Baby’s First Step A dramatic moment in the life of any parent … baby’s first step … is illustrated and discussed in this program. Now that the child is walking, proper fitting of shows is important. An independent nature and a desire to feed himself are mental developments of this age group.

Program 10: The Toddler Assisted by Alice Hosack, maternal and child health nursing consultant, Dr. Wagner discusses the appearance and action of a child from 18 months to two years of age. The program includes a demonstration of typical play behavior at this age and a discussion of the problems of toilet training. Independence has increased and the child should be putting words together.

Program 11: Playmates Communicable disease and prevention of accidents head the list of parents’ considerations as the toddler develops to the three to five-year-old stage. An ounce of prevention is emphasized in this program, accompanied by a discussion of normal childhood diseases and the importance of calmness, coolness and knowing what to do in case of an accident.

Program 12: Getting Johnny Ready for School The importance of preparation for school cannot be overemphasized and particular stress is placed on the necessity of good physical condition and psychological readiness for this tremendous change. Charlotte Avery, assistant professor of audiology at the University of Pittsburgh School of Medicine, appears in this discussion. Methods of testing vision and hearing in the six-years-old conclude program.

At Issue (1963-1966) Initial Broadcast: October 7, 1963 Number of Program: 69 Origin format: Videotape Running time: 30 and 60 minutes Color or B&W: Color and B&W episodes

At Issue #1: Slowdown in Congress (Who Rules the Senate?) Broadcast Date: October 7, 1963 RT: 28:32 “The pilot program, now in the planning stage, follows the above pattern. Douglass Cater will serve as host-analyst on the subject AT ISSUE: Slowdown in Congress. Views will be solicited, via film interviews, with Senators Russell, Clark and Mansfield; Representatives Bolling and McCormack, and one or two others. Present plans are to use the imminent contest over Civil Rights legislation as the point of entry into the story and to move from there into consideration of the broader array of Congressional practices and processes which interfere with its capacity to do its business expeditiously.”

At Issue #2: The Lesson of Thalidomide Broadcast Date: October 14, 1963 RT: 29:11 Description: Host: Clark Mollenhoff, Washington Bureau of Cowles Publications

Guests: Senator Hubert Humphrey (D-Minnesota), chairman of a Senate subcommittee investigating the operations of the Food and Drug Administration.

Senator Philip Hart (D-Michigan), chairman of a Senate subcommittee inquiring into the high prices of certain drugs on the market

Senator Thomas Dood (D-Connecticut), proponent of legislation to tighten regulations on sales of barbiturates and “pep pills”

Senator Karl Mundt (R-South Dakota), who believes that the disclosure of the Thalidomide danger was due more to Dr. Frances Kelsey than to the working of the FDA

Congressman L. H. Fountain (D-North Carolina), chairman of a house committee studying the administration of the FDA

George Larrick, commissioner of the FDA, will answer some of the criticisms leveled at his agency and tell what his agency is doing to enforce the law.

In addition, a representative of the drug industry and a Mayo Clinic physician will comment.

During the Thalidomide tragedy of 1962, public attention was focused on dangers to public health and safety through laxities in the enforcement of regulations covering new medicines by the Food and Drug Administration. Now long after the Thalidomide tragedy, serious questions are being raised by concerned legislators about the current effectiveness of the laws and the ability of the FDA to protect the public against another similar incident.

AT ISSUE will bring to the screen those who see evidence of “rigged” reports by some doctors on clinical investigation of new drugs, see “loopholes” in existing legislation, and allege slowness in removing potentially dangerous drugs from the market.

AT ISSUE: A LESSON OF THALIDOMIDE A production of National Educational Television Producer: Alvin Perlmutter

At Issue #3: The Press and Mrs. Nhu (or NHV) Broadcast Date: October 21, 1963 RT: 29:05 Description #1: Eight newsmen – representing network news departments, newspapers, news magazines, and journalistic societies – give an inside view of “The Press and Mrs. Nhu” on the latest edition of National Educational Television’s “At Issue.”

Louis Lyons, curator or the Nieman Foundation at Harvard University, is host for this examination of how much and what kind of coverage is appropriate for the “unofficial” visit of the Vietnamese political figure.

Richard S. Salant, President, CBS News, gives his views on whether Mrs. Nhu successfully used America’s press for her own interests. His network had an interview with Mrs. Nhu scheduled, and then cancelled it.

Other newsmen whose opinion are heard are Marquis Childs, syndicated columnist of “The St. Louis Post-Dispatch;” Harry Homewood, editorial writer of “The Chicago Sun-Times;” Beverly Deeps, Saigon Correspondent of “Newsweek;” Richard Wald, national editor of “The New York Hearald Tribune;” Herb Kamm, managing editor of “The New York World Telegram and Sun;” and Barrett McGurn, president of the Overseas Press Club.

“At Issue: The Press and Mrs. Nhu” is the third in a weekly series of N.E.T. programs on issues in the news—the only prime time news background program on network television each week. It is seen on the network of 77 affiliated non-commercial stations. Alvin Perlmutter is the producer. Interviews were filmed in New York, Chicago, and Washington and the program videotaped at the educational station in Boston, WGBH-TV.

Description #2: This episode presents an inside view of the coverage by newspapers and television of Vietnam’s controversial Mrs. Nhu. Editors and network news directors talk of why they played the story the way they did.

Louis Lyons, curator of the Nieman Foundation for Journalism, will host AT ISSUE: THE PRESS AND MRS. NHU.

Description #3: Host: Louis Lyons, Curator of the Neiman Fellowships, Harvard University, commentator for Boston’s WGBH-TV

Guests: Richard S. Salant, President, CBS News

Barrett McGurn, President of the Overseas Press Club

(Other guests to be announced)

This week , AT ISSUE presents news experts from various media answering questions on what goes into determining each one’s decision on the proper amount and kind of coverage Mrs. Ngo Dinh Nhu’s “unofficial” visit to this country. They are questioned on what they feel was the purpose of the Vietnamese leader’s trip and whether the press helped or harmed her in achieving that purpose.

AT ISSUE: THE PRESS AND MRS. NHU is a production of National Educational Television. Producer: Alvin Perlmutter

At Issue #4: South Africa and the UN Broadcast Date: October 28, 1963 RT: 28:58 Description: Host: Donald Grant, UN correspondent for “The St. Louis Post-Dispatch”

Guest: Ambassador Alex Quaison-Sakey, Ghana’s Permanent Representative to the United Nations

Ambassador Diallo Telli of Guinea

Oliver Tambo, an African leader opposed to South African government

A spokesman for the South African government will be announced

This week, AT ISSUE takes up the issues, the people, and forces behind the scene in the recurring struggle at the U.N. over official censure for South Africa and its apartheid policy.

PRESS RELEASE The effects of any economic sanctions that might be voted against South Africa for its racial policies of apartheid are evaluated on “At Issue: South African and the U.N.”

National Educational Television’s weekly examination of issues in the news will present the judgments of a number of experts on what the practical as well as moral consequences of sanctions would be. Guests also warn the non-whites in South Africa are close to open revolt.

The authorities interviewed are Alex Quaison-Sakey, Ghana’s Permanent Representative to the United Nations; Ambassador to the U.N. Diallo Telli of Guinea; Oliver Tambo, an African leader opposed to South African government; Hermod Lannung of the Danish U.N. Mission; and Rev. Michael Scott of Africa Bureau.

Through filmed excerpts, viewers also learn the position held by U.N. Secretary General U Thant, U.S. Ambassador to the U.N. Adlai Stevenson, and G.P. Jooste, secretary for foreign affairs for the Republic of South Africa.

The host, Donald Grant, U.N. correspondent of “The St. Louis Post-Dispatch,” asks whether an embargo on shipments of food and other commodities would do South Africa’s non-white population more harm than good and what other alternatives the U.N. has to add to its already indicated disapproval of the Republic’s apartheid policy.

“At Issues: South Africa and the U.N.” is the fourth in a series of N.E.T. programs on issues in the new s – the only prime time news background program on network television each week.

Alvin Perlmutter is the executive producer Leonard Zweig is the producer

At Issue #5: Science Goes to Washington Broadcast Date: November 4, 1963 RT: 29:03 Description: Host: To be announced

Guests: Jerome B. Wisener, director of the Office of Science and Technology and scientific adviser to the President

Representative Emilio Q. Daddario (D-Connecticut)

Other to be announced

Can American afford a budget for scientific research that grows 15 percent annually? How much money is “enough” for basic research? Congress and many of the nation’s scientists disagree sharply. When a Congressional committee cut the National Science Foundation budget from $589 million to $323 million, Dr. Wiesner criticized the action. He said he felt the nation may be slipping back into a pre-Sputnik attitude toward spending for scientific research. AT ISSUE takes a close look at the feasibility of the President’s goals in science. It also ask how members of Congress, untrained in science, can determine which areas of scientific research are worthy of support.

At Issue #6: State Department Briefing Broadcast Date: November 11, 1963 RT: 29:08 Description: Host: There will be no host for this program. It will consist of a special briefing by State Department officials most informed about the U.S. Far Eastern policy. Guests: Roger Hilsman, Jr., Assistant Secretary of State for Far Eastern Affairs

Allen S. Whiting, Director, Office of Research and Analysis for the Far East

They will be questioned by two newsmen on what events to look for in the Far East in the next few weeks. The questioners will pay particular attention to the role that Communist China is expected to play in view of recent happenings in Southeast Asia.

At Issue #7: The Next Step for East and West [Source LC: U.S. – Soviet Relations] Broadcast Date: November 18, 1963 RT: 29:02 Description: Against a background of continuing news of East-West cooperation -- the test ban, the wheat sale, Moscow-New York air routes – three outstanding American political scientists examine the trend. They are:

Professor Zbigniew Brzezinski, Professor of Government at Columbia University; author of “The Soviet Bloc – Unity and Conflict”

Professor Roger Fisher, Professor of International Law at Harvard Law School, who also has worked extensively with government agencies

Professor William E. Griffith of Massachusetts Institute of Technology

Their discussion centers around the wisdom of hastening the thaw between the East and West, what pitfalls await us if we move too quickly, indications of whether or not the Soviets are striving for peace or using the various agreements primarily for other purposes.

At Issue #8: The TFX Broadcast Date: November 25, 1963 RT: Unknown, but more than likely approximately 30 minutes Description: Host: Clark Mollenhoff, Washington Bureau of Cowles Publication and Pulitzer Prize winning Washington Journalist.

Guests: Senator John L. McClellan (D-Arkansas)

Senator Henry M. Jackson (D-Washington)

Senator Karl Mundt (R-South Dakota)

Congressman Karl Stinson (R-Washington)

On November 18, 1963, the Senate Investigation Committee, headed by Chairman John L. McClellan, re- opens public hearings on the awarding of potentially the largest defense contract in the nation’s history to General Dynamics for fighter bombers to be used by both Navy and Air Force. The potential six or seven billion dollar contract was awarded in November, 1962, to General Dynamics over Boeing.

The Committee is exploring whether any favoritism or bad judgment played a part in awarding the contract.

There have been charges of possible conflict of interest on the part of former Secretary of the Navy Fred Korth, who own stock in and whose bank made loans to General Dynamics, and Deputy Secretary of Defense Roswell Gilpatric, who was formerly affiliated with a law firm which represented General Dynamics.

The program will include excerpts from the testimonies next week of Gilpatric and Korth before the committee.

AT ISSUE: THE TFX A production of National Educational Television Producer: Leonard Zweig Associate producer: Andrew Stern

At Issue #9: Hatred in America Broadcast Date: December 2, 1963 RT: 29:02 Description: This program will examine the elements of hatred and violence in any society which move into the political arena. Guests will examine the causes of hatred in our society and what people who hate do politically. They will discuss ways to combat such hatred.

The basis for this program is summed up in President Lyndon B. Johnson’s address to both houses of the United States Congress, delivered Wednesday, November 27. The President said:

“…. [L]et us put an end to the teaching and preaching of hate and evil and violence. Let us turn away from the fanatics of the far left and far right, from the apostles of bitterness and bigotry, those defiant of law and those who pour venom into our nation’s blood stream.”

Host: William Lee Miller, member of the faculty of Yale University’s Divinity School and a writer on political and social affairs.

Guests: Henry Steele Commager, well know author and professor of history at Amherst College

Dr. Robert McIver, former professor of sociology at Columbia University and now the president of the New School of Social Research.

Dr. Graham Sykes, executive director of the American Sociological Association.

Dr. Kenneth Clark, author of the highly regarded study of race prejudice entitled Prejudice and Your Child and professor of psychology at the City College of New York.

Marquis Childs, well known commentator and syndicated journalist

AT ISSUE: HATRED IN AMERICA A 1963 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #10: The Christmas Boycott Broadcast Date: December 9, 1963 RT: 28:55 Description: This program examines the economic power of the American Negro and the use of that power as a weapon in the Negro’s fight to attain equal rights. The view of “equal rights through pocket book rather than conscience” is illustrated by the controversial “Christmas boycott” – which is discussed, along with other selective buying techniques, by: actor Ossie Davis and actress Ruby Dee, members of the Association of Artists and Writers for Justice, the group that is advocating the boycott on Christmas gift buying; Roy Wilkins, executive secretary of the National Association for the Advancement of Colored People; Vermont Royster, editor of the Wall Street Journal; John H. Johnson, publisher of Ebony Magazine; Frank Seymour, station manager of Detroit’s Negro interest radio station, WCHB; and Mr. Earl Dickerson, president of Chicago’s Supreme Life Insurance Company, which has many Negro clients. In addition, there are interviews with Negroes in widely varied economic positions. The program takes place mainly in Detroit, Chicago, and New York. There are also small portions showing boycotts in Montgomery, Philadelphia, Tuskegee, and Nashville.

AT ISSUE: CHRISTMAS BOYCOTT A National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig Writer: Morton Silverstein Production assistant: Lois Shaw Title art: Tom Feelings

At Issue #11: Tobacco Troubles Broadcast Date: December 16, 1963 RT: 28:36 Description: The broadcaster, through his own code, should eliminate tobacco advertising that is designed for or has a special appeal to minors, Governor Leroy Collins, president of the National Association of Broadcasters, said last night (Wednesday, December 18).

Speaking on National Educational Television’s weekly half-hour series “At Issue,” the former Florida governor stated, “Our code administration can make forbidden the endorsement, say of cigarettes by sports figures – the equation of smoking with success.”

He added, “If I had a radio station or if I had a television, I would not hesitate to take a firm, positive position about this. And I would feel that in doing so I was serving well the public interest.”

Governor Collins, two United States senators, and representatives of the tobacco industry and the medical profession candidly discussed the medical, economic, and political aspects of cigarette smoking on “At Issue,” which is being broadcast across the country on the National Educational Television network of nearly 80 affiliated non-commercial stations.

Senator Maurine Neuberger (D. Oregon), a leader in the drive to alert Americans to what she considers the harmful effects of smoking, said, “if spinach were tobacco, we’d ban it in a moment.”

“The thing is,” she explained, “we’re dealing with an eight billion dollar industry. The excise taxes on the manufacture of tobacco pay into the United States Treasury well over two billion dollars in revenue. It’s hard for an individual to do something to cut off his own income, and the U.S. government is no different.”

Senator Thurston Morton (R. Kentucky) emphasized the vital role that tobacco plays in the economy of his home state of Kentucky, and added that the country cannot afford to lose income from tobacco and its products.

Dr. Michael Shimkin, medical director of Temple University’s Medical School, traced the increasing dependence on advertising by the tobacco industry and took issue with some of the methods of appeal of that advertising, particularly that which “cigarettes become equated with virile manhood.”

Also appearing on the program was George V. Allen, president of the Tobacco Institute; Dr. Borje Ejup of the Cornell University Medical School; Clifton Read, vice president of public information education, American Cancer Society; Dr. E. Cuyler Hammond, director of statistical research, American Cancer Society; and Dr. Martin Levin of Rosewell Park Memorial Institute.

The host for this program is the executive producer of the N.E.T. series. Leonard Zweig is the producer.

At Issue #12: The Night after Christmas (aka The Unseen Christmas – or When Santa Shaves) Broadcast Date: December 23, 1963 RT: Unknown, but more than likely approximately 30 minutes Description: This program takes a look at the other side of the Christmas season. N.E.T. camera crews travel back to capture vignettes of the post-Christmas period. Some of the subjects covered are holiday tipping, holiday gaiety, the decline of holiday parties, and Santa Claus.

Host: Gay Talese, staff writer of The New York Times, is the commentator.

Partial Description of Vignettes:

Holiday Tipping: Questions are posed as to whether tips are given more generously during the season, and whether tipping falls off sharply after the holiday.

Santa Claus: A contrasting look at the Santas before and after they receive their instructions and start on their appointed rounds.

Holiday Gaiety: Points view of waiters who work during the holiday and the diners who are there to “enjoy themselves.”

Decline of Office Parties: Reactions to the trend of eliminating and discouraging office Christmas parties and the reasons for it.

AT ISSUE: THE NIGHT AFTER CHRISTMAS A 1963 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #13: The Senate & Politics -- 1964 Broadcast Date: December 30, 1963 RT: 28:51 Description: This program takes a candid look at the unfinished business facing the United States Senate in 1964, and explores the political implications of that legislation in an election year. The outcome of the tax cut and civil rights bills – which have been bottlenecked in both houses – could mean success or failure for President Johnson, political experts assert. For these two bills, the experts say, will truly put to the test his powers of persuasion with his former Senatorial colleagues.

Hosts: Sidney Hyman, Washington political historian, is author of the book “The American President.” An authority on presidential politics, Mr. Hyman has written numerous articles on this subject for national publications and regularly for the Sunday Magazine of the New York Times. One of his recent articles, “The Qualities That Make a President,” appeared in the December 1, 1963 issue of that magazine.

Guests: U.S. Senator John Sherman Cooper (R-Kentucky) has served in the Senate from 1947 through 1948, from 1953 through 1954, and from 1957 to present. He is a member of the Senate committees on agriculture and forestry, public works, and small business. He also has been a delegate to the United Nations General Assembly (1949-51) and an adviser at the 1950 NATO Council of Ministers and the 1958 UNESCO Conference in Paris. During the President Eisenhower’ administration he served as ambassador to India and Nepal.

U.S. Senator Eugene J. McCarthy (D-Minnesota), a liberal Democrat, served in the House of Representatives in the 81st to the 85th Congresses, during with time he was on the House Ways and Means Committee. He was elected U.S. Senator in 1958, and is now a member of the Senate committees on finance and agriculture and forestry. He also has served on the Senate Special Committee of Unemployment Problems. Senator McCarthy is the author of the book “Frontiers in American Democracy” and “Dictionary of American Politics.”

Notes: Both Senators have been mentioned by political analysts as possible vice presidential nominees in 1964

AT ISSUE: THE SENATE AND POLITICS – 1964 A 1963 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #14: Conflict with Canada Broadcast Date: January 6, 1964 RT: 28:59 Description: The program examines U.S. – Canadian relations with respect to economic strains between the two countries, and Canada’s desire for national identity and for a better way of life. Camera crews traveled to Toronto, Windsor and Ottawa to interview top Canadian government leaders, Canadian newspaper columnists, and automobile plant employees.

Host: Brian Moor, for eleven years a Canadian report and novelist who now lives in New York. He wrote the “Life-World” article on Canada, released in October, 1963. He received a Guggenheim Fellowship for Literature. Several of his books have been dramatized on the Canadian Broadcasting Corporation television network.

Guests: Foreign Minister Paul Martin of Canada, who has served in government positions since 1935 as a member of Parliament, -- assistant to the Minister of Labor, as the Secretary of State, as the Minister of National Health and Welfare, and as a delegate to the United Nations Assembly.

Finance Minister Walter Gordon of Canada, who assisted in organizing his country’s Foreign Exchange Control Board, assisted in Canada’s deputy minister of finance 1940- 42, served on the Royal Commission of Canada’s Economic Prospects in 1955, and was chairman of the national executive committee of the Canadian Institute on International Affairs from 1951-56.

