DOCSLIB.ORG

Bridging the Gap Between Documentary Film and Audience to Enhance the Storytelling Experience by Maureen U

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bridging the Gap Between Documentary Film and Audience to Enhance the Storytelling Experience by Maureen U Beyond The Screen: Bridging the Gap between Documentary Film and Audience to Enhance the Storytelling Experience By Maureen Ursino B.A. in Economics, May 2006, University of Maryland A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences (formerly by Corcoran College of Art + Design) Of The George Washington University In partial fulfillment of the requirements for the degree of Master of Arts May 15, 2016 Thesis directed by Benjamin Ames Architect, American Institute of Architects i Abstract Beyond The Screen: Bridging the Gap between Documentary Film