Former Prime Minister John Diefenbaker, leader of the opposing Conservative Party in Canada and an authority for his party on foreign affairs, has served in Canadian government positions since 1919. He has been a Member of Parliament since 1940.

U.S. Congressman Cornelius Gallager (D-New Jersey) who will represent the House at the January 15, 1964 Inter-Parliamentary Conference on the United States and Canada in Washington, DC.

Sperry Lea, research director at the Canadian-American Institute in Washington, DC.

Frank Underhill, dean of Canadian historians.

James Eayrs, professor of political science, University of Toronto.

Angus Munro and John Lindblad, journalists with the Windsor Star, Windsor, Canada

Harry McNeill, journalist with the Toronto Globe, Toronto Canada

AT ISSUE: CONFLICT WITH CANADA A 1963 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #15: Countdown on Civil Rights Broadcast Date: January 13, 1964 RT: 28:50 Description #1: This program examines the background and current status of the civil rights bill – from its original form as introduced by the late President Kennedy – to its current status in the U.S. House of Representatives. So far the bill has passed only on hurdle – approval by the House Judiciary Committee. The bill has been bogged down in the House Rules Committee, which determines the flow of legislation to the House floor. Rules chairman Representative Howard Smith (D. Virginia) has previously indicated he would not move the bill unless pushed. A discharge petition designed to bypass his committee has brought a promise by Rep. Smith for hearings this month.

Host: Douglas Cater, national affairs editor of “The Reporter” Magazine, and visiting professor in public affairs at Wesleyan University, Middletown, Connecticut. Mr. Cater appeared in the first “At Issue” program.

Guests: U.S. Representative Howard W. Smith (D. Virginia), chairman of the House Rules Committee, has stated his intention to delay floor consideration of the civil rights bill for a substantial period of time. Rep. Smith has served in Congress since 1930. Prior to that time, he served as judge in the 16th Judicial Circuit in Virginia.

U.S. Representative Emanuel Celler (D. New York), chairman of the House Judiciary Committee which approved the Kennedy Administration’s civil rights bill and went a step further in barring racial discrimination in employment. He has served in Congress since 1922.

U.S. Representative John Lindsay (R. New York), member of the House Judiciary Committee; prior to his election to Congress in 1958, he served as an executive assistant to the U.S. Attorney General.

U.S. Representative William M. McCulloch (R. Ohio), member of the House Judiciary Committee. Rep. McCulloch has served in Congress since 1947 and before that he served in the Ohio House of Representatives for six terms.

Nicholas deB. Katzenbach, deputy U.S. Attorney General, Justice Department, who was instrumental in drafting the compromise civil rights bill which passed the House Judiciary Committee.

AT ISSUE: “LET US CONTINUE” – THE CIVIL RIGHTS BILL A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

Description #2: Representative Howard Smith (D-Virginia), chairman of the House Rules Committee – which has been accused of delaying the civil rights bill – presents his own views on the proposed civil rights legislation.

Congressman Smith and four other distinguished members of the House will present their frank views on the controversial bill during National Educational Television’s “At Issue: Countdown on Civil Rights.”

Appearing with Congressman Smith on the provocative half-hour program are Representative Emanual Celler (D-New York), chairman of the House Judiciary Committee; Representative John Lindsay (R-New York) and Representative William McCulloch (R-Ohio), both of the Judiciary Committee; and Nicholas deB. Katzenbach, deputy U.S. Attorney General.

Douglass Carter, national affairs editor of The Reporter magazine, is the program’s host. Mr. Carter also is visiting professor in public affairs at Wesleyan University, Middletown, Connecticut.

“At Issue” is broadcast across the country on the National Educational Television network of nearly 80 affiliated non-commercial stations. The executive producer is Alvin Perlmutter. The producer is Leonard Zweig.

At Issue #16: How to Stop Smoking Broadcast Date: January 20, 1964 RT: 28:45 Description: The various methods and devices used by cigarette smokers to break the habit are examined on “At Issue.”

During this fascinating half-hour program of the weekly National Educational Television series, “At Issue” follows the progress of smokers participating in the National Health Foundation’s crash program designed to help persons five up cigarettes.

“How to Stop Smoking” visits with students from an east side New York City vocational school, where former teenage smokers have started a non-smokers club for students.

Eminent medical authorities also comment about the success of the different methods for breaking the cigarette habit.

The guests are Elman J. Folkenberg, Seventh Day Adventist lay leader, whose church conducts the foundation’s program; Dr. M. Powell Lawton, Philadelphia psychologist; William Capitman of the Center for Research in Marketing, New York City; Dr. Martin L. Levin, chief of the Department of Epidemiology at Roswell Park Memorial Institute, Buffalo, New York; Dr. Clifton Read, Vice President of Public Education-Information, American Cancer Society; Dr. Borje Ejup, Research Associate, Cornell University Medical Project, Neurovascular Clinic on Stopping of Smoking.

“At Issue” is broadcast across the country on the National Educational Television network of nearly 80 affiliated non-commercial stations. The executive producer is Alvin Perlmutter. The producer is Leonard Zweig.

At Issue #17: The View from Panama Broadcast Date: January 27, 1964 RT: 28:27 Description: This program examines the Panama crises from the standpoint of American and Panamanian newspaper coverage, and the reactions to that coverage by Americans living in the Panama Zone and Panamanian citizens.

Representatives of the American and Panama press discuss their views on the press coverage. In separate interviews, tow University of Panama students give their opinions about hopes for resolving the crises and the role of Communist influence in the January 9 flare up.

Moderator: George Natanson, chief of the Latin American Bureau, Los Angeles Times

Guests: Dan Kurzman, Latin American correspondent for the Washington Post

George Carrasco and John Heymann, Panamanian newspaperman

Alfredo Noel deLeon and Julio Shaik, University of Panama students

At Issue #18: What Price Poverty Broadcast Date: February 3, 1964 RT: 29:02 Description: On-the-spot reports of poverty in two regions of the United States and a discussion on President Johnson’s declared war against poverty are subjects on tonight’s At Issue.

The comprehensive half-hour weekly National Educational Television series will report on rural poverty in the regions of Kentucky and urban poverty in Washington, DC.

In examining President Johnson’s recent proposal in which he has asked for $1 billion to support his program, “At Issue: What Price Poverty?,” will also feature interviews with these distinguished economic experts: Walter Heller, economic adviser to President Johnson; Gunnar Myrdal, world renowned Swedish economist and analyst of American economy; and Michael Harrington, noted author of the book about poverty in America, “The Other America.”

The experts will present their candid opinions about the Government’s plans on the domestic issues. President Johnson’s program calls for assistance for the “Appalachia” sections of Kentucky and West Virginia, aid for unemployed youth, and a domestic version of the Peace Corps.

“At Issue” is broadcast across the country each week on the National Educational Television network of nearly 80 affiliated non-commercial stations. The executive producer is Alvin Perlmutter. The producer is Leonard Zweig.

At Issue #19: The President and the Press Broadcast Date: February 10, 1964 RT: 28:58 Description: February 3, 1964 This program will analyze President’s Johnson’s relations with the press and his handling of the Presidential press conferences, release of news and use of exclusives. Several newspaper columnists have indicted through their media that the President’s conferences are too informal and that the conferences are called too quickly. Also, there have been charges of news management besides press criticism of the President’s handling of foreign affairs.

On the program will be four newspaper representatives – two will defend the President’s press relations and two will take the negative stand in a panel moderated by Ed Bayley, editor of public affairs programming, N.E.T.

February 4, 1964 We have just received word on three of the four guests who will appear on AT ISSUE #19: THE PRESIDENT AND THE PRESS.

The guests are Charles Bartlett, reporter and columnist for the Chicago Sun-Times Syndicate; Phil Potter, reporter for the Baltimore Sun; and Peter Lisagor, reporter for the Chicago Daily News.

At Issue #20: The Battle for School Integration Broadcast Date: February 17, 1964 RT: 28:50 Description: This program examines the spreading civil rights boycotts of northern schools. It surveys the positive and negative effectiveness of the boycotts, what these boycotts do to the political and asocial structure of a city, and probes whether this method for promoting school integration is a valid use of the boycott.

To present an in-depth report, camera crews will go to one of these cities – New York, Boston, or Chicago – to show the preparation for a school integration boycott scheduled for February 25. Educators, teachers, pupils, civil rights leaders, and parents will be interviewed.

There will also be on-the-spot coverage of similar boycotts scheduled for February 11 in one of the following three cities – Cambridge, Maryland; Wilmington, Delaware; or Chester, Pennsylvania.

AT ISSUE: THE BATTLE FOR SCHOOL INTEGRATION A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #21: Redistricting the Congress Broadcast Date: February 24, 1964 RT: 28:58 Description: This program examines the Supreme Court ruling of February 17th, which requires Congressional districts within each state he equal in population “as nearly as is practicable.”

As a result of this ruling, where there are now districts that have 400,000 voters as well as districts with 100,000 voters, states must now equalize their voting districts. One effect of this ruling will be a greater representation and power for urban and suburban districts as opposed to rural and farming districts, who are now overrepresented.

The ruling of the Supreme Court came in the case of Wesberry vs. Governor Carl Sanders of Georgia.

“At Issue” camera crews will go to Georgia to get the views of one of the attorneys representing Wesberry and Roy Harris, former member of the Georgia State Legislature, who opposes the ruling.

Also, an analysis of the Supreme Court decision and its political implications will be presented by Newal Pierce, political editor of the Congressional Quarterly. In addition, there will be a panel discussion on the political changes the decision will mean for the Democratic and Republican Parties. The panel will probe charges by critics that the Supreme Court is stepping out too far into the field of political affairs.

AT ISSUE: REDISTRICTING THE CONGRESS A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #22: The Unemployed Broadcast Date: March 2, 1964 RT: 28:35 Description: This program examines the unemployment problem in America from the economic, social, and educational point of view. The program features on-the-spot coverage in Chicago of schools where adults are taking reading and writing courses and plants where automation has replaced people. Interviews with government, labor, and management leaders are also featured. The program covers the dropout problem and the need for vocational retraining of people.

Commentator: Harry Homewood, editorial writer for the Chicago Sun-Times

Guests: U.S. Secretary of Labor, Willard Wirtz

Walter Reuther, president of the United Auto Workers of America and vice president of the AFL-CIO

Joseph Germano, district director for the U.S. Steelworkers, Chicago

Frank Cassel, director of industrial relations, Inland Steel Co., and chairman of the Governor of Illinois’ commission on unemployment

Raymond Hillard, director of the Illinois Public Aid Department

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #23: Trading with Communist Countries Broadcast Date: March 9, 1964 RT: 29:03 Description: This program surveys east-west trade and the difference in policies between the United States and its major western allies, England, France, and West Germany. The program covers several aspects of western trade with the Soviet Union., Communist satellite countries, Cuba and Red China. Among the issues involved are the sale of 400 buses by England to Cuba, the negotiations between England and Russia involving $250 million for chemical technology for Russia, and the sale of U.S. wheat to Russia. The program will feature viewpoints of representatives of the U.S. Congress, State Department officials, foreign government spokesmen, and businessmen and U.S. business leaders.

Host and Robert Lubar, assistant managing editor of Fortune Magazine Commentator:

Guests: Dr. Jack Behrman, assistant secretary for domestic and international business, U.S. Department of Commerce. Dr. Behrman is in charge of licensing of American trade with Communist countries. He is a member of the U.S. Board of Foreign Service.

Mr. Edwin P. Neilan, president of the U.S. Chamber of Commerce

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #24: The Railroad War Broadcast Date: March 16, 1964 RT: 29:05 Description: At ISSUE camera crews will report, from on-the-screen, the raging dispute between labor and management in the Florida East Coast Railway strike in which violence and sabotage have erupted. The latest sabotage prompted President Johnson to call in the FBI to investigate.

The Florida East Coast Railway dispute hinges on the agreement reached last year by all other railroads’ labor and management boards. The FEC was the lone exception in abiding by the pay raise, working condition contract. As a result, the union employees of FEC went on strike a year ago January, but FEC continued to operate. The Florida East Coast Railway, headed by board chairman Edward Ball, sing then has hired college students and other personnel, and has reported that the railroad is now operating more efficiently, making more money, and – even if the unions wanted to come back on FEC’s terms – the company doesn’t want or need them.

The national implications of the strike in Florida are significant. For the United States is facing the possibility of a nationwide strike this spring by the railroad unions over the controversial featherbedding issue.

AT ISSUE cameras will examine the intense clash with reports and coverage from Jacksonville, Miami, Cape Kennedy, and New Smyrna Beach. At the Cape, construction activity has been hindered because of the FEC strike. Representatives of union and management involved in the FEC dispute will be interviewed.

Host and Commentator: Trevor Armbrister, contributing writer for the Saturday Evening Post and author of a recent article about the dispute in that magazine “Railroad That Defies the Union”

Guests: George E. Leighty, chairman of the eleven non-operating unions involved in the FEC strike.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #25: Interview with Sergeant Shriver Broadcast Date: March 123, 1964 RT: 28:54 Description #1: This program is a half-hour interview with Sargent Shriver, director of the Peace Corps, and more recently named by President Johnson to head the proposed Office of Economic Opportunity for the administration’s $962.5 million blueprint to fight poverty package, and who turned the Peace Corps dream in to a fruitful accomplishment, also has been mentioned as a strong contender for the Democratic Party’s vice presidential nomination.

While the interview with Mr. Shriver will deal with the poverty proposal – which includes a “Job Corps” of 100,000 men least fit for military service; work training for 200,000 men and women; the “Volunteers of America” group to fight poverty on the local level; a work-study program for college youths; and a community action program – the interview also will probe his views on the problems in getting a new program started with respect to conflicts with Congressional and government bodies; the role of businessmen in government positions; and his political aspirations.

Host and Interviewer Douglas Carter, national affairs editor of Reporter Magazine, and author of the recently released book, “Power in Washington.”

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

Description #2: Washington, D.C……..Sargent Shriver, director of the Peace Corps and the anti-poverty program, said tonight (Wednesday March 25) that “only the President can answer” whether he will continue to wear both hats in heading the two government jobs.

Appearing on National Educational Television network’s weekly program, “At Issue,” Mr. Shriver brushed off again speculation that he might be a vice-presidential contender for the Democratic Party ticket. Mr. Shriver said tonight he would not be available for higher duties.

In the half-hour interview with Douglass Cater, national affairs editor of Reporter Magazine, Mr. Shriver discussed the various aspects of President Johnson’s $962.5 million anti-poverty proposal, and refuted reports that bureaucratic infighting delayed getting the poverty message before Congress. “I’d like to scotch that rumor. There really wasn’t much truth to that at all. In fact I’ll say this even on the record, that there was just as much difference of opinion and argument, strenuous argument… when we were trying to start this Peace Corps as there was in this recent effort,” he said.

The Peace Corps director stressed that the war on poverty program “does not purport to be a total solution to every program in the United States.” Mr. Shriver added that, positively speaking; the United States “may well be the first huge nation…in the history of mankind that actually has the capacity to eliminate grinding poverty.”

In reference to church-state conflicts in federal aid under the poverty program, Mr. Shriver, an active Catholic layman, believes the issue can be avoided “because we’re not giving aid to parochial school education under this bill. Where we give aid to education, the aid will be given through the public school system. Where work is done, let’s say after school in a public school like remedial reading, those classes we think could be open to people of all races and creeds on a non-discriminatory basis.”

The possibility that concentration on poverty at home may cause Congress to have less interest in foreign aid prompted Mr. Shriver to observe that “It certainly won’t come about so far as I’m concerned, as long as I’m still responsible for the Peace Corps, as well as the war against poverty.”

“At Issue” is being broadcast across the country on the National Educational Television network of 81 affiliated non-commercial stations. Alvin Perlmutter is the executive producer. Leonard Zweig is the producer.

At Issue #26: The View from Venezuela Broadcast Date: March 30, 1964 RT: Description: AT ISSUE cameras crews will report on-the-spot from Caracas, Venezuela, for the first-hand look at that country’s reaction to last Thursday’s (March 19) report of a possible shift of U.S. policy toward Latin America rightist and military dictatorships.

The reported policy change involves continued forceful opposition to Communist dictatorships such as Cuba, but the U.S. would no longer attempt to punish military juntas for overthrowing democratic regimes. This reversal of the Kennedy policy is designed to avoid involvement in domestic political crises in Latin-American republics, according to the Senate Department officials.

AT ISSUE public affairs teams will probe the response of Venezuela toward this policy by interviewing top government officials of the country, journalist, leading businessmen, and some students.

Host: George Sherman, former Latin American correspondent for the Washington Evening Star, and now state department correspondent for the newspaper.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #27: Outlook on Cancer Broadcast Date: April 6, 1964 RT: 28:30 Description: This program probes the latest developments in cancer research, including some aspects of research to make cigarettes smoking safe. AT ISSUE camera crews visit Palm Beach, Florida, where the American Cancer Society seminar for science writers was held during the last week in March, and doctors who are doing cancer research at their laboratories.

Among those doctors who will be shown at work will be Nobel Prize winner Dr. Szent-Gyorgyi, director of the Institute for Muscle Research of the Marine Biological Laboratory in Wood Hole, Massachusetts. Dr. Szent-Gyorgyi told the seminar last week that a possible treatment of cancer may come soon with the chemical identification of a naturally occurring material that has inhibited cancerous growth in animals during tests.

Guests: Dr. Ruth Sagen, department of zoology, Columbia University

Dr. Morton Levin of Roswell Park Memorial Institute, Buffalo, New York

Dr. James T. Nix of Nix Clinic, Spokane Washington

Dr. Samuel K. McIlvanie, Rockwood Clinic, Spokane, Washington

Miss Mildred Spencer, science writer for the Buffalo Evening News

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #28: Beyond the Ruby Trial -- Justice and the Press Broadcast Date: April 13, 1964 RT: 29:00 Description: This program explores the question of whether justice is being done in the courts of the United States in view of two controversial areas regarding trials – the great amount of publicity and press before a case goes to trial and the use of psychiatric testimony in the courts.

These two issues became an intense focal point of attention in the trial of Jack Ruby, convicted of the murder of the alleged assassin of President Kennedy, Lee Harvey Oswald.

AT ISSUE interviews the two principal participants involved in the Ruby trial, and representatives and jurisprudence and the press.

Guests: Dallas District Attorney Henry Wade, prosecutor in the Ruby case, in the first EXCLUSIVE television interview since the trial ended in March.

Melvin Belli, San Francisco attorney and chief defense counsel for Ruby. He was fired by Ruby’s family following Ruby’s conviction.

Bernard S. Meyer, Honorable Justice of the Supreme Court, Nassau County, New York, who made the original school prayer decision that led to the U.S. Supreme Court ruling last year on prayer in public schools

Turner Catledge, managing editor of the New York Times, who discusses the influence of the press on justice.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Howard Felscher

At Issue #29: The Stakes in Vietnam Broadcast Date: April 20, 1964 RT: 28:55 Description: This program examines United States policy and role in South Vietnam in view of the several options the United States can take – withdrawal, continued support of the South Vietnamese, extension of the war into North Vietnam, or neutralization of South Vietnam.

These options are considered with respect to a series of more recent losses in South Vietnam and Viet Cong attacks within 15 miles of Saigon, and the assessment of the continuing crises by U.S. Secretary of Defense Robert McNamara.

Guests appearing on the program in the probing panel discussion will be:

David Halberstam, foreign correspondent for the New York Times, who has covered Southeast Asia extensively

Bernard Fall, professor of international relations at Howard University

Stanley Miller, associate professor of political science at Briarcliff

Neil Sheehan, United Press International correspondent in Saigon

The host is Ed Bayley, editor of public affairs programming, National Educational Television.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #30: The Billion Dollar Bird Broadcast Date: April 27, 1964 RT: 28:39 Description: Through separate interviews with government, airplane manufacturing, and medical representatives, this program examines the economic, political, and technical problems surrounding the Federal Government’s proposed supersonic jet transport.

Under the administration of the Federal Aviation Agency, the next phase of the $1 billon program is expected to be announced by wither President Johnson or FAA administrator Najeeb Halaby on May 1, 1964.

Appearing on the program will be:

Guests: Don Bryne, associate editor of Aviation Daily, and an expert on supersonic air transport, who will predict the outcome of the supersonic program

U.S. Senators A.S. Mike Monroney of Oklahoma, Warren G. Magnuson of Washington, and William Proxmire of Wisconsin, all Democrats

Mr. Thomas A. Burhard, executive vice president of Airport Operators Council of Washington, D.C.

Lloyd Goodmanson, supersonic transport project engineer, Boeing Aircraft Co., Seattle, Washington

Dr. Taft Russell, president of Applied Electronics Corporation, New Jersey

Colonel Robert Patterson of the U.S. Air Force Surgeon General’s staff, and jet pilot in supersonic aircraft

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Associate Producers: Edward Hymoff and Andy Stern

At Issue #31: The View from Brazil Broadcast Date: May 4, 1964 RT: Description Brazil’s newly appointed Minister of Planning Roberto Campos contended tonight that there was less violence during the recent revolution in his country than there has been in the United States civil rights struggle.

While reacting to questions on the direction and the methods of the new Brazilian government, Mr. Campos said, “I would say … there has been less violence and bloodshed in Brazil than there has been in the United State on the Negro issue, and clearly Negroes there are not enemies of democracy. So, we have managed, with very little, if any, physical violence, and I would say, even with less deprivation of civil rights than there has been for years in the United States on this question of the racial issue.”

Mr. Campos said, “There was an initial moment of revolutionary fervor in which come excesses were committed. But those excesses, clearly, are much less than those which could be committed were it not for the fact that this march into economic chaos and destruction of democratic rights were to continue. And, in fact, I don’t think the Americans should be particularly self-righteous on this score.”

Mr. Campos was interviewed by Juan Deonis, foreign correspondent of the New York Times and Nathan Miller, correspondent for the Baltimore Sun.

In reference to Brazil’s agricultural problems, Mr. Campos said the “government has already announced its intention of going ahead with a realistic and democratic reform. By realistic, I mean a land reform that takes into account the enormous variety of regional conditions…. The solution is complex…but I must say there is seriousness now in this purpose.”

As for the government’s plan in urban reform, Mr. Campos said, “The approach to the problem of urban reform would be largely through the restoration of incentives for popular saving, designed specifically to housing.”

Mr. Campos said, “We shall make time” to do all the present government has set out to do in view of the promise of a new presidential election in October 1965.

Also appearing on the program was Erico Verissimo, leading Brazilian novelist and social commentator. Mr. Verissimo was interviewed at his home by N.E.T.’s Alvin Perlmutter.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #32: NATO at the Crossroads Broadcast Date: May 11, 1964 RT: 28:50 Description: This program examines the North Atlantic Treaty Organization structure in view of recent proposals by French President General Charles de Gaulle to reorganize and reform the Alliance within its high command.

AT ISSUE units will explore the most recent moves in regard to N.A.T.O. by interviewing military and political representatives who will be attending a conference on N.A.T.O. May 7-8 in Washington, D. C.

The guests who will be appearing are:

Professor Hans Morgenthau, director of the Center for the Study of American Foreign and Military Policy at the University of Chicago

Sir John Slessor, marshal of the Royal Air Force and vice president of Strategic Studies, London England

General Andre Baufre of the French Army, retired director of the French Institute for Strategic Studies

Hendrik Brugmans, rector of the College of Europe, Bruges, Belgium, and student of NATO problems.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Leonard Zweig

At Issue #33: Innocent by Reason of Insanity -- The Psychiatrist in Court Broadcast Date: May 18, 1964 RT: 28:55 Description #1: This program examines the validity and the relation and effects of psychiatric evidence in criminal court trials. This issue was one of the main focal points of controversy in the Jack Ruby trial.

Appearing in the program of separate interviews will be:

Guests: Melvin Belli, defense attorney in the Jack Ruby trial who was later fired after Ruby was convicted.

Henry Wade, Dallas District attorney, prosecutor in the Ruby trial.

Dr. Thomas Szasz, professor of psychiatry at the State University of New York Upstate Medical Center in Syracuse, and author of Law, Liberty and Psychiatry.

Dr. John Lanzkron, assistant director of Matawan State Hospital of the Criminally Insane in Beacon, NY.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Hoard Felsher

Description #2: New York City….An eminent New York psychiatrist charged that psychiatrists – as professionals – “have no business in the courtroom.

Dr. Thomas Szasz, professor of psychiatry at the Upstate Medical Center in Syracuse said on National Educational Television network’s “At Issue,” that his view about psychiatric testimony in a courtroom is, “in a sense, radical.” He said “psychiatry, as a quasi-technical disciple, has no place in the courtroom. It obscures and degrades the administration of justice, and I think it degrades the defendant.”

Dr. Szasz, author of “Law, Liberty and Psychiatry,” said he doesn’t believe there is such a thing as insanity. “The whole notion is a mythical one. It’s to my mind … a modern equivalent of a witch trial,” he said.

Also appearing on the program were Melvin Belli, San Francisco defense attorney in the Jack Ruby trial; Henry Wade, Dallas District attorney, and prosecutor in the Ruby case; and Dr. John Lanzkron, assistant director of Matawan State Hospital for the Criminally Insane in Beacon, NY.

The program, which dealt with the insanity plea in a court trial and the relation and effects of psychiatric evidence in court, was broadcast across the country on the N.E.T. network of 82 affiliated non- commercial stations.

Dr. Szasz contended that “no one is capable of committing a more or less complex anti-social criminal act without knowing what he is doing. I do believe that some people are sometimes unconscious or in rather a disorganized sate, but in proportion as they are unconscious…they are also incapable of acting in complex ways. In the Ruby case, after all, he (Ruby) did kill Oswald. He didn’t kill one of the other policemen. If he was in some kind of seizure so that he didn’t know what he was doing, how come he shot this particular man; how come he went to the police station; how come he didn’t leave his gun in the car?”

Mr. Wade agreed with the psychiatrist on a qualifying basis that “under our right and wrong test that there are very few crimes that the defendant doesn’t know what he’s doing. However, there are many crimes that are committed by people who are actually insane, that don’t know right from wrong. I recognize that.”

Mr. Wade and Mr. Belli both agreed that the insanity plea is abused by defense attorneys. Mr. Wade said “It’s kind of a figment of the imagination of most defense lawyers when they have no other defense.” Mr. Belli said, “It’s abused both ways…But it’s abused more the other way … The jury has been so tuned in on some of the TV shows that they’re inclined to disregard the plea of mental illness. We’re not abusing it. The jurors are abusing it.”

During the opening portion of the program, Dr. Lanzkron illustrated a simulated sanity hearing.

“At Issue” is a 1964 National Educational Television production. Alvin Perlmutter is the executive producer. Howard Felsher is the producer.

At Issue #34: The Defense Cutback Broadcast Date: May 25, 1964 RT: 28:37 Description: This program looks into recent announcements made by U.S. Secretary of Defense Robert McNamara concerning the economies that will be affected through the closing of some military bases in the United States. AT ISSUE will look at several areas that will be affected by these cutbacks and will examine how these communities plan to cope with the news of the cutback and what these communities plan to do to recover from the economic loss.

In particular, camera crews will examine two areas: the Waterton Arsenal in Watertown, Massachusetts, the largest military installation to be closed, and an air frame construction center in Wichita, Kansas, where cutbacks are not new. Units will also visit naval shipyards in Boston, Philadelphia, and New York.

The program will include interviews with congressional leaders in Washington, defense department representatives, and workers.

Guests: U.S. Representative Bradford F. Morse of Massachusetts (R)

U.S. Senator George McGovern of South Dakota (D)

General James McCormack, vice president of the Massachusetts Institute of Technology, Cambridge, Massachusetts

James Kennedy, laboratory manager of the Avco Corporation research laboratory in Everett, Massachusetts

Donald F. Bradford, director of the office of economic adjustment in the U.S. Defense Department

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Andy Stern

At Issue #35: Experiment in Ignorance Broadcast Date: June 1, 1964 RT: 28:46 Description: This program deals with the Supreme Court decision of Monday, May 25, in which the court ruled that Prince Edward County, Virginia, must reopen its public schools – closed since 1959 to avoid integration. The program will include on-the-spot coverage and interviews of reactions of citizens of Farmville, Virginia, members of the Free School Association in Farmville, as well as persons involved in the case and issue.

Guests: J. Barrye Walle, editor and publisher of the Farmville Herald and a member of the Board of the Prince Edward Academy (a private, white only school)

Mr. R. Pearson, chairman of the Board of the Prince Edward Academy

Rev. L. Francis Griffin, head of the NAACP for Virginia

Dean C. Gordon Moss, Dean of Longwood State Teachers College for Women in Farmville

Dr. James B. Cooley, principal of the Prince Edward Country free school association Board

Dick Moss (son of Dean Moss), the only white student in the graduating class

At Issue #36LBJ: How the Press Was Won Broadcast Date: June 8, 1964 RT: 28:55 Description #1: National Educational Television’s weekly public affairs series, “At Issue” will present a special report on President Lyndon B. Johnson, “The President from Texas,” across the country.

The “At Issue” report is the second special program National Educational Television is offering to its national audiences in the aftermath of the tragic death of President John Fitzgerald Kennedy.

“At Issue: The President from Texas” – videotapes in and near Austin, Texas – is a half-hour examination of the nature of the changes facing Washington and national policy, and the probable influence of Mr. Johnson’s Texas background on his conduct of national affairs.

During “The President from Texas,” commentator Ronnie Dugger, editor of the bi-weekly Texas Observer, will talk to J. Frank Dobie, veteran writer and observer of Texas and Southwest affairs; Dr. Robert Montgomery, professor of economics at the University of Texas, Donald Scott Thomas, lawyer and President Johnson’s attorney for business matters; and A. W. Moursund, close friend and neighbor of President Johnson.

Description #2: A distinguished group of newspapermen examine the press and public relations techniques of President Johnson and how he had wooed the press.

Guests who will appear are:

Art Buchwald, syndicated columnist for the New York Herald Tribune

Merriman Smith, White House correspondent for United Press International

Russell Baker, columnist for the New York Times

Arthur Hoppe, columnist for the San Francisco Chronicle

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Andy Stern

At Issue #37: The Promise of the College Graduate -- From Rhetoric to Reality Broadcast Date: June 15, 1964 RT: 28:09 Description: This program contrasts the ideals and promise of opportunities against the real world which will confront thousands of college graduates this summer.

AT ISSUE teams cover several graduation ceremonies which feature commencement addresses by several distinguished American dignitaries and interview students, businessmen, industrial recruitment personnel and vocational guidance counselors.

Highlights of commencement speeches include those of Carl Rowan, director of the United State Information Agency, at Howard University; Governor John Connally of Texas at the University of Houston; eminent journalist Walter Lippmann at Boston University; New York Times columnist James Reston at Brandeis University; Sargent Shriver, director of the Peace Corps at Providence College, Rhode Island; and U.S. Ambassador to the United Nations Adlai Stevenson at Colby College in Maine.

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Morton Silverstein

At Issue #38: Mr. Ambassador Broadcast Date: June 22, 1964 RT: 29:00 Description: No description available

At Issue #39: The Fight for an Equal Vote Broadcast Date: June 29, 1964 RT: 29:09 Description: No description available

At Issue #40: Mississippi – A Conversation with James W. Silver Broadcast Date: July 6, 1964 RT: 28:55 Description: Professor James W. Silver of the University of Mississippi one of the South’s most severe critics of segregation, will give his views on the racial crisis in Mississippi and the prospects for integration there.

Professor Silver came into the national spotlight two years ago when he defended the admission of James Meredith at the University of Mississippi. He was verbally denounced by members of the state legislature and threatened with suspension.

“At Issue” camera teams traveled to Oxford, Mississippi to record a dialogue between Professor Silver and Ronnie Dugger, editor and general manager of the Texas Observer, a bi-weekly newspaper in Austin, Texas.

In his recent highly praised book “Mississippi: The Closed Society,” the controversial professor writes that the state has turned in upon itself and has built an invisible wall to protect itself from the ultimate changes underway outside of its border. A southerner by adoption, Professor Silver has taught history at the University of Mississippi since 1936.

“At Issue” is broadcast across the country on the National Educational Television network of 82 affiliated non-commercial stations.

Executive producer: Alvin Perlmutter Producer: Andrew Stern

At Issue #41: After De Gaulle RT: 29:12 Broadcast Date: July 13, 1964 Description: The emerging political opposition to General Charles de Gaulle, his policies, and the possible effects of the upon the outcome of the December 21, 1965, presidential election in France are examined in this program. From Marseilles, Lyons, and Paris, AT ISSUE reports the diverse views of leading French political figures and, for the first time on television, shows how Gaston Defferre’s candidacy for presidency was started.

Guests: Gaston Defferre, mayor of Marseilles and French Socialist candidate for President. Mayor Defferre announced his candidacy for that office in December, 1963

Jean le Canuete, president of the Movement Republican Populaire Party

Jacques de Hamel, spokesman for the Radical Socialists

Jean Ferniot, political editor of L’Express, who tells the story of Defferre’s candidacy

Dr. Alfred Grosser of the political science faculty at the Sorbonne; He is interviewed by producer Andrew Stern.

Commentator: Alvin Perlmutter

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Andrew Stern

At Issue #42: A Conversation with Willard Wirtz Broadcast Date: July 20, 1964 RT: 29:30 Description #1: From Washington, DC, AT ISSUE will present a half-hour interview with U.S. Secretary of Labor, Willard Wirtz. Secretary Wirtz will assess the progress being made by the Department of Labor with the President’s anti-poverty program. He will also discuss the government’s role in collective bargaining in light of the current negotiations between the United Auto Workers and the automobile industry and the strength of labor and management in the business world today.

Host: John Grimes, labor reporter with the Washington Office of the Wall Street Journal

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Andrew Stern

Description #2: U.S. Secretary of Labor, W. Willard Wirtz tonight (Wednesday, July 22) called for a “careful rationing of intervention” by government in labor-management disputes, a retraining program for workers displaced by machines, a drastic cut in the nation’s unemployment rate, and a solution to the growing high school drop-out problem.

Secretary Wirtz emphasized these points on National Educational Television’s “At Issue,” which was broadcast across the country on the N.E.T. network of 82 affiliated non-commercial stations. He was interviewed by John Grimes, labor reporter for the Wall Street Journal.

“Although there’s a price wherever the government steps in, it seems quite important that careful rationing of intervention, if you will, which lets a private dispute go to a certain point but then steps in to prevent it’s going to a point where there would be legislative enactment,” said Secretary Wirtz.

He said that neither Congress nor the country wants to resort to legislation to solve labor disputes.

Secretary Wirtz ruled out government participation in the settlement of the current United Auto Worker negotiations with the automobile industry and said collective bargaining “is becoming a more responsible, a more reasonable procedure than it was before.”

While pointing out that a vigorous economy is entirely dependent upon automation, the Labor Secretary said “We’ve got to recognize the fact that automation does move some people out of their jobs.”

“The number of jobs is going up all the time,” he continued. “The trouble is that automation takes one man’s job away from him and creates another job, and we’ve got to do what’s necessary to move that first man into a position to take the second job. That means more education; that means a training program.”

Mr. Wirtz expressed deep disappointment about the continuing high rate of unemployment and the growing school drop-out problem.

He said he hopes to have the unemployment rate under five percent by the end of the year but added “five percent is a completely unsatisfactory unemployment figure. So is four percent.”

He sees two solutions to the unemployment problem: legislation like the recent tax bill which he called “one of the most significant advances we’ve made in meeting this problem,” and a training program for unskilled workers who must move into skilled jobs.

“As things now stand,” he said about the drop-out problem, “8 ½ million will have dropped out of school before they finish high school. My largest disappointment is in not being able to get across publicly the fact that what we’re doing when we’re failing to educate the younger boys and girls is committing then, to economic suicide.”

“At Issue” is a 1964 National Educational Television production. Alvin Perlmutter is the executive producer. Andrew Stern is the producer.

At Issue #43: A Conversation with Stewart Udall Broadcast Date: July 27, 1964 RT: 29:15 Description: For the second consecutive week, At Issue will present a half hour interview with a member of the President’s cabinet. This program will present an interview with U.S. Secretary of the Interior, Stewart Udall. In the interview, conducted by Julius Duscha, political report from the Washington Post, Mr. Udall will appraise the rise of conservatism in his home state of Arizona, the current wilderness bill, the development of the Pacific-Northwest power project to serve the California area, and water and land conservation progress in the United States.

At Issue #44: The Negro Voice, Part I Broadcast Date: August 3, 1964 RT: 28:57 Description: Four guests are being brought to New York City by N.E.T. to discuss in front of AT ISSUE’s cameras their own local civil rights problems. As you know, in cities across the nation, city officials are talking with civil rights leaders in an effort to stop rioting like the rioting that has occurred in New York.

The four guests are:

Albert Raby, a leader of the Coordinating Council of Community Organizations in Chicago

Rev. Eugene Callender, co-chairman of the Harlem Neighborhood Association, in New York City, and one of the leading Negro leaders who, along with Rev. Martin Luther King and others civil rights groups has agreed to curtailment of mass picketing until after the presidential election.

Aaron Henry of Clarksdale, Mississippi, druggist and National Association for the Advancement of Colored People leader in that state

D.G. Gibson (correct spelling) of Oakland, California, administrative assistant to the Democratic State Assembly members

The guests will discuss who is speaking for the Negro, how effective is the current leadership, can the Negro struggle for equal rights be accomplished on the national level, and how popular among Negroes is the idea of a militant approach.

At Issue #45: The Negro Voice, Part II Broadcast Date: August 10, 1964 RT: 29:23 Description: In the second part of AT ISSUE’s investigation of the views of local Negro civil rights leaders about the violence and civil rights struggles that have challenged the nation, a panel of four distinguished Negro guest will discuss what the Negro youth think of the “what backlash” reaction; the progress of Negro voter registration drives; the concerted effort of national Negro civil rights leaders to stop violent rioting and the effect of this upon any future demonstrations; and what the new Civil Rights Act means to the civil rights movement with respect to any future objectives.

Guests: Rev. Eugene Callender, co-chairman of the Harlem Neighborhood Association, in New York City, which has pressed for better housing, education, and economic opportunities in our nation’s largest city.

Albert Raby, a leader of the Coordinating Council of Community Organizations in Chicago, a council that embraces 26 Chicago organizations.

Aaron Henry of Clarksdale, Mississippi, druggist and National Association for the Advancement of Colored People leader in that state

D.G. Gibson (correct spelling) of Oakland, California, administrative assistant to the Democratic State Assembly members

Moderator: Ted Poston, reporter with the New York Post, who has covered recent rioting in Harlem

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter

At Issue #46: Goldwater: The European Response Broadcast Date: August 17, 1964 RT: 29:10 Description: AT ISSUE units traveled to England, France, and Germany, to present an on-the-spot report of European reaction to the conservative movement in the United States and in particular the nomination of U.S. Senator Barry Goldwater as Republican standard-bearer for president. In this examination, AT ISSUE presents the viewpoints of distinguished managing editor of Der Spiegel, the German news magazine whose interview with Senator Goldwater caused an uproar at the GOP convention. The magazine story quoted Senator Goldwater as saying he would turn the problem of South Vietnam over to the Joint Chiefs of Staff, and that he could not beat President Lyndon Johnson at that time.

Guests:

From Germany Conrad Ahlers, managing editor of Der Spiegel

Peter Boenisch, chief editor of Bild-Zeitung, largest daily newspaper on the European continent

Countess Marion Donhoff, deputy chief editor and head of the political section of the liberal weekly Die Zeit

From England Malcolm Mauggeridge, widely published journalist and former editor of Punch

Eldon Griffiths, former correspondent for Newsweek magazine in London and speech writer for British Prime Minister Sir Alec Douglas-Home

Robert Telford McKenzie, political scientist, London School of Economics

From France: Raymond Aron, columnist for Le Figaro

Jean-Jacques Servan-Schreiber, editor and publisher of L’Express newspaper

Michel Gordey, political columnist for France-Soir

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: Andrew Stern

At Issue #47: The Kiddie Market Broadcast Date: August 24, 1964 RT: 28:58 Description: AT ISSUE explores the strongly debated question regarding methods of advertising slanted toward children. This program examines whether advertising medias are abusing the children of the country through the techniques used to sell them products. To cover the issue, camera crews of AT ISSUE visit with advertising agency representatives, with market researchers to see how they determine what appeals to children, and with housewives, broadcasters and spokesmen of organized groups favoring or opposed to advertising for children.

Guests: Newton N. Minow, former chairman of the Federal Communications Commission and executive vice president and general counsel of Encyclopedia Britannica

Dr. Colston E. Warne of Mt. Vernon, New York, and president of the Consumers Union

Dr. Stockton Helffrich, director of the New York office of the National Association of Broadcasters Code Authority

A.D. Buchmeuller, executive director of the Child Study Association of America, New York City

Mrs. Marguerite Lewis, head of the Audio-Visual Branch of the New York State Parent- Teachers Association

Dr. Karl Easton, a director of the New York City Department of Welfare, and a child psychiatrist

Sonny Fox, television star and producer of children’s shows, New York City

Arturo Gonzalez, fee lance magazine writer who has written several articles about advertising and the youth market

Sol Waring, vice president of Helitzer, Waring, Wayne Advertising Agency, New York city

Robert L. Young, publisher of Jack and Jill children’s magazine, New York City

Eugene L. Reilly of New York City, a market research expert

Mrs. Edward Chase, a representative of the National Council of Women

Mrs. Esther Peterson, president of the Council on Consumer Interests, Washington, DC

Mr. Mabel Lewis, Mrs. Alverte Devore, Mrs. Felicia Nieves, Mrs. Marguerita Hernandez, Mrs. E. M. Look, Mrs. Sandra Ripley, Mrs. Alice Daniel – housewives from New York City

AT ISSUE A 1964 National Educational Television production Executive producer: Alvin Perlmutter Producer: David Englander

At Issue #48: Attack on the Court Broadcast Month & Year: October 1964 RT: 58:20 Description #1: In the first of AT ISSUE’S monthly hour-long programs, a host of prominent guests examine the United States Supreme Court and the stormy controversy surrounding it.

Senator Paul Douglas (D. Illinois), Senator Everett Dirksen (R. Illinois), Senator Wayne Morse (D. Oregon), Rep. William Tuck (D. Virginia), and former U. S. Attorney General Francis Biddle, in separate interviews, take a hard look at the Court’s recent ruling on the mandatory reapportionment of state legislatures. The five men also comment on the Court’s role as an institution, its position in the struggle between liberals and conservatives in the U.S., and the heavy fire it has come under from its right wing critics.

Joseph Rauh, a former law clerk to Supreme Court Justices Benjamin Cardozo and Felix Frankfurter, Thomas Corcoran, a former law clerk to Justice Oliver Wendell Holmes, and Gene Gressman, a former law clerk to Justice Frank Murphy, describe the men they served and recall the manner in which each of these judges conducted himself in the Court.

A trio of distinguished law professors – Philip Kurland of the University of Chicago Law School, Charles Black of the Yale Law School, and Paul Freund of the Harvard Law School – assess the role of the Supreme Court in today’s society with respect to the responsible criticism which has been leveled at it, and the possible need for its limitation or expansion.

Concluding this extensive analysis of the Supreme Court, Wes McCune, director of Group Research, Inc., an organization engaged in studying literature published by the nation’s right wing extremist groups, examines the “smear” literature distributed by these groups aimed at the Supreme Court and its justices.

AT ISSUE: ATTACK ON THE COURT, a 1964 production of National Educational Television. Executive producer: Alvin Perlmutter Producer: Andrew Stein Director: Robert Squier

Description #2: National Educational Television’s new, expanded hour-long “At Issue” series premieres tonight across the country with an extensive analysis of the Supreme Court and the storm of controversy surrounding its judges and their decisions.

“At Issue” will make use of its increased length to emphasize in greater detail and with wider scope the timely, provocative issues of concern to the American public. These issues will range from legislation before the Congress and the internal dynamics of American government to economic and social problems. For the past year “At Issue” has been a half-hour, weekly program.

On the premiere hour-long program, “At Issue: Attack on the Court,” Senator Everett Dirksen (R. Illinois), Senator Paul Douglas (D. Illinois), Senator Wayne Morse (D. Oregon), and a number of other prominent guests participate in a close-hand examination of the Supreme Court on the very day (Monday, October 5, 1964) the Court reconvenes.

Joining Senators Dirksen, Douglas, and Morse are Representative William Tuck (D. Virginia), and Francis Biddle, a U.S. attorney general during the final administration of President Franklin D. Roosevelt. In separate interviews, the five men pay particular attention to one of the most controversial rulings made by the Court in recent years – the decision to make mandatory the reapportionment of state legislatures throughout the nation.

In addition, they discuss the Supreme Court’s role as an institution, its position in the current struggle between liberals and conservatives, and the heavy wave of criticism leveled upon its judges by right- wing extremist factions.

Through reminiscences, anecdotes, and other recollections, three men who, at one time, served as law clerks in the Supreme Court weave intimate portraits of the justices under whom each served, and recall the manner in which these judges conducted themselves in the Court. The three are Joseph Rauh, celebrated counsel for the Mississippi Freedom Delegation to the 1964 Democratic National Convention and one-time clerk to Justice Benjamin Cardozo and Felix Frankfurter; Thomas Corcoran, a familiar New Deal figure and one-time clerk to Justice Oliver Wendell Holmes; and Gene Gressman, one-time clerk to Justice Frank Murphy.

The role of the Supreme Court in today’s modern society is assessed by a trio of distinguished professors of law – Philip Kurland, University of Chicago Law School; Charles Black, Yale Law School; and Paul Freund, Harvard Law School. They examine much of the responsible criticism which has been aimed at the court today, and consider the possible need for expanding or limiting the present Court.

Rounding out this incisive exploration of the Supreme Court, Wes McCune, director of Group Research Inc, an organization responsible for investigating material published by the extreme right-wing groups in this country, discusses the “hate” and “smear” literature circulated by these groups to malign the court and its judges.

“At Issue: Attack on the Court” is being shown across the country on the National Educational Television network. The executive producer is Alvin Perlmutter. The producer is Andrew Stern and the director is Robert Squier.

At Issue #49: Police Power Broadcast Month & Year: November 1964 RT: 58:56 Description: The hour long public affairs program probes deeply into the question of what the proper powers of the police are in a modern democratic society.

A panel of experts on criminology and law enforcement procedures participates in an extensive analysis of many of the major concerns regarding police authority in the United States today. Subject matter under consideration includes the problems that confront the police in carrying out assignments, the conflicts between civil liberties and police methods, the ability of the police to effectively and legally protect the public with the tools at their disposal, the attitudes of the police and public toward one another, and the question of whether recent Supreme court decisions, generally favoring civil liberties, have seriously hampered police authority.

Gresham Sykes, a criminologist and executive director of the American Sociological Association, Washington, DC, is the moderator for the discussion. He is joined by O.W. Wilson, former dean of criminology at the University of California at Berkeley, now the superintendent of the Chicago police department; Yale Kamisar, professor of law at the University of Minnesota Law School, and a visiting professor of police science at Long Beach State College, California; and Fred E. Inbau, professor of law at Northwestern Law School, Illinois.

In addition, AT ISSUE: POLICE POWER presents an exclusive interview with Danny Escobedo, a young Chicagoan who was the center of a recent stormy Supreme Court ruling. Mr. Escobedo, without benefit of legal counsel, confessed to being an accessory to murder, and spent four years in prison. The Court ruled that his confession and others which have been extracted without legal advice are not admissible as evidence in a court of law.

The monthly program also takes its cameras to New York, Georgia, Illinois, New Mexico, Nebraska and other states to get the man-on-the-street’s opinion regarding the effectiveness of today’s police forces and their methods.

AT ISSUE: POLICE POWER A 1964 production of National Educational Television Executive Producer: Alvin Perlmutter Producer: Andrew Stern Associate Producer: Lois Shaw

At Issue #50: The Noisemakers Broadcast Month & Year: December 1964 RT: 59:05 Description: This month’s AT ISSUE surveys the growing number and variety of unpleasant sounds that are plaguing the American public today. Through narration, still photographs, film footage, sound recordings, and interviews with experts, the program views America’s acute noise problem, its many causes, the physiological effects, and the steps being taken to curtail it.

THE NOISE-MAKERS lays much of the responsibility for the country’s increased noise level on modern advances in technology (e.g. jet airplanes), the population increase resulting in new, but “thin-walled” apartment construction, the proliferation of noisy household appliances (e.g. vacuum cleaners, dishwashers), and the growth of the trucking industry and automobile traffic. According to Dr. Samuel Rosen, a prominent New York ear surgeon who appears on the program, this rising noise level is responsible for a great increase in the loss of hearing.

The program looks at areas in America where the effects of noise have had their greatest impact. For instance, in the southern part of San Francisco viewers see houses that have been literally shaken to pieces by the noise of jet airplanes flying overhead. A renting agent in New York City describes the complaints of tenants concerning the flimsy protection modern apartment dwellings afford them against outside noise. New York City Housing Commissioner, Harold Birns leads substance to these claims by charging that apartments offer little refuge against “the alien contraptions which incessantly seek to attack and destroy man’s nervous system.”

The suburbs, once considered the hub of peace and quiet, have not been spared from the growing profusion of noise. According to a “noise” consultant, power mowers, chain saws, garbage trucks, road construction work, and commercial trucking have made the country’s suburbs sound almost as noisy as some of its big cities.

Efforts are being made to reduce the noise level. Leo Beranek of Bolt, Beranek, and Newman, an acoustical consultant firm, describes how noise is transmitted, the various devices such as noise cushions that can be employed to reduce it, and the relative costs of such devices. Professor Cyril Harris of Columbia University, the president of the American Acoustical Association, points out that economics is the basis of the issue, and that noise can be suppressed effectively if dealt with at the source. However, he also notes that the technical problems are great and the constitutional restrictions, perhaps, even greater.

AT ISSUE: NOISE-MAKERS also examine the legal restriction and their degree of enforcement in handling the noise problem. Focused on are New York and California laws which regulate the degree of noise permissible in industry, the provisions regarding noise that are currently being written in New York City’s building code, and the successful efforts of Memphis, Tennessee’s police and traffic departments to make that city one of the quietest in the nation. However, the overall picture shows that the number of anti-noise laws is inadequate, and the enforcement of those in effect is at best, spotty.

Wolf von Eckart, architectural critic for The Washington Post, sums up the cultural implications of noise in America by concluding that it is “detrimental to the art of living.”

AT ISSUE: THE NOISE-MAKERS A 1964 production of National Educational Television Executive producer: Alvin Perlmutter Producer: Andrew Stern Associate producer: Lois Shaw Writer: John O’Toole

At Issue #51: Quiet Conflict, Brunswick, GA Broadcast Month & Year: January 1965 RT: 59:57 Description #1: This month AT ISSUE examines the racial attitude of a traditional Southern city, six months after the passage of the Civil Rights Act.

Brunswick, GA., a city of 23,200, has a Negro population numbering 41 percent. Like many other cities and towns in the South, some degree of desegregation has been achieved in Brunswick. The difference in this Georgia city is that the civil rights progress made to date has been conspicuous by its lack of violence.

Produced entirely on location, AT ISSUE: BRUNSWICK, GA – THE QUIET CONFLICT, probes the factors responsible for Brunswick’s peaceful desegregation methods and considers the prospects for its continuance in the future.

Probably, the most important factor cited to date is economics. Tourism and big industry are major livelihoods in Brunswick, and the people are well aware that outbreaks of racial violence would only serve to destroy the tourist trade, and to drive industry from the region. Significant as well have been the efforts of local officials working together with members of the local NAACP Chapter to keep open the lines of communication s between the two races. Notable in this regard is the bi-racial committee now operating in Brunswick, composed of members of the city’s white and Negro chambers of commerce.

To say that Brunswick’s attempts at peaceful desegregation have gone unopposed would be incorrect. The Glynn County Citizens Council, a white citizens group, has fought federal intervention and other civil rights attempts every step of the way. However, most of Brunswick’s Caucasians, though not necessarily favoring desegregation, are slowly accepting the fact that it must come, and while progress toward integration has not been spectacular, it has been achieved quietly, with dignity, and without publicity.

To put into perspective the effects of desegregation efforts in Brunswick, AT ISSUE focuses its cameras on the people and places in the city that have felt the greatest impact on the QUIET CONFLICT. Among those interviewed on the spot are Brunswick’s City Manager Bruce Lovvern and Mayor Joseph Mercer, two white moderates; the Reverend Julius Caesar Hope, the president of the Brunswick NAACP chapter; Bill Williams, a member of the Glynn County Citizens Council; Catherine Gibbs, a Negro woman who helped found the local NAACP chapter 35 years ago; Dr. and Mrs. J. C. Wilkes, a Negro couple who live at Jekyll Island, a previously all-white community, and whose baby was the first Negro born in the white section of Brunswick’s hospital.

AT ISSUE: BRUNSWICK, GA – THE QUIET CONFLICT is a 1964 National Educational Television production. Executive producer: Alvin Perlmutter Producer: Andrew Stern Associate Producers: Lois Shaw and Robert Squier Director: Robert Squier

Description #2: Six months after passage of the Civil Rights Act, “At Issue” candidly evaluates the peaceful manner in which one Southern city is copy with the Negro’s struggle for desegregation on “Brunswick, GA – Quiet Conflict.”

Like many other Southern communities, Brunswick, GA, has taken steps toward desegregation. Though much still remains to be done, what makes Brunswick’s approach to racial problems unique is that it is being conducted through peaceful means.

N.E.T. executive producer, Alvin Perlmutter, crystallizes the story of Brunswick by taking his cameras and microphones into every part of the Georgia city to learn first-hand how a city, steeped in the tradition of the South, could achieve even partial desegregation without violence – and without publicity.

One of the major factors focused on by the producer in the videotape documentary is the economic status of Brunswick. The Negro community numbers nearly fifty percent of the total population, giving them considerable economic influence. In addition, the white people of Brunswick, though not necessarily favoring integration, are fully aware that tourism and big industry, the city’s business mainstays, would be driven away should racial violence break out.

Another factor considered on the N.E.T. program is the joint effort being made by local government officials and the city’s Negro leaders to maintain open lines of racial communication. As an example, a bi-racial committee, composed of members of Brunswick’s white and Negro chambers of commerce, has been set up to deal with the desegregation issue.

Rounding out the study of the Brunswick racial picture, “At Issue” takes a close look at the opposition to the civil rights movement – the Glynn County Citizens Council. The Council, a white citizens group, contends that the federal government has no role in Brunswick’s desegregation efforts, and that the community should be left to deal with the matter as it sees fit.

Among those presenting the views of Brunswick’s major factions on the program are City Manager Bruce Lovvern and Mayor Joseph Mercer, white moderates instrumental in the peaceful integration process; the Reverend Julius Caesar Hope, the leading Negro spokesman and the president of the local NAACP chapter; Bill Williams, a member of the Glynn County Citizens Council; Catherine Gibbs, a co- founder of the Brunswick NAACP, and Dr. and Mrs. J. C. Wilkes, a Negro couple who now live in one of Brunswick’s previously all-white areas, and whose baby was the first Negro born in the city hospital’s white section.

“At Issue: Brunswick, GA – Quiet Conflict” is being broadcast across the country on National Educational Television’s network of 89 affiliated non-commercial stations. The producer is Andrew Stern, and the associate producers are Lois Shaw and Robert Squier. The director is Robert Squier.

At Issue #52: Medical Care: Are we getting the Best? Broadcast Month & Year: February 1965 RT: 58:50 Description: AT ISSUE focused on the quality of medical care in the United State today by eliciting the opinions of experts, primarily physicians, on both sides of the question – experts who believe medical standards are woefully inadequate or unsafe, and experts who believe them to be the best possible.

Dr. Martin Cherkasky, director of the Montefiore Hospital, New York City, charges that “American medical care ranges from the superb to the unsafe, the unscientific, and the unsound.” He indicts hospital care, especially in private institutions, as being either “excellent or abominable.”

Dr. Ray Trussell, New York City Commissioner of Hospitals, reveals that inept proprietary hospital laboratory services have led to the death of many patients.

Dr. David Rutstein, head of the Department of Preventive Medicine, Harvard University charges that our infant mortality rate – twenty-five out of every thousand babies die every year – is a “national disgrace” and refutes the American Medical Association’s statement that we are the healthiest nation in the world.

Jan de Hartog, author of “The Four Poster,” how served as a voluntary orderly in a charity hospital in Houston, Texas describes conditions that she found “as shocking as Florence Nightingale must have seen when she first lifted her lamp to reveal bestial suffering.”

In addition, patients are interviewed who bitterly criticize the indifference and ineptness of the care given them during their illnesses.

On the other side of the medical conflict are the views of Dr. Donovan Ward, president of the American Medical Association. Dr. Ward states his belief that the quality of medical care in the U.S. today is excellent, but that there is room for improvement. The A.M.A. president also discusses his organization’s use of economic reprisals against doctors found to be medically lax as well as his views on Medicare, and President Johnson’s recommendations for clinics to treat heart disease, cancer, and stroke.

The hour long program also considers the role of “the vanishing American” – the country doctor and visits the emergency wards in Harlem and Morrisania Hospitals in New York, the pediatric ward in Edgewater Hospital, Chicago, and group practice clinics in Detroit and Russelton, Pennsylvania.

AT ISSUE #52: MEDICAL CARE – ARE WE GETTING THE BEST? is a 1965 production of National Educational Television. The executive producer is Alvin Perlmutter. The producer is Mort Silverstein and the director is Robert Squier.

At Issue #53: President and the News Broadcast Month & Year: March 1965 RT: 58:50 Description #1: This month AT ISSUE features an extensive assessment of the relationship between the president and the press during the Kennedy and Johnson administrations.

Highlight of the program is an exclusive interview with Pierre Salinger, White House press secretary for the late President John F. Kennedy. Mr. Salinger discusses his role in President Johnson’s decision to hold diversified kinds of press conferences, White House news policies during the Kennedy administration, the delicate relationship between the president and the press, President Kennedy’s attitude toward newsmen, and the sources of news other than the president available to Washington reporters during the Kennedy years. AT ISSUE producer Andrew Stern conducts the interview with the former White House press secretary.

Following the interview, four Washington correspondents discuss current criticisms of President Lyndon Johnson’s handling of the press. The newsmen are Alan Otten, Wall Street Journal; Ben Bagdikan, Saturday Evening Post; Douglas Kiker, New York Herald Tribune; and Philip Potter, Baltimore Sun.

AT ISSUE: THE PRESIDENT AND THE NEWS A 1965 production of National Educational Television Executive producer: Alvin Perlmutter Producer: Andrew Stern

Description #2: Pierre Salinger appears in an exclusive interview when National Educational Television assesses the deepening rift between President Lyndon Johnson and the press on “At Issue: The President and the News.”

Mr. Salinger, White House press secretary for the late President John Kennedy, offers revealing insight into the process of White House news disseminating during both the Kennedy and Johnson administrations. The former presidential press aide discusses his role in President’s Johnson’s decision to hold diversified press conferences; the value of the presidential press conference, the sensitivity of the relationship between the president and the press; news policies during the Kennedy years; and the late president’s attitude toward the fourth estate.

Following the interview, four prominent Washington news correspondents examine the current controversy surrounding President Johnson’s handling of the press. The newsmen are Alan Otten, Wall Street Journal, Ben Bagdikan, Saturday Evening Post; Douglas Kiker, New York Herald Tribune, and Philip Potter, Baltimore Sun.

Discussion by the quartet covers such topics as the charge that the President’s back grounding sessions are often misleading and useless, the need for regularly scheduled, pre-announced presidential news conferences, and the lack of available Washington news sources other than the President himself.

“At Issue: The President and the News” will be broadcast across the country on the National Educational Television’s network of 90 affiliated non-commercial stations. The executive producer is Alvin Perlmutter and the producer is Andrew Stern. The director is Robert Squier and the associate producer is Lois Shaw.

At Issue #54: Vice President Humphrey Broadcast Month & Year: April 1965 RT: 58:52 Description #1: In an hour interview with Tom Wicker, chief of the Washington Bureau of the New York Times, Vice President Hubert H. Humphrey candidly discusses his longtime association with President Lyndon B. Johnson and the emerging role played by Vice Presidents in the 20th Century.

Mr. Humphrey tells why he accepted the nomination for the Vice-Presidency after having served 16 years as an outstanding United States Senator from Minnesota. He explains the Constitutional responsibility of his new office as the presiding officer over the Senate and explores the ever increasing statutory responsibilities which have been given to the Vice Presidency -- as a member of the National Security Council, chairman of the Space Council, as a member of the Economic Opportunity Council, and as chairman of the advisory commission of the Peace Crops.

Mr. Humphrey explains how the office of Vice President is coming “more in the flow of government: and he examines the continuity of leadership it gives to the Executive branch of government. He reviews the role of various past Vice Presidents and recalls how the late President Kennedy sent the then Vice President Johnson on diplomatic and good-will missions to Berlin, Africa, India, and Pakistan.

Vice President Humphrey presents a revealing inside look into his relationship with President Johnson, commenting on the President’s handling of Cabinet meetings, examining Johnson’s philosophy of government, mapping out the Administration’s plans of The Great Society, and reflecting on the Vice President’s responsibilities to the President.

Humphrey sketches a typical day in his life as Vice President, singling out his ambitions and goals, baring his fears, and joking about his weight and physical condition.

AT ISSUE: A CONVERSATION WITH VICE PRESIDENCT HUBERT H. HUMPHREY A 1965 National Educational Television production Executive producer: Alvin H. Perlmutter Producer-director: Robert D. Squier.

Description #2: In the last twenty five years, the office of vice president of the United States – jolted into the world’s spotlight because of the in-office death of two Presidents and the illness of a third – has greatly expanded and has become in reality as well as in title the second highest position in the nation.

In an exclusive one-hour National Educational Television interview, Vice President Hubert H. Humphrey will talk about his office, its duties, its responsibilities, its pressures, and its meaning both to himself and to the country.

Questioning Vice President Humphrey on N.E.T.’s monthly “At Issue” program will be Tom Wicker, chief of the Washington Bureau of The New York Times.

The Vice President will explain both the Constitutional and statutory responsibilities of his office; the change it has brought about in his life and in his relationship with his former Congressional colleagues; and his duties in the Johnson administration.

He explores the meaning and compares the differences between being a Senator and member of the Legislative branch of government and being the Vice President and a member of the Executive branch.

An ardent admirer and close friend of President Johnson, Mr. Humphrey outlines the concepts behind the goals of the Johnson Administration and discusses the President’s philosophy of government and the meaning of “The Great Society” in terms of wealth , living conditions, culture, and education. The Vice President will reveal how President Johnson conducts Cabinet meetings and talk about the President’s ability to grasp details and bring subjects into focus.

Mr. Humphrey will also present an inside look into a day in his life as Vice President, his own working habits, his goals, his fears, and will reflect on the meaning of the Vice Presidency.

“At Issue: A Conversation with Vice President Hubert H. Humphrey” is a 1965 National Educational Television production that will be broadcast across the nation on N.E.T.’s network of 90 affiliated non- commercial stations. Alvin Perlmutter is the executive producer. Robert D. Squier is the producer- director.

At Issue #55: Eastern European Transition Broadcast Month & Year: May 1965 RT: 59:54 Description #1: For nearly two decades, the West has viewed Eastern Europe as totally submissive and subservient to Russia. National distinctions were blurred along with national boundaries by such epithets as “the bloc” and “monolith.” Today, Russian leadership has been challenged by China and her image of infallibility has been clouded by both foreign and domestic failures. Within this changing context of the Communist world the Eastern European nations are changing as well. Indigenous problems have become paramount. Communist philosophy receives lip-service rather than active support.

In three separate film studies, AT ISSUE: EASTERN EUROPE IN TRANSITION focuses on life in contemporary Hungary, Czechoslovakia, and Rumania. The three countries reflect the growing diversity of Eastern Europe that springs from the confrontation between national interests and Communist theory as interpreted by the men of the Kremlin.

American experts of Eastern European affairs interpret and put into perspective the content of each film in separate conversations. They close out the program with a discussion of the future of Eastern Europe and the possible aims of U.S. policy in that part of the world.

Featured Personalities:

Dr. William Griffith, director of the World Communist Project, Massachusetts Institute of Technology, and professor of Diplomacy, Tufts University

Dr. John M. Monties, professor of Economics, Yale University

Max Frankel, New York Times diplomatic correspondent, recently returned from an extensive tour of Eastern Europe

AT ISSUE: EASTERN EUROPE IN TRANSITION Produced for National Educational Television by WGBH-TV, Boston Executive producer: Alvin Perlmutter Producer: Herbert Bloom

At Issue #56: Death on the Highway Broadcast Month & Year: June 1965 RT: 59:15 Description: AT ISSUE this month examines the reason why forty-eight thousand Americans were killed in automobile accidents in the past year, and why an even greater number may die in this manner by the end of 1965.

The program an hour-long report on drivers, roads, and car design, deal in detail with the driver today, his motivations, skills and safety performance; traffic and highway planning; the safety design of the American automobile; and federal and state government efforts to improve automobile safety.

Of particular interest in the program is the segment dealing with the safety defects in the average American car. These defects are pointed up through extensive road testing by Consumer Union consultants Robert Knoll and Lawrence Crooks. On hand to answer their criticisms are automotive safety engineers Kenneth Stonex, General Motors Corporation; Roy E. Haeusler, Chrysler Corporation; Colver R. Briggs, Ford Motor Company; and Lawrence A. Nagler, American Motors.

Noted authorities who appear on AT ISSUE: DEATH ON A HIGHWAY are:

Dr. Robert J. Campbell, director of Cornell University’s Accident Research Project, who discusses the need for incorporating collapsible or energy absorbing steering columns in cars to eliminate accidents which result when driver and steering column collide on severe impact.

Dr. James Malfetti, psychologist and director of Columbia University’s Safety Research and Education Project, who profiles today’s motorists, paying particular attention to the driving habits of women and teenagers.

New York City Traffic Commissioner Henry A. Barnes, who discusses the desirability of giving greater authority to traffic engineers and the need for more stringent court action against incompetent drivers.

Howard Pyle, president of the National Safety Council, who comments on the importance of driver training.

U.S. Senator Gaylord Nelson (D. Wisconsin), an advocate of minimum standards for both tires and auto safety design, who discusses recent Federal Trade Commission hearings which he contends, branded the low grade, economy tires of some major manufacturers as dangerous and accident producing.

New York State Senator Edward J. Speno, a pioneer in seat belt, tire and car design legislation, who charges that he was offered a bribe by a tire manufacturer to forego legislative efforts regarding tire standards.

Mathew Sielsky, director of the Traffic Engineering and Safety Department of the American Automobile Association, who contends that a high number of traffic deaths are the results of inadequacies in the country’s highway systems.

Henry Wakeland, a widely respected automotive consultant, who describes his design for a prototype of a safe car.

Other segments in the AT ISSUE report deal with a brief history of the evolution of the American automobile, a night on accident patrol with the Connecticut State Police, and on location reports on severe traffic hazards from N.E.T. affiliates WHYY, Philadelphia; KCTS, Seattle; WMSB, East Lansing, Michigan; and KUHT, Houston.

AT ISSUE: DEATH ON THE HIGHWAY A 1965 production of National Educational Television Producer-Writer: Morton Silverstein Associate Producer-Director: Robert Squier Executive producer: Alvin H. Perlmutter of N.E.T. Researched by: Lisa Zucker

At Issue #57: America Observed Broadcast Month & Year: July 1965 RT: 59:10 Description #1: A look at the United States and its foreign policy by leading intellectuals in Japan, India, Germany, France, and England. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2 This month AT ISSUE presents an assessment of U.S. aims and achievements throughout the world by foreign journalists and historians.

Through exclusive on location interviews in Japan, Germany, France, India, and England, AMERICA OBSERVED focuses on the views of important non-government thought leaders whose opinions are rarely given exposure in this country.

Journalists and historians featured on the program are:

Masamichi Inoki, political scientist, University of Kyoto, Japan

Waldemar Besson, historian and political scientist, University of Erlangen, Germany

Theo Sommer, political editor, Die Zeit, Hamburg Germany

Raymond, Aron, French journalist and social philosopher whose articles frequently appear in Figaro and many American journals

Serge Hurtig, political scientist, Institut d’Etudes Politiques, Paris, France

Ram Singh, editor, Thought Magazine, New Delhi, India

Frank Moraes, noted author and editor of the India Express

Dame Rebecca West, English journalist and author

Sir Denis Brogran, English journalist and longtime observer of the American scene

Topics discussed by the international experts include the power and responsibility of the United States, the status of U.S. foreign policy today, prospects for U.S. return to isolationism, President Lyndon Johnson’s image abroad, the differences between Presidents Johnson and Kennedy, U.S. policy in Vietnam and Santo Domingo, the U.S. role in Europe and Asia today and how it may differ in ten years.

AT ISSUE: AMERICA OBSERVED A 1965 production of National Educational Television Executive producer: Alvin H. Perlmutter Producer-Correspondent: Andrew Stern Associate Producer: Lois Cunniff Film Editor: Charles Goldsmith Assistant Film Editor: Bob Jackson Research: Ivan Schidlof Research: Beverly Putnam Research: Ingrid Menzel Research: Angela Style Cameraman: Waku Cameraman: Ved Parkash Cameraman: Len Waldorf

At Issue #58: Hiroshima Broadcast Month & Year: August 1965 RT: 58:59 Description #1: A report on Hiroshima twenty years after the dropping of the bomb. (Source: NET Jan-June 1966 Semi- Annual Report)

Description #2: “There was a yellow flash. I didn’t know what happened. There was no sound at all. But the next moment I found myself buried in darkness. I sat in the darkness thinking a bomb hit my house and I was there to die…”

The atomic bomb that fell on Hiroshima was the equivalent of 20,000 tons of TNT. By today’s standards it was a crude nuclear weapon, but the statistics of destruction were awesome – 78,000 people killed and ninety-seven percent of all structures within a two mile radius totally destroyed. Today, twenty years later, the city is completely rebuilt, but the memory of August 6, 1945, remains vivid in the minds of those who survived.

In a special documentary program commemorating the twentieth anniversary of that grim day, National Educational Television’s “At Issue” revisits the Japanese City for a first-hand report on the people and the city which were the world’s first victims of nuclear destruction.

The one-hour program which presents a detailed picture of conditions in modern day Hiroshima will be broadcast.

As N.E.T. cameras record the sights and sounds of the bustling Japanese metropolis, producer- correspondent Andrew Stern talks with a cross-section of Japanese and Americans who discuss the events of that fateful day in 1945 in terms of what they mean to Hiroshima and Japan today.

Edwin Reischauer, U.S. Ambassador to Japan, comments on how the atomic experience has affected Japanese thinking regarding the war. Survivors recall the horror and tragedy of the nuclear holocaust, and scientists, government officials, journalists, and Americans in Hiroshima discuss the bomb’s political and psychological implications, the physical effects still evident among its victims, the medical and scientific research being continued to aid them, national attitudes toward the United States, and Japan’s growing trend toward pacifism.

N.E.T.’s Alvin Perlmutter is the executive producer of “At Issue: Hiroshima.” Lois Cunniff is the associate producer.

Description #3:

Content: The special report, filmed by N.E.T. entirely in Japan, examines the people and the city which were the victims of the world’s first nuclear explosion to mark the twentieth anniversary of the event (August 6, 1965). Through interviews with survivors, scientist, government officials, Americans in Hiroshima, and journalists, the on location documentary recalls the horror and tragedy of the nuclear explosion and also assesses the bomb’s political and psychological implications, the physical effects still being felt by its victims, the medical and scientific research being continued to aid them, national attacks toward the United States, and the A-bomb’s influence on the growing Japanese trend toward pacifism.

Featured Personalities: Edwin Reischauer, U.S. Ambassador to Japan

Antonio Ciocco, head of statistical studies, Atomic Bomb Casualty Commission

Dr. Fumio Shigeto, director of Hiroshima’s Red Cross Hospital

Barbara Reynolds, founder of Hiroshima’s Friendship Center, and a longtime activist in the World Peace Movements

Kasushige Hirasawa, editor of Japan Times

Marvin Tack, an American social worker in Hiroshima

Executive Producer: Alvin Perlmutter

Producer-Director-Writer: Andrew Stern

Writer: Lois Cunniff

Type of Recording: Videotape

Length: One hour

“At Issue: Hiroshima” is a 1965 production of National Educational Television

Description #4: The special report, filmed by N.E.T. entirely in Japan, examines the people and the city which were the victims of the world’s first nuclear explosion on the twentieth anniversary of the event (August 6, 1945).

Through a documentary film, narration, and a series of interviews with survivors, scientists, government officials, Americans in Hiroshima, and journalists, the on location documentary recalls the horror and tragedy of the nuclear explosion and also assesses the bomb’s political and psychological implications, the physical effects still being felt by its victims, the medical and scientific research being continued to aid them, national attitudes toward the United States and the A-bomb’s influence on the growing Japanese trend toward pacifism.

Featured Personalities:

Edwin Reischauer, U.S. Ambassador to Japan

Tazu Shibama, an English teacher in Hiroshima for thirty years, who miraculously survived the A-blast

Rihei Numata, a Hiroshima newspaper reporter at the time of the explosion, now a tourist guide

Father William Tanimoto, a German Jesuit priest who has lived in Hiroshima for thirty years, and who still suffers from radiation sickness

Rev. Kiyoshi Tanimoto, a Methodist minister, who was one of the first people to re-enter the city and help the injured after the bomb blast

Antonio Ciocco, head of statistical studies for the Atomic Bomb Casualty Commission which studies the long term effects of radiation upon man

Dr. Fumio Shigeto, director of Hiroshima’s Red Cross Hospital, who personally supervises the care and treatment of the still suffering bomb victims

Barbara Reynolds, founder of Hiroshima’s Friendship Center, who has long been active in the World Peace Movement

Marvin Tack, an American social worker in Hiroshima

Kasushige Hirasawa, editor of Japan Times

Jun Eto, a leading Japanese literary critic

AT ISSUE: HIROSHIMA A 1965 production of National Educational Television Executive producer: Alvin H. Perlmutter Producer: Andrew Stern Associate Producer: Lois Cunniff Film Editor: Charles Goldsmith Assistant Film Editor: Bob Jackson Cameraperson: Waku

At Issue #59: Inside the Ghetto Broadcast Month & Year: September 1965 RT: 59:12 Description #1: A conversation with Claude Brown, Negro author of Manchild in the Promised Land. (Source: NET Jan- June 1966 Semi-Annual Report)

Description #2: AT ISSUE takes its cameras into the streets of New York’s Harlem and against the background of the ghetto, presents an hour long interview with Claude Brown – a rare Negro who rose above Harlem’s savage code of life to “make it” despite tremendous environmental handicaps.

Claude Brown is the author of the new book, “Manchild and the Promised Land,” which has been acclaimed by critics as “magnificent.” An autobiography, “Manchild and the Promised Land” tells of Mr. Brown’s experiences as a gang fighter, thief, pot smoker, cocaine peddler, and juvenile delinquent who was in and out of reformatory schools by the age of 14.

Mr. Brown relates how he broke out of the ghetto to attend school, graduate from Howard University, and now enroll as a law student at the age of 28 at the University of Chicago.

Norman Podhoretz, editor of Commentary, talks with Mr. Brown about the “Harlem’s” throughout the United States – many of them scenes of violent riots within the last several weeks, the problems Negro youths face in the slums and how they can rise above economic and social obstacles. A Negro who stands apart from involvement in the civil rights movement, Mr. Brown also reveals his views about the Negro leadership.

AT ISSUE: INSIDE THE GHETTO A 1965 production of National Educational Television Executive Producer: Alvin Perlmutter Associate Producer: Lois Cunniff Producer: Andrew Stern Director: Gordon Rigsby

At Issue #60: Great Label Mystery Broadcast Month & Year: October 1965 RT: 58:49 Description #1: An examination of charges of abuses in the packaging and labeling of consumer products. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: This month AT ISSUE examines food, drug, and cosmetic packaging practices, and the controversy that has arisen from the “truth in packaging” legislation introduced by U.S. Senator Philip A. Hart (D. Michigan).

The report studies the pros and cons of the Hart bill – still pending in the Congress – through the comments of government officials, food and drug manufacturers, packagers, and Consumers Union spokesmen.

In a special feature of the program, four housewives question representatives from General Mills and three other leading manufacturers of consumer products about current packaging practices. The housewives, recommended by Consumers Union, bring into discussion areas of dispute which include so-called “cents off” pricing, shortcomings in package illustrations, the use of fractional weights in measuring package contents, and the inaccuracies of indicated “per person” serving directions.

Senator Hart’s bill has been attacked by critics on the grounds that it is necessary since existing laws prohibit deceptive practices; that it is contrary to the tenets of free enterprise because it denies packagers the right to be creative; and that it is not economical because it would increase prices.

Authorities who appear on AT ISSUE in opposition to the bill include:

U.S. Senator Thurston Morton (R. Kentucky) Paul Willis, president of the Grocery Manufacturers of America Clarence Adamy, vice president of the National Association of Food Chains William Snaith, president of Raymond Lowey-William Snaith Inc., a leading designing firm

Supporters of the Hart bill contend that existing laws are vague and leave a number of loopholes for alleged packaging manipulations. In addition, they contend that it would not restrict creativity, and that it would enable housewives to make clear-cut money-saving purchases in the market place.

Those appearing on the program to defend the Hart bill are:

Senator Hart Esther Peterson, special presidential assistant for consumer affairs John Hance, director of marketing services, Consumers Union Mildred Edie Brady, senior editor of Consumers Report Helen Nelson of the Consumers Counsel of California

The program also travels to the Good Housekeeping Institute where the significance of the Good Housekeeping seal and requirements to be met before it is granted are discussed by Wade Nichols and Ray Petersen, editor and publisher, respectively, of Good Housekeeping Magazine, and Miss Willie Mae Rogers, director of the Good Housekeeping Institute.

In another portion of the AT ISSUE report, Melvin Sokolsky, a noted fashion photographer, demonstrates how a product ad is actually created.

AT ISSUE #60 A 1965 production of National Educational Television Executive Producer: Alvin Perlmutter Producer-writer: Morton Silverstein Film Editor: Lawrence Solomon Assistant to the Producer: Lisa Zucker

At Issue #61: The Great Society & the GOP Broadcast Month & Year: October 1965 RT: 58:57 Description #1: A leading Washington journalist and Republican legislators examine the relationship between the administration and the Republican Party. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: This AT ISSUE will examine the role of the Republican Party as an opposition political party during a year in which President Lyndon B. Johnson’s consensus strategy has resulted in passage of numerous administrative-sponsored bills.

The program will explore what issues the Republican Party can utilize in upcoming elections and will examine the future prospects of the Republican Party as a strong opposition force.

Joseph Kraft, nationally syndicated newspaper columnist, will be the commentator-moderator of the program.

More information concerning panel participants and program title will be sent as soon as it becomes available.

At Issue #62: The Leisure Boom: An Examination of the American Pursuit of Pleasure Broadcast Month & Year: December 1965 RT: 59:10 Description #1: A report on the growing amount of leisure and the problems arising from this. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: Narrated by comedian Bob Newhart, THE LEISURE BOOM: AN EXAMINATION OF THE AMERICAN PURSUIT OF PLEASURE is a satirical, yet serious look at the plethora of leisure activities available to Americans and the way they are spending their free time.

From “Leisure Central,” Newhart culls the country, determining how Americans are spending their hours away from work and whether they are enjoying their pursuits. There is a panorama of Americans at play with Newhart as the “anchor” or “pivot” man at “Leisure Central,” a tongue-in-cheek comparison to television’s “election centrals” etc.

Dr. Richard Belman of the faculty of the University of Southern California describes society as in a state of transition, pointing out that automation and shorter work weeks are forcing more leisure time on the working man. Leisure has been a problem in America for 20 years, Dr. Belman says, and it explains why the entertainment business is one of the biggest and most flourishing in the nation.

Harvey Swados, author of “The Myth of the Happy Worker,” comments that with the extension of the shorter work week, most people will have to be educated, not in terms of work, but in how to spend most of their lives learning and studying endeavors which are satisfying.

Author Paul Goodman discusses the philosophy underlying the meaning of leisure, which is derived from the ancient Greek society which equated it with learning and promoting the public good. He says it is appalling to imagine millions of people devoting their spare time to golf and square dancing when they could be busy working for important causes such as civil rights or peace movements.

Sheldon Leonard, a television executive producer responsible for such program as “The Dick Van Dyke Show,” “The Andy Griffith Show,” and “I Spy,” discusses passive versus active leisure activities.

Harry Van Arsdale, business manager for an electrician’s local, explains “controlled leisure” at an electrical workers housing project and a new type of “school” where electricians are intended to learn how to spend their leisure time becoming better and happier citizens.

In a mining town in West Virginia, retired miners discuss how they spend leisure time that has been thrust upon them through forced retirement. The show reports also on packaged-vacations, business- pleasure trips, hobbies, and luxury retirements

N.E.T. camera units scanned the country, in Florida, California, West Virginia, Maryland, Virginia, Long Island, and parts of the Northeast – to bring this AT ISSUE documentary report on THE LEISURE BOOM.

THE LEISURE BOOM: AN EXAMINATION OF THE AMERICAN PURSUIT OF PLEASURE is a 1965 National Educational Television production Executive Producer: Alvin Perlmutter Producer: John O’Toole Writer-Associate Producer: Harry Muheim

At Issue #63: The Crisis in the Atlantic Alliance Broadcast Month & Year: January 1966 RT: 59:10 Description #1: A discussion on U.S. foreign policy and the problems of the Atlantic Alliance, moderated by David Schoenbrun and featuring leading correspondents and political scientists from the United States, France, and Germany. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: Television cameras are in London, Paris, Hamburg, and Geneva to record simultaneous telephone conversations with four leading political scientists who discuss the nature and future of the Atlantic Alliance.

David Schoenbrun in London is moderator for this hour conversation among Louis Halle, professor at the Graduate Institute for International Studies in Geneva; Jean-Baptiste Douroselle, professor at the Foundation Nationale de Sciences Politiques in Paris; Alastair Buchan, director of the Institute for Strategic Studies in London; and Teo Sommer, political editor of Die Zeit in Hamburg.

Among the topics they discuss are the changing nature of relations among the member nations of the Atlantic Alliance, the effects of the French election and de Gaullism, the December N.A.T.O. meeting, and the Common Market.

AT ISSUE: THE CRISIS IN THE ALTANTIC ALLIANCE A 1965 National Educational Television production Executive Producer: Alvin Perlmutter Producer: Andrew Stern

At Issue #64: The Job Corps Broadcast Month & Year: February 1966 RT: 58:25 Description #1: A report, filmed at Camp Kilmer, New Jersey, on the problems and accomplishments of the Job Corps. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: This program focuses on one of the Job Corps centers – Camp Kilmer, New Jersey – exploring its methods and objectives in training 1,250 young Americans and reporting on its problems, successes, and failures.

Located 27 miles southwest of New York City, Camp Kilmer was the training site for soldiers of two world wars and housed refugees of the 1952 Hungarian revolution. It is now an outpost in America’s War on Poverty. The Kilmer Job Corps Center opened its doors to the first corpsmen in February 1965 after the federal government awarded an $11.5 million contract to the Federal Electric Corporation to establish and operate the Center.

This program outlines the role of the government and its intervention in shaping youth outside the community and outside the family. The program points out that the Office of Economic Opportunity officially has recognized this type of education as a business and, as a result has not given contracts to educational institutions, but has awarded them almost exclusively to large corporations such as Federal Electric Corporation, a service associate of International Telephone & Telegraph.

Among those interviewed in this program are the Corpsmen themselves who describe why they came to Camp Kilmer and their reaction to it. They also discuss the curriculum, recreation, and discipline surrounding camp life and what they expect to do when they return to their homes.

James Ketchersid, director of industrial relations for F.E.C., heads up the personnel at Camp Kilmer. A native of Mankato, Minneapolis, Mr. Ketchersid evaluates the Center’s work in the year it has been in existence and is interviewed along with other members of his staff, including R. Richard Johnson, Deputy Director; Henry C. LaParo, manager of educational, vocational, and avocational services; Myles H. Goldberg, manager of enrollee evaluation and processing; and Donald Kurth, manager of social environment and development.

The program further explores some of the controversies surrounding Camp Kilmer that came to light after F.E.C. subcontracted with Rutgers, the State University (New Jersey) to provide guidance and consultation. Leading professors from Rutgers are interviewed and express their opinions regarding some of the shortcomings they feel exist and Camp Kilmer.

AT ISSUE #64 – THE JOB CORPS is a 1966 National Educational Television production. Executive producer: Alvin H. Perlmutter Producer-Writer: John O’Toole Director: James Elson

At Issue #65: What’s Happening to Television? Broadcast Month & Year: April 1966 RT: 59:34 Description #1: A look at the current television season, the history of television, and the prospects for the future. Television performers, executives, and critics appear on the program to express their own generally strong opinions. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: April’s entry from AT ISSUE takes a critical look at the television industry – past, present, and future. Segments focus on prime time programming, news coverage and the rating system. This analysis of the medium features filmed interviews with network executives, news commentators and writers and critics.

Description #3: “What’s Happening to Television?” is the topic explored by no fewer than twenty-two top personalities allied to the television industry.

This hour program in National Educational Television’s “At Issue” series presents timely and critical observations on daily programs, news, TV ratings, government regulations and the role of advertising.

“What’s Happening to Television?” is analyzed by network executives, news commentators, advertising people, writers and critics.

They comment on the growth of television, from its infant days to its present giant development, when more than 35 million Americans watch their sets for some 3 ½ hours daily.

“What’s Happening to Television?” looks back into TV history, analyzing some of the early successes, commenting on present programs, and giving the viewer a glimpse of next fall’s offerings.

Some of the questions discussed include: Will television ever live up to its potential? What is the real purpose? Who determines which programs are dropped? What is the role of the program sponsors? Is the public interest being protected? Is educational television the answer to more worthy programs? What can the viewer do to control the quality of programs coming into the family living room?

Among those appearing on the program are television executives such as ABC’s Thomas Moore, network president and Edgar Scherick, former director of programming; CBS’s Michael Dann, vice president of programs and John Schneider, group vice president of broadcasting; NBC’s Mort Werner, vice president of programs and Reuven Frank, vice president of news; and N.E.T.’s president John F. White.

News commentators such as Walter Cronkite of CBS and Howard K. Smith of ABC; television critics, Percy Shain of the Boston Globe, Terrence O’Flaherty of the San Francisco Chronicle, Bill Greely of Variety, Laurence Laurent of the Washington Post, and John Crosby, formerly of the Herald Tribune.

Also appearing are E. William Henry, chairman of the Federal Communications Commission; Arthur C. Nielsen Jr., president of A.C. Nielsen Company; Rod Serling, TV writer and president of the National Academy of Television Arts and Sciences; and Worthington Miner, president of the American Academy of Dramatic Arts and former producer of Studio One.

Also Pat Weaver, president of Subscription Television Inc, and former president and chairman of the board of NBC; Richard Pinkham, senior vice president in charge of media and programming of Ted Bates Advertising Agency; Red Quinlan, general manager of UHF station WFLD, Chicago; and Herbert Arkin, chairman of the Department of Statistics at City College of the City University of New York.

“At Issue: What’s Happening to Television?” is a 1966 National Educational Television production. Executive Producer: Alvin H. Perlmutter Written and produced by Morton Silverstein Associate producer: Lisa Zucker Edited by: Larry Solomon Sound editor: Madeline Anderson Production assistant: Elinor Solomon Narrator: Karl Weber

At Issue # 66: Nike-X Broadcast Month & Year: May 1966 RT: 58:26 Description #1: A report on the controversy over whether to build a multi-billion-dollar anti-missile missile system. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: This program presents a detailed report on this country’s proposed anti-missile defense system which is causing a nationwide controversy. The system’s estimated cost is $30 billion and would involve a nationwide fallout shelter program. It would also risk escalation of the arms race.

Included in the proposal is sophisticated new radar system that can differentiate between enemy missiles with real warheads and decoys. The program reports on the present debate and planning involved in this defense decision. Former and present government officials and military leaders comment on the proposal. Included is a look at the so called “think factories” and at the Air Force Academy where strategic war games are mapped out.

The program was filmed throughout the country, at missile installations, the Air Force Academy, the Pentagon, Congress, the Rand Corporation, the Hudson Institute, M.I.T., the University of California, Princeton, and other locations.

Among those appearing in the program are Dr. Jerome Wiesner, former presidential science adviser and at present the dean of science at M.I.T.; Herman Kahn, director of the Hudson Institute; U.S. Senator Henry Jackson (D- Washington), a member of the Armed Service Committee; Dr. Herbert York, director of research and development at the Department of Defense; Lt. Gen. Austin Betts, Chief of Army Research and Development.

Credits: This program is a 1966 production of National Educational Television Executive producer: Alvin H. Perlmutter Producer: Andrew Stern

Description #3: A nationwide controversy may result from this country’s proposed anti-missile defense system which will be explored when National Educational Television presents “At Issue: Nike-X.”

Many experts fear that this country is virtually defenseless against an enemy missile attack and estimates causalities of two out of every three Americans.

Defense experts are sharply divided on the Nike-X, a defense system estimated at $20 billion, involving long- and short-range anti-missile missile, a sophisticated radar system that could differentiate between enemy missiles armed with real and decoy warheads, and a nationwide fallout shelter program.

For its report on the Nike-X system, N.E.T. camera units visited missile installations around the country, the Air Force Academy, the Rand Corporation, the Hudson Institute, the University of California, M.I.T. and Princeton.

Included in the program is a never-before-filmed segment of the Air Force Academy cadets “play” strategic war games. In this revolutionary teaching technique, cadets are split into teams to map strategy and “spend” defense appropriations.

There is also an animated sequence, specially created for this “At Issue” program, depicting the operation of Nike-X if this country were under attack.

At the Rand Corporation, experts discuss “system analysis,” the balancing of cost versus lives-saved in the development of a Nike-X defense.

Dr. Jerome Wiesner, former Presidential science adviser and at present the dean of science at M.I.T., discusses the possibility of the Nike-X system escalating the arms race, and U.S. Senator Henry Jackson (D- Washington), a member of the Armed Service Committee, talks about chances of Congressional approval for Nike-X appropriations.

Others interviewed are Herman Kahn, director of the Hudson Institute; Dr. Herbert York, former director of research and development at the Department of Defense; Lt. Gen. Austin Betts, Chief of Army Research and Development; and Gen. Arthur Trudeau, former Chief of Army Research and Development.

There is also exclusive film footage of the underground living facilities at Iron Mountain in New York State. These quarters were recently opened by three New York City-based companies for key executives and their families.

“At Issue: Nike-X” is a 1966 production of National Educational Television. Executive producer: Alvin H. Perlmutter Producer-Writer: Andrew Stern Narrator: Dick McCutchen

At Issue #67: Obscenity and the Law Broadcast Month & Year: June 1966 RT: 57:45 Description #1: An examination of the controversy over what is and what is not obscenity, and in particular, over the conviction of Ralph Ginzburg, publisher of the now defunct Eros magazine. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: This one-hour videotaped program will be a summary of obscenity and the law in the United States from the 1821 Massachusetts ban on “Fanny Hill” to the 1966 Supreme Court Decision on “Eros.”

Description #3: The program will consist mainly of a debate on the recent Supreme Court decision upholding the obscenity conviction of Ralph Ginzburg, publisher of “Eros.” The participants in the debate will be lawyers and literary figures. The program will also include an interview with Mr. Ginzburg and a brief description of his magazine.

Description #4: For more than a century police and courts around the country have wrestled with the problems of obscenity and pornography.

At one time or another, censors and local and state courts have banned such works as “The Adventures of Huckleberry Finn,” “An American Tragedy,” “Elmer Gantry,” “Jane Eyre,” and “Brave New World.”

The sands of justice apparently have shifted again. On March 21, 1966, the United States Supreme Court, in separate decisions, reversed a lower court ruling that “Fanny Hill” was obscene and upheld an obscenity conviction against Ralph Ginzburg, publisher of the magazine “Eros.”

For a review of censorship and obscenity laws in this country, and a debate on the celebrated Ginzburg case. National Educational Television, in its monthly “At Issue” series is presenting “Obscenity and the Law: A Debate on Recent Supreme Court Decisions.”

Veteran correspondent David Schoenbrun, who was most for N.E.T’s eight-part television series “Great Decision 1966,” will be the commentator for this program. Specifically, “Obscenity and the Law” examines such aspects as: the bounds of freedom of speech; the extent to which they are guaranteed under the First Amendment to the Constitution; and the issue of censorship versus public morality.

Appearing on the program to discuss Ralph Ginzburg v. the United States are Ephraim London, noted attorney in censorship trials who defend charges against the motion pictures “Lady Chatterley’s Lover” and “The Miracle” and who edited the two volume “The World of Law”; Alan U. Schwartz, Counsel to the Civil Liberties Union’s radio and television committee and author of “Censorship: The Search for the Obscene”; Robert Tofel, a former Assistant U.S. Attorney who prosecuted the government’s case against the book, “Lady Chatterley’s Lover”; and Richard H. Kuh, coordinator for the New York State Combined Council of Law Enforcement Officials and former chief of the Criminal Court Bureau in the New York County District Attorney’s Office. He has written a book on obscenity and the law which will be published in the fall.

On March 21, 1966, by a 5-4 vote, the U.S. Supreme Court upheld convictions against Mr. Ginzburg who was found guilty by a District Court Judge in Pennsylvania of violating a Federal obscenity law by sending his three publications, “Eros,” “Liaison,” and “The Housewife’s Handbook on Selective Promiscuity” through the mails.

In the majority opinion of the Supreme Court, Justice William J. Brennan Jr. wrote that, “… the ‘leer of the sensualist’ permeates the advertising for the three publications.”

The reference to advertising and promotional material, as a factor in determining obscenity, marked a departure from the Court’s adherence to the obscenity test it established in 1957 in Roth v. United States.

In one of three dissenting opinions written, Justice Potter Stewart warned, “Censorship reflects a society’s lack of confident in itself. It is a hallmark of an authoritarian regime.”

It is against the background of such divergent opinions by the Justices that “At Issue: Obscenity and the Law” focuses on this national issue which involves legal and literary worlds, as well as the public in general.

“At Issue: Obscenity and the Law” is a 1966 production of National Educational Television. Executive producer: Alvin H. Perlmutter Producer-Writer: Mort Silverstein Director: Gordon Rigsby Commentator: David Schoenbrun

At Issue #68: Congress and Ethics Broadcast Month & Year: July 1966 RT: 59:14 Description #1: Four U.S. senators are among the participants in this program that examines the controversy surrounding a code of ethics for Congress. (Source: NET Jan-June 1966 Semi-Annual Report)

Description #2: (dated June 14, 1966) This program will examine of the controversy surrounding a code of ethics for Congress. Participants so far are:

-- Senator Joseph Clark, Democrat – Pennsylvania -- Robert Novak, syndicated columnists for the New York Herald Tribune

AT ISSUE: CONGRESS AND ETHICS is a National Educational Television production. Executive producer: Alvin H. Perlmutter

Description #3: (dated June 23, 1966) In addition to U.S. Senator Joseph S. Clark (D- Pennsylvania), members of the Senate and House who will be interviewed separately on the program include:

-- U.S. Senator Warren G. Magnuson (D- Washington) -- U.S. Senator Russell B. Long (D- Louisiana), chairman of the Senate finance committee -- U.S. Senator Hugh Scott (R- Pennsylvania) -- Representative Richard Bolling (D- 5th Congressional District, Missouri)

One additional participant will be named shortly. They will be interviewed by Robert Novak, co-writer of the nationally syndicated column “Inside Report.”

Among the issues to be discussed will be problems involving Congressmen and special interests and the high cost of getting elected to office.

AT ISSUE: CONGRESS AND ETHICS is a National Educational Television production. Executive producer: Alvin H. Perlmutter Producer-Writer: David A Englander Associate Producer: Elissa Zucker Narrator: Paul Ritacco

Description #4: (dated June 30, 1966) The following do not appear in this program:

-- U.S. Senator Hugh Scott (R- Pennsylvania) -- U.S. Senator Warren G. Magnuson (D- Washington)

One additional participant, who was not previously announced, does appear:

-- Representative L. Mendel Rivers (D- South Carolina First Congressional District)

Therefore, the final participants now are:

-- Representative L. Mendel Rivers -- U.S. Senator Russell B. Long (D- Louisiana), chairman of the Senate finance committee -- Senator Joseph Clark, Democrat – Pennsylvania -- Representative Richard Bolling (D- 5th Congressional District, Missouri) -- Representative Charles E. Bennett (D- Florida Second Congressional District)

They will be interviewed separately by Robert Novak, co-writer of the nationally syndicated column “Inside Report.” Topics to be discussed include Congress’s own efforts to establish ethical standards and regulations. Senators and Representatives will give their views on whether they should be required by law to make public statements of their income and the cost of campaigning—particularly the high cost of getting elected in relation to their salaries.

At Issue #69: The Information War Broadcast Month & Year: August 1966 RT: 58:35 Description #1: Pulitzer Prize winning journalist, Malcolm W. Browne, is one of four newspapermen who discuss the problems of reporting and evaluating events in the Vietnam War. (Source: NET Jan-June 1966 Semi- Annual Report)

Description #2: (dated June 30, 1966) This program examines the problems of reporting and evaluating events in the Viet Nam war. Among those appearing on this program, moderated by Paul Niven, are:

-- Charles Mohr of the New York Times -- Malcolm W. Browne, who won the Pulitzer Prize in 1964 for covering Viet Nam for the Associated Press --Joseph Fried of the New York Daily News

AT ISSUE #69: THE INFORMATION WAR is a production of National Educational Television. Executive producer: Alvin H. Perlmutter

Description #3: (dated July 15, 1966) This is to announce a revision of participants in AT LEISURE #69: THE INFORMATION WAR.

-- Dan Rather of CBS, who was announced in the program memo of July 13, does not appear on the program.

The participants therefore are:

-- Malcolm W. Browne, formerly of the Associated Press, who won the Pulitzer Prize in 1964 for covering Viet Nam -- Dean Brelis, NBC correspondent in Viet Nam -- Jack Foisie of the Los Angeles Times -- Charles Mohr of the New York Times

Description #4: Four leading American correspondents examine the problems of reporting in war time Viet Nam on National Educational Television’s “At Issue: The Information War.”

Filmed in Saigon, the hour long program will feature as participants Charles Mohr of the New York Times; Malcolm W. Browne, Pulitzer Prize winning freelance correspondent and former Associated Press reporter; Dean Brelis, NBC reporter; and Jack Foisie of the Los Angeles Times. The moderator will be N.E.T. Washington correspondent Paul Niven.

The panel discusses such questions as:

-- Is it a reporter’s job to protect the national interests?

-- Have there been instances of censorship of the press?

-- Has the administration attempted to play down unpopular news, such as the extent of civilian causalities?

-- Do newsmen report more about American failures than successes?

-- Is information issued by public information officers reliable?

The correspondents will also discuss their daily reporting problems, their relationships with government and military officials, and their opinions of the conduct of the war and the quality of the information reaching the American public.

“At Issue: The Information War” is a production of National Educational Television. Executive producer: Alvin H. Perlmutter Moderator: Paul Niven Film Editor: Mike Pellegrino Assistant Film Editor: Barbara Fallick Production Coordinator: Dale Bell

The Atom (1958) Initial NET Broadcast: N/A Number of Programs: 3 Origin format: Film Running time: 30 Minutes

General Description of Series: Featuring atomic physicist Dr. Edward Teller, “The Atom” seeks to explain clearly to non-scientist what is known about the nature and structure of the atom. Through charts and other devices Dr. Teller, who has been associated with such atomic developments as the Manhattan project, demonstrates how and why physicists and chemist were forced to abandon their original simple picture of an atom as they discovered and tried to integrate more and more subtle and ambiguous facts. The series of three programs reveals not only how much but also how little science knows; the program dramatically illustrates how many physical theories are reflected in everyday experience. The series was produced by educational television station KQED in San Francisco.

Program 1: How Big are Atoms? In a personable but authoritative manner, Dr. Teller begins his discussion of atoms, saying that early scientists were afraid to probe into the mysteries of the atom because it was so minute. As late as 50 years ago, says Dr. Teller, we seriously asked: “Is this atom anything more than just a handy peg to which chemistry may be tied?” He then proceeds to show how answers to this question were found, how clues were found in echoes, shadows and ricochets. One example he demonstrates is that of the microscopic dance of dust particles bombarded by molecules of water. As Dr. Teller lectures and demonstrates, the secret of the atom begins to unfold.

Program 2: What Makes Atoms Stick Together? Now that we agree to take atoms seriously, says the noted atomic physicist, we find that an atom consists of a heavy nucleus and one or more electrons “bircling” around it. “I don’t know what ‘bircling’ means,” Dr. Teller continues, “but an electron is bircling when it can’t make up its mind whether it is bouncing or circling.” In this interesting way, Dr. Teller continues his lecture and demonstrations on the atom. He shows how an electron helps to bind the nuclei together, thereby showing how the atom itself is actually formed.

Program 3: Why are Atoms Unpredictable? We used to believe that the future is predictable, like the stars, Dr. Teller says. When we descend from big cosmic bodies to the puzzling atoms the dismaying idea of inevitable fate is replaced by unpredictable behavior perhaps akin to what we believe to observe is our fellowmen. Indeed at least this much we know about the nature of our world. There are many ways in which the behavior of a single atom may be simplified until it affects our visible surrounding. “And so the atomic studies hold out at least this much reason for optimism: The future is uncertain.” Thus does Dr. Teller conclude his exciting discussion of the atom.

Atomic Energy Commission Films (1958) Initial NET Broadcast: N/A Number of Programs: 14 (approximation) Origin format: Film Running time: 15-45 minutes

General Description of Series: The future of the universe lies in the smallest piece of that universe – the atom. ATOMIC ENERGY FILMS are designed to create an awareness of the force of atomic energy in our society. These films explore the excitement of discovery, the fulfillment of development, and the reaping of benefits from mankind’s giant servant – atomic energy. The subject matter ranges from the basic principles of the atom to research and development and atomic energy in the community.

**BECAUSE OF THE WIDE RANGE IN SUBJECT MATTER, THIS GROUP CANNOT BE CONSIDERED A SERIES. IT IS RATHER A PACKAGE COVERING MANY NON-RELATED TOPICS UNDER THE GENERAL TOPIC OF ATOMIC ENERGY. **

Program 1: A is for Atom RT 15:21 This animated film cartoon explains basic atomic structure, nuclear fission and peacetime applications of atomic energy.

Program 2: Atomic Research RT 13:08 Three lines of research are illustrated – energy, atomic structure, and by-products.

Program 3: Nuclear Reactors for Research RT 14:18 This film describes the construction and use of a small, low-powered research reactor.

Program 4: Petrified River RT 28:08 “Petrified River” describes how uranium was deposited during the prehistoric, geological ages’ prospecting on the Colorado Plateau; the mining and milling of uranium ores; and the use of the atom’s energy for power and in the production of radioisotopes for medical diagnosis and therapy, agriculture, industry and research.

Program 5: Production of Uranium Feed Materials RT 24:55 This program relates the step-by-step processing of uranium from ore concentrates to metal reduction and fabrication in the AEC feed materials plants at Fernald, Ohio, and Weldon Springs, Missouri.

Program 6: Power and Promise RT 29:17 This is the story of the Shippingport Atomic Energy Station in Pennsylvania, built to advance power reactor technology and demonstrate the practicability of operating a central station atomic power plant in a utility network. It includes the production and control of heat and radioactivity produced by nuclear fission; the manufacture of fuel elements; major components such as pumps, heat exchangers, and the pressure vessel; the construction of the station; the installation of components; and the erection and installation of the reactor core.

Program 7: Industrial Application of Radioisotopes RT 57:00 The principles and techniques of gauging industrial thickness, densities, and levels, radiography, and the radioisotopes tracing are depicted in this film. Examples were photographed at many US industrial sites, including those related to the production of rubber, steel, plastics, paper, nylon, foods, cement, ships, oil, and automobiles.

Program 8: Living with the Atom RT 16:35 “Living with the Atom” explains the radiation-safety devices and procedures used to protect workers in the atomic industry, which ranks among the safest of US heavy industries.

Program 9: Living with Radiation RT 28:15 This film documents in detail the radiation-safety program of the US atomic energy program, using as an example the procedures at the National Reactor Testing Station in Idaho. Explained are the separation- distance factor; the storage and/or disposal of radioactive wastes; the production of populations, water, crops, and livestock by monitoring of air and environment; and the production of worker’s by film badges, protective clothing, shielding, remote-control devices, radiation counters, decontamination procedures, and bio-medical studies.

Program 10: Fire Fighting in the Nuclear Age RT 13:43 A mock fire at the National Reactor Testing Station in Idaho is used to illustrate techniques and procedures employed by firemen to meet specialized problems of fighting fires involving the possibility of accompanying radioactivity; protective clothing, monitoring, time-distance shielding plan, decontamination, etc.

Program 11: Gas-Cooled Reactor Experiment RT 42:32 The design development, component fabrication, assembly testing, and initial critically of the first direct and closed cycle gas-cooled reactor are described.

Program 12: The Atom Comes to Town RT 29:27 “The Atom Comes to Town” surveys the peacetime uses of atomic energy. It illustrates principles and shows examples of nuclear power plants and the production and use of radioisotopes in medicine, agriculture and industry.

Program 13: Nuclear Reactors for Space RT 18:46 Compact, lightweight power systems must be developed for use in satellites and space vehicles. The production of auxiliary power systems and their use is the topic of this program.

Program 14: Our Nearest Star RT 12:04 “Our Nearest Star” describes the research and development of the SNAP (Systems for Nuclear Auxiliary Power) generator, and the safety factors involved, its future use in space satellites, and the first launching on a Thor Able Star Rocket at Cape Canaveral, Florida.

Atomic Energy Commission Films (1962) Initial NET Broadcast: N/A Number of Programs: 6 Origin format: Film

General Description of Series: These six films coincide with the twentieth anniversary of the activation of the world’s fair nuclear reactor.

The Story of Camp Century: City Under the Ice RT 31:51 The program concerns the construction by Army Engineers of Camp Century, a nuclear-powered, US Army arctic research laboratory buried below the Greenland ice cap. Although the film tells the entire story of the planning and construction of Camp Century, it contains a significant section devoted to the nuclear power plant for electricity and space heating.

The program covers selection of the isolate camp site – 150 miles from Thule; delivery of supplies and equipment by motorized bob sleds; digging and construction of 23 tunnels in the ice (trenches covered with steel arches and snow); construction of foundations for pre-fabricated buildings; erection of pre- fabricated buildings; obtaining water supplies; installation of insulated piping and sewage lines; how the men eat and sleep. Then the film shows the digging of four deep trenches for the nuclear power plant, the construction of the frame for the reactor buildings, arrival of the power plant (400 tons of piping, machinery, and components) by sea, delivery of the heavy components (including a 21-ton vapor container) by sled over the ice cap, unloading of the power plant, opening of labeled boxes of piping and wiring, reassembly of major components, and movement of the 15-ton condenser into the tunnel.

Also described are the work to activate the power plant, the sub-critical tests, the careful loading of the reactor core with fuel elements after inspection and cleaning, the gradual activation of the reactor, and reaching “critically.” Today, powered by its nuclear reactor, the arctic research center is in full operation.

THE STORY OF CAMP CENTURY: CITY UNDER THE ICE: a production of the Army Pictorial Center.

Atoms for Space RT 28:31 The development and use of compact nuclear power sources for space are described in this Atomic Energy Commission film, produced for the AEC by the Martin Company (the aerospace division of the Martin Marietta Corporation) and Atomics International (a division of North American Aviation, Inc.). Concentrating on the SNAP (System for Nuclear Auxiliary Power) program of the AEC, it features the first use of atomic power in America’s space effort and briefly outlines the uses of SNAP devices on land and sea.

By use of animation and models, two basic concepts of the SNAP program are shown.

The film opens with a brief summary of the importance of the use of space in the areas of communications, weather observation, research, navigation, astronomy, and exploration, and the consequent need, as space technology advances, for more compact electrical power sources. A detailed explanation is given of isotopic power source abroad the TRANSIT 4A navigational satellite, producing almost three electrical watts – enough to power two of the satellite’s four navigational radio transmitter systems for five years or more. The isotopic-powered navigation equipment is transmitting precise signals which are being received all over the globe. The operational TRANSIT satellite system will provide navigational information from which aircraft and ships around the world will be able to fix their positions within one-tenth of a mile. The film reviews the various type nuclear reactor powered units, including SNAP 2, which will provide 3,000 watts of electricity in space for one year; SNAP 10A, 500 watts for one year; and SNAP 8, which will generate up to 60,000 watts and will pioneer electric propulsion in the US space program after 1965. SNAP power systems in three satellites in 24 hour orbit around the earth could provide a worldwide TV network with multilingual audio channels.

Safety factors and safety testing of both types of SNAP units are shown. Since the fuel of the isotopic devices is radioactive itself, the capsule has been designed to keep it sealed on the launching pad, during launch and in orbit. The SNAP nuclear reactor systems are being designed so that following a useful long life in space; they will shut down, cool off radioactivity for a long period, and finally burn up on reentry. The small amount of remaining activity will be dispersed safely in the vast area of the outer atmosphere. SNAP systems also have uses in remote areas on land and sea. An unmanned generator is now in operation in the Canadian Arctic, transmitting weather data to permanent Canadian and US weather stations. A more powerful version of this unit, with a potential life of 10 years, is supplying power for an unmanned automatic weather station in the Antarctic. Other SNAP devices will be used for sea buoys, navigation beacons and portable electric power stations. The film concludes with a brief summary of some of the planned space efforts of the future, which will use nuclear auxiliary power.

Program 3: Atomic Weatherman: Strontium-90 Isotopic Applications RT 18:30 This semi-technical film tells the story of the world’s first radioisotope (i.e. radioactive isotope) powered weather station, which is operating, unattended, at a remote site in the Canadian Arctic. The “atomic” weather station is powered by a thermoelectric unit in which the heat from the decay of strontium-90 is directly converted into electricity. The film includes the major steps in the identification, testing and preparation of the strontium-90 titanite compound; the principle of direct conversion of heat into electricity; how the generator operates; the weather station’s equipment for sensing, data-processing, control and transmission; the 4,000 mile journey north into the remote Canadian Arctic aboard an icebreaker; and the installation and the successful transmission of weather information. In particular, the film encourages the development of strontium-90 thermoelectrical sources for unique small-scale power applications. The film also gives brief information on other applications of strontium-90 thermoelectrical devices.

ATOMIC WEATHERMAN: STRONTIUM-90 ISOTOPIC APPLICATIONS: produced for the Atomic Energy Commission by the Martin Marietta Corporation.

Program 4: Roundup RT 18:25 ROUNDUP tells the story of an important peacetime application of atomic energy: the use of radiation to eradicate the screwworm fly in the southeastern United States – an insect pest that had caused large losses to livestock owners. The film describes how the screwworm fly deposits its eggs in a cut or insect bite on the skin of a warm blooded animal. The eggs hatch to worms which feed on live flesh, then fall to the ground, burrow into the soil and form pupae. Ten days later the fly emerges and mates and the cycle continues. The film shows typical cases of screwworm infestation. Entomologists of the Agricultural Research Service suggested that since screwworm flies mate only once, if a method of sexually sterilizing flies could be found, eradication was possible. Since X-ray was too expensive, radioactive cobalt-60 was selected to do the sterilization job. The plan was tested on the tiny island of Curacao off the coast of Venezuela, where sterilized male flies were released from aircraft in patterns over the island. In six months the pest was eliminated. Then followed operations in Florida and other southeastern states. A huge screwworm factory was built in Florida, where 50 million flies were reared and sterilized in a week, with pupae subjected to 8,000 roentgens of gamma rays. Released by planes, 10 million sterilized male flies were dropped on infested areas. Eventually, the screwworm fly was brought under full control and largely eradicated.

ROUNDUP: Produced by the Motion Picture Service of the US Department of Agriculture for the Agricultural Research Service.

Program 5: Basic Principles of Power Reactors RT 8:23 Produced for the Atomic Energy Commission by the United States Air Force Lookout Mountain Air Force Station, this film is intended to increase the viewer’s understanding of nuclear power reactors and the way such reactors produce steam for the generation of electricity. Through the use of animation, it briefly outlines the nature of fission, controlled chain reactions and the function of basic reactor components including the core, reactor vessel, shielding, moderators, coolants, and control rods. In addition, boiling water and pressurized water reactor concepts are explained, and types of fuel elements (rods, plates, pellets, etc.) are described.

Program 6: Opportunity Unlimited: Friendly Atoms in Industry Narrated by News Commentator John Daly, this program surveys the widespread use of radioisotopes by American industry to make better products – from ships to nylon hose – more efficiently and with an impressive record of safety. By means of animation and live action, the film explains what radioisotopes are and how they are used to measure and control thickness of sheet materials ; measure densities of materials; control product quality; increase flexibility and mobility of industrial radiography (taking X-ray type picture to assure safe construction); and act as tracers to follow physical movement and chemical reactions.

OPPORTUNITY UNLIMITED: a production of the Army Pictorial Center for the Atomic Energy Commission.

Atomic Primer (1958) Initial NET Broadcast: September 14, 1958 Number of Programs: 13 Origin format: Kinescope Running time: 30 minutes

General Description of Series: This 13-program series includes a five-part historical survey of atomic theory, a seven-part discussion of practical consequences and a look at future implications in the final portion. The first programs follow in chronological order. Following, this, several programs deal with a single topic. The last two programs “look ahead.”

Featured Personality: Dr. Harold C. Urey received his BS degree from the University of Montana in 1917 and six years later was awarded his PhD degree from the University of California. He was a rural school teacher for three years and has been on the faculties of the University of Montana, Johns Hopkins University, Columbia, and the University of Chicago. He received the Nobel Prize in chemistry in 1934, the same year he was awarded the Willard Gibbs Medal. In 1940, he received the Davy Medal from the Royal Society of London, followed three years later with his receiving the Franklin Medal. Phi Beta Kappa awarded him its Distinguished Service award in 1950. He has specialized in the structure of atoms and molecules, thermodynamic properties of gases and separation of isotopes. He discovered the hydrogen atom of atomic weight and conducted research for the production of heavy water, and U235 for the atomic bomb. Dr. Urey is a member of the American Chemical Society, the National Academy of Sciences, the American Academy of Arts and Sciences, the American Physical Society and the American Philosophical Society. He is vice president of the American-Scandinavian Foundation and is the author of the book, “The Planets.”

James Coughlin acts as narrator throughout the series. He is associated professionally with station WBBM (CBS), Chicago.

Program 1: In the Beginning The work of Democritus, father of atomic theory, is followed through alchemy and Leonardo da Vinci to Galileo, and John Dalton, whose law of definite proportions set up the possibility of the atom. Several experiments are shown and pictures of da Vinci’s work are seen. Dr. Harold C. Urey, atomic scientist and Nobel Prize winner in chemistry, discusses “Freedom and the Scientist.”

Program 2: The Expanding Atom The discovery of electrons in a Crookes tube is explained and demonstrated as is Roentgen’s work in discovering the X-ray. An illustration of the alpha, beta, and gamma rays is followed by a summary of the first efforts to smash the atom. Dr. Harold C. Urey, atomic scientist and Nobel Prize winner, discusses “Modern Research in Physics.”

Program 3: Einstein Predicts the Bomb Dr. Harold C. Urey, atomic scientist and Nobel Prize winner in chemistry, discusses his discovery of deuterium. Lord Rutherford’s discovery of the atomic nucleus and Einstein’s work in mathematics are explained along with the atom smasher, the discovery of the neutron and of isotopes. A mechanical demonstration of nuclear structure is given.

Program 4: The Great Secret Dr. Herbert Anderson, chairman of the Department of Physics at the University of Chicago, tells of refugees whom he knew personally at Columbia University. 1938 and the war in Europe are related to this discussion, as is President Roosevelt’s authorization of atomic research for the Army. An animated film explains a chain reaction and Dr. Urey discusses the early days of the Manhattan project.

Program 5: The Sun Explodes on Earth On film, Enrico Fermi’s discovery of the first chain reaction is shown. Via film, also, the atomic bomb is shown along with rare photographs and drawings of the German atomic project. The basic mechanism of the hydrogen bomb is illustrated and Dr. Urey describes the reaction of atomic scientist to the dropping of the bomb.

Program 6: From Bomb to Hospital Dr. Robert J. Hasterlik, associate director of the Argonne Cancer Research Hospital in Chicago, discusses the discovery and use of medically valuable radioisotopes. Two demonstrations of radioactive isotopes as tracers are shown and films illustrate the radioactive cobalt therapy machine operated at Argonne by the AEC. The use of radioiron in diagnosis at the University of California is covered and Dr. Urey discusses “pure” (not applied) scientific research.

Program 7: From Bomb to Power Plant The basic problem of converting atomic energy to usable electrical energy and the implications of atomic energy for a national economy are brought to fore by Dr. Yale Bronzen of the University of Chicago. Dr. Urey stresses the importance of this energy source to underdeveloped areas. The Experimental Boiling Water Reactor at the Lemont, Illinois, AEC laboratory is seen via film clip.

Program 8: From Bomb to Laboratory Dr. Urey discusses “How a Student Becomes a Scientist.” Drawings of the world within the atomic nucleus illustrate a discussion of the particles now known.

Program 9: From Bomb to Farm Dr. John Skok, plant physiologist at Argonne National Laboratory of the ARC, joins in a discussion about the use of radioactive isotopes in agriculture. An AEC film illustrates the discussion.

Program 10: The Atom and Space Dr. Helmut Abt, an astronomer from the Yerkes Observatory, joins Dr. Urey in discussing what the study of atomic sciences means to man’s study of the universe.

Program 11: From Bomb to Factory The remote control units at Chicago’s Cook Laboratories and AEC installations are seen as Dr. Urey discusses the basic principles and applications of radioactive materials in modern factories.

Program 12: The Next Step Dr. James Butler, fusion research expert at Argonne National Laboratory, tells what is being done to solve the basic problem of fusion power (from hydrogen). Some new and exciting versions of atomic energy are revealed.

Program 13: The Way Ahead This program reviews the entire series and presents a four-man survey of the prospects for a frightened world. Participants include Dr. Harold C. Urey, atomic scientist and Nobel Prize winning chemist; Morton Grodzins, social scientist; William O’Meara, philosopher; and Joseph Sittler, theologian – all from the University of Chicago.

Atoms for Power (1958) Initial NET Broadcast: October 1958 Number of Programs: 1 Origin format: Kinescope Running time: 30 minutes

This special is part of the American Assembly Conference on United States Policy in Atomic Energy Development which was held at Arden House, an extension of Columbia University. The American Assembly was established by President Eisenhower in 1950 and holds non-partisan national conferences at Arden House, the Harriman Campus of Columbia University. It also holds regional assemblies in several parts of the United States and publishes authoritative books on the national issues which have been discussed. Three members of the Twelfth American Assembly, Atoms for Power, appear in this program. They are J. Carletto Ward, Jr.; Harold S. Vance, and Henry D. Smyth. Host for this panel discussion is Henry M. Wriston, president of the American Assembly.

Mr. Ward is president of the Vitro Corporation of America, builders of nuclear reactors; Mr. Vance is a member of the United States Atomic Energy Commission and Mr. Smyth is a physicist. Mr. Wriston is the former president of Brown University.

The men discuss the economies of nuclear power, the US nuclear power program, foreign policy aspects, government vs. private supervision and the current situation in the United States.

Attica: The Official Report of the New York State Special Commission (1972) Initial NET Broadcast: September 13, 1972 Number of Programs: 1 Running time: 120 minutes (plus 30 minute spinoff)

Background: The most violent prison conflict in United States history occurred at New York’s maximum security Attica State Prison in September, 1971. In the six-day period between September 8 and 13, the attention of the country was focused on the fate of the 38 hostages held by the Attica inmates. When a heavily armed contingent of New York State Police finally rushed the 1281 prisoners in the Attica compound, the uprising was crushed. The total number of deaths resulting from the rebellion was 32 inmates and 11 prison employees.

On November 15, 1971, New York Governor Nelson Rockefeller named Robert McKay, Dean of the New York University Law School, to chair a special Commission to investigate the Attica Prison Riots. The Commission was composed of the Reverend Edwin Broderick, Bishop of the Diocese of Albany; Robert L. Carter, a New York lawyer; Mrs. Mariano Guerrero, founder and president of the Society of the Friends of Puerto Rico; Amos Henix, former Attica inmate and currently the director of a New York drug rehabilitation program; Burke Marshall, former head of the Civil Rights Division of the Justice Department; Walter N. Rothschild, Jr., Chairman of the Board, New York Urban Coalition; Mrs. Robert H. Wadsworth, director of development, Rochester Institute of Technology; and William Willbanks, doctoral candidate at the School of Criminal Justice, State University of New York in Albany. The Commission General Counsel was Arthur L. Liman, a New York trial lawyer.

The Commission conducted more than 3,000 interviews and studied still pictures and films of the riot and assault.

To insure wide dissemination of its final report the Commission produced both a written and filmed record of its investigations. This official filmed report of the Commission’s findings will be transmitted nationally by the Public Broadcasting Service on the first anniversary of the Attica riot.

Program Content: The program begins with a brief description of what occurred at Attica. Commission Chairman McKay explains why the Special Commission was formed and outlines its aims. The Commission studied the causes of the riot in order to prevent future prison revolts, he said.

Filmed sequences include scenes of prison life inside Attica. The report also presents excerpts from testimony on prison living conditions, and drawings showing the original prison take-over.

The films taken by the New York State Police during the actual riot are presented as part of the Commission’s investigation. The television report also contains excerpts from the testimony about the use of force to quell an uprising, taken in Rochester and Albany, New York. Those testifying include state prison officials, inmates, state police, observers, and newsmen. Witnesses give testimony concerning their involvement in the attack. McKay presents the Commission’s conclusions.

The Commission’s report concludes with an examination of current conditions inside Attica. McKay discusses the possibility of similar uprising occurring again at Attica.

Spinoff: Following the special 90-minute report, public television stations around the country will have the choice of carrying either a 30-minute panel discussion of the McKay Commission findings prepared by WNET/Channel 13, New York, or presenting an analysis of correctional problems by local experts. Bill Moyers will moderate the WNET panel discussion.

Credits: The special report on the findings of the Commission is a production for the New York State Special Commission on Attica. It is made possible by the American Bar Association Commission on Correctional Facilities and Services under a grant from the Ford Foundation. Executive producer: Don Dixon Producers: Robert Potts and Jon Wilkman Director: Jack Sameth Executive producer for WNE/13: David Prowitt

NET Journal: Audubon (1968) [aired under Intertel in 1969] Initial NET Broadcast: December 23, 1968 Number of Programs: 1 Origin format: Videotape Running time: 60 minutes B&W or Color: Color

Suggested Newspaper Listing: “Audubon”: The ornithological findings of America’s great naturalist-artist John J Audubon, originally a “draft-dodger” from Napoleon’s army, are presented with original drawings from is consummate work, “The Birds of America.”

Program Description: A report on the work of America’s great naturalist and artist, John J. Audubon (1785-1851). The film traces Audubon’s journeys in quest of unusual birds – from the swampland of Florida to the Bay of Fundy in Canada, and from the capitals of Europe to the remote Dry Tortugas island s in Mexico.

“The great American naturalist was French and illegitimate,” the program notes, as it recalls Audubon’s youth in France, where he turned to birds rather than his father’s commercial interests, and left the country when he was due to join Napoleon’s army. From Mill Grove, PA, the documentary follows him on his bird-tracking course, which gained precedence even over his family life. He travelled through the “romantic wilderness of the deep south,” settling in Louisiana, where he identified such exotic swamp birds as thee ivory-billed woodpecker. In 1826, Audubon visited England and Scotland, seeking backers for his printing ventures which would include “The Birds of America” and “Viviparous Quadrupeds of North America.” The trip led to a 10-year period in which Audubon published in Europe and travelled to America in quest of additional specimens.

The program also recalls Audubon’s plea for conservation – a plea that has gone woefully unheeded.

Credits: “Audubon” is an NET presentation, produced for Intertel by Canadian Broadcasting Corporation. Written and narrated: Lister Sinclair Editor: MC Manne Producer-Director: James Murray Executive producer: John Livingston

NET Playhouse Biography #10: August Strindberg (1972) Initial NET Broadcast: March 23, 1972 Number of Programs: 1 Running time: 90 minutes B&W or Color: Color

Program Content: Internationally renowned Swedish actor Max Von Sydow, star of many Ingmar Bergman classics, including “The Seventh Seal,” “Shame,” and “The Passion of Anna,” probes the dark, brooding world of playwright August Strindberg in this production entitled “A Search of Strindberg,” filmed in Sweden and Paris.

Producer Jack Kuney has adapted his teleplay from the dramatic and autobiographical writings of Strindberg, incorporating scenes from three of the playwright’s important works – “The Father,” “Miss Julie,” and “The Bond.”

Strindberg (1849-1912) is considered the greatest Swedish playwright, and an important influence on drama in Europe and the United States. He was also a novelist, short story-writer, and poet. His life was profoundly unhappy; born prematurely, out of wedlock; the insecurities of his childhood followed him throughout his existence. Often the circumstances of his adult life became intertwined with those of his writings. “I don’t know if ‘The Father’ is a fiction or if my life is a fiction,” he wrote.

The biography unfolds with Von Sydow as the voice of Strindberg. Under the soundtrack the actor adds visual detail to the narrative. Scenes from the plays – enacted in English by Swedish performers – are woven into the biography where Strindberg’s fiction parallels his life.

The one of that life is established in childhood: “It’s whispered in the family that I’m a changeling. A child substituted by the elves for the baby that was born. Are these elves the souls of the unhappy who still await redemption? If so, I am a child of an evil spirit.”

We look into the writer’s early years of frustration and pessimism as a librarian at Stockholm’s Royal Library, with is first play, “Master Olaf” – later to be recognized as a near masterpiece – already rejected. He marries the Finno-Swedish actress Siri Von Essen but, after a brief blissful episode, their relationship deteriorates, ending in divorce. His grief is intensified when he loses custody of the children. Increasingly the theme of his writings becomes “Love between a man and a woman is war.”

Strindberg goes to live alone at the cottage of a friend who had drowned himself in a nearby pond. He contemplates the same fate, but resists, “because the unconscious will continually entice men to live through the illusion of the hope towards a better life.”

After a time, his interest in women is revived and he suffers two more relationships that fail to last. He writes “… As a poet I blend fiction with reality, and all my hatred of women is theoretical for I couldn’t live without the company of women.” He goes to Paris where we follow his metaphysical thoughts as he wanders through streets and parks, acknowledging “omens” and finally “waiting for the winds to blow me whither they will.”

Near the end of his life he says: “What I found bitterer than death was having to take the great jobs seriously, and treat as holy what was coarse … I want to live with the poor not the rich. On a simple wooden cross should say: ‘O Crux Avis … Unica – Welcome Cross, My Only Hope.’” He died of cancer in Stockholm at the age of 63.

The Cast:

“The Father” Laura – Gunnel Lindblom The Captain – Keve Hjelm

“Miss Julie” Miss Julie – Lena Granhagen Jean – Keve Hjelm

“The Bond” The Baroness – Anita Bjork The Baron – Bo Brundin The Judge – Heinz Hopf

Credits: “NET Playhouse Biography – A Search for Strindberg” is a production of the national programming division of WNET/13, in co-operation with Sveriges Radio, Stockholm. Produced and directed: Jack Kuney Scenes from Strindberg’s plays staged by: Keve Hjelm Story consultant: Viveca Lindfors Associate producer and editor: Peter Moseley NET Playhouse executive producer: Jac Venza

Auto Mechanics I & II (1967) Initial NET Broadcast: N/A Number of Programs: 20 Running time: 30 minutes (approximate) B&W or Color: Color

General Description (Series I): Instruction for the average driver in the operation of the various automotive units. With the knowledge of “how and why,” the driver will better understand and care for his car, making minor repairs himself and detecting excessive wear of parts.

Featured Personality: Host and instructor is Richard E. Pinette, Chairman of the Industrial Education Department, Berlin High School Berlin, New Hampshire.

Program 1: Engine Ignition System RT 28:19 This system is operated by sending a current for the battery through an induction coil to the distributor and on to the spark plugs, at which points a spark is produced to ignite a mixture of gas and air in the carburetor. Mr. Pinette familiarizes viewers with all the parts that work to produce the spark – the battery, the induction coil, the ignition points, the spark plugs, and the condenser.

Program 2: Automotive Fuel System RT 28:50 Mr. Pinette begins by demonstrating why gas must be atomized to “explode” and burn rapidly enough to drive the pistons. He explains the intricacies of the fuel system and gives tips on fuel economy.

Program 3: Engine Cooling System RT 26:53 As combustion drives the pistons downward, the engine heats up to 1200 degrees! Mr. Pinette explains why and how the engine is cooled, the care of the engine, causes and correction of overheating.

Program 4: Application and Review RT 28:50 On this visit to Mr. Pinette’s workshop various automotive parts are tested with simple hand tools that the average driver owns. He covers such problems as: the engine won’t crank or start; lights are dimmed and engine cranks slowly; engine cranks but won’t start; and ignition is good, engine cranks but won’t start.

Program 5: Wheel Alignment and Balance RT 28:48 Mr. Pinette demonstrates the basic parts involved in the operation of the front suspension and how it can affect tire wear. He also discusses other causes of tire wear and the results of improper balance.

Program 6: Brake System RT 29:03 What causes brakes to “grab” or a spongy feeling in the brake pedal? Mr. Pinette details the operation of the hydraulic brake system, describes brake trouble and shows how to adjust them.

Program 7: Engine Electric Starting System RT 28:54 The battery is the source of electrical energy for the whole system, yet, even when fully charged it contains no electricity. Further explanation is provided and the construction of the system is shown graphically. Mr. Pinette also explains the function of each part.

Program 8: Engine Lubrication System RT 29:08 Mr. Pinette explains how the oil system eliminates the noise of metal parts moving against each other, cools parts which the cooling system can’t reach and seals these parts from particles or fluids that might be a deterrent to them. He discusses different grades of oil and the enemies of the lubricating system. A ten-part true or false quiz follows on lessons one through eight.

Program 9: Automotive Accessories RT 28:52 What one driver considers a luxury, another may think of as a necessity. Mr. Pinette tells of various accessories available such as a voltage regulator, cable adjuster, heaters, windshield washer and a kit that can change an automatic choke to a hand choke. He discusses the care and fixing of the speedometer, windshield wipers, defrosting unit and springs.

Program 10: Small Engines RT 29:07 The moving parts of any engine are the same: cylinder, piston and crank shaft. In the automobile these go through a four-part cycle but a small engine has only 2 cycles. Two-cycle engines are used in outboard motors, chainsaws, lawn mowers and snow blowers to cut down on weight and size. Mr. Pinette shows examples of different engines, including a British-made outboard motor, and an American-made 1924 outboard.

General Description (Series II): Instruction for the average driver, the beginning mechanic, and the experienced mechanic in advanced testing and adjustment procedures for various parts of a car.

Featured Personality: Host and instructor is Richard E. Pinette, Chairman of the Industrial Education Department, Berlin High School Berlin, New Hampshire.

Program 11: Engine Tune Up I RT 28:36 All too often an engine tune up consists of changing the spark plugs and ignition points. Using test equipment, Mr. Pinette gives the engine a “complete physical.” Various testing equipment and tests are demonstrated, including checks for compression, spark plug performance, spark plug cable performance, distributor cap resistance, ignition coil efficiency, condenser and ignition points performance.

Program 12: Engine Tune Up II RT 29:14 Before demonstrating the actual engine tune up procedures, Mr. Pinette suggests that both the carburetor and battery be given through checks as part of the overall maintenance. Using an oscilloscope, he checks and adjusts the spark plugs, ignition wiring, and distributor. He then checks and adjusts the carburetor mixture and automatic choke to complete the tune up.

Program 13: Generator and Regulator I RT 28:02 Mr. Pinette explains how the generator produces electrical energy and goes on to explain the use of the regulator in controlling the output of the generator. He shows its relationship to the generator and how both of them working together control the rate and amount of current going to the battery.

Program 14: Generator and Regulator II RT 29:05 Mr. Pinette continues his discussion on the charging circuit of the automobile. He checks the generator and its fan belt tension, and shows how to polarize the generator in series with the battery. He also shows how to check and adjust the voltage regulator.

Program 15: The Alternator RT 28:43 Mr. Pinette explains that the alternator is a generator that produces alternating current and that it is better able to provide the energy needed for today’s short trip driving than is the direct current generator. He goes on to explain how the alternator to the needs of the battery. He performs on-car test checking the alternator with tools the average driver owns and with specialized mechanic’s equipment.

Program 16: Starting Systems RT 28:14 Mr. Pinette demonstrates and discusses the different types of starting systems, their good points and their problems. Basically all starters are electric motors but Mr. Pinette goes onto explain differences in manner of operation. He discusses the follow-through and the over-running clutch types. He also gives the auto operator useful tips on starter operation.

Program 17: The Clutch and Transmission RT 28:43 After explaining how the clutch operates mechanically, Mr. Pinette gives some pointers on clutch adjustment and explains that a properly adjusted and maintained clutch should last the lifetime of a car. Going on to the standard transmission, he demonstrates, through a model, how it works. He also explains the steps for proper care of the transmission.

Program 18: Automatic Transmission RT 28:45 Mr. Pinette takes viewers inside the mechanism of an automatic transmission to explain the principle of the “fluid coupling.” He explains that when an automatic transmission is shifted, the gears themselves do not shift, but the oil flow and pressure are changed which results in a new combination of gears.

Program 19: Used Car Tips RT 28:15 Two car families are on the increase and very often the second car is a used car. In this program, Mr. Pinette lists and discusses a series of steps in checking out a used car which will give the buyer a thorough picture of the actual condition of the car.

Program 20: Safety RT 28:10 No car is safer than the manner in which it is serviced, begins Mr. Pinette. He goes onto tell what the driver should expect of a mechanic during the inspection procedure as he proceeds through a safety inspection. We cannot have safe driving until our cars are serviced by skilled mechanics, concludes Mr. Pinette.

NET Playhouse: Auto Stop (1968) Initial NET Broadcast: January 5, 1968 Number of Programs: 1 Running time: 90 minutes

Program Description: “Auto Stop” is the story of a young Englishman’s coming of age through the means of a hitchhiking trip across the European continent.

The time is the beginning of summer; the place is London; and the setting a lady’s apartment late at night. Federika, a beautiful, continental woman-of-the-world has just told a callow young Englishman, who is enamored of her, to go out and see some of the rest of the world. When he has the “great European experience,” then he can come back to her.

So young Henry, with a knapsack on his back and not much money in his pocket, begins his summer odyssey. But, unlike Homer’s voyage, this young traveler heads for Greece, hitchhiking by way of Paris, Rome, southern Italy and the island of Corfu.

Most of the time, though, his guide book is neglected, for he is preoccupied in meeting, loving, and breaking the hearts of the beautiful and willing girls he meets along the way – blonde Norwegian Karen, Moya from Australia, and the modern American, Rosaleen.

In Athens he finally receives a message from London, from Frederika – an empty envelope. Mystified and disillusioned, he heads back home, this time traveling through Belgrade, Budapest, Vienna, Munich, Dachau and Strasburg, meeting people and seeing the countries with new understanding.

At the end of summer, back in London, he calls on Frederika only to find that she has forgotten all about him. But to his surprise, he finds that he doesn’t care, for the trip has indeed been a success – he has grown up.

British actor David Hemmings (star of Antonioni’s prize-winning film, “Blow Up”), makes his American television debut in this production of “Auto Stop,” in the role of Henry. Starring with him are Delphi Lawrence as Frederika; Kevin Stoney as Marcello; and Janice Dinnen as Moya.

The Cast: Henry – David Hemmings Aryan – John Trigger Federika – Delphi Lawrence Ernie – David Lander Pietro – Gino Melvazzi Rosaleen – Catherine Griller Jed – Hal Hamilton Marcello – Kevin Stoney Domenico – Gino Cola Karin – Katherine Schofield Maria – Bettine Le Beau Bruno – Jonathan Burn Dimitrious – George Zenios Moya – Janice Dinnen Gingo – Ken Wayne Greek girl – Doola Economou Milos – Adrian Drotsky Janos – David Pinner Austrian – Gertan Klauber Kreuz – Michael Ritterman Waitress – Deirdre Turner

Music by Eric Rogers Bazould dancing arranged by Andrikos Adonis Graphics by Ken Brazier Lighting: Gerry Millerson

NET Playhouse: “Auto Stop” is a National Educational Television presentation, produced by James MacTaggart for the British Broadcasting Corporation. It was directed by Brian Parker. Written by Alan Seymour. Producer for NET was Kay Chessid.

Filler for Auto Stop Description: The filler to be run with “Auto Stop” is a black-and-white animated short from Yugoslavia entitled, “Tamer of Wild Horses,” running 7:48.

A mall, club-wielding man meets, on a vast deserted open space, a huge immobile horse. Climbing on its back, he attempts to ride it. The horse is transformed (while still retaining its form) into a gigantic mechanism, a power engine every inch of which is covered with gears, bolts, etc. It tries to destroy the man even as the man tried to tame it. The man continues, eventually finding a trap door on the horse into which he climbs. He finds the horse hollow. Again he mounts the horse which becomes transformed into a white winged Pegasus, and the two ride off into the night skies.

“Tamer of Wild Horses” was made by Zagred animation studio, directed by Dragic, written by Mimica, and produced by Matko. This is the film’s first television showing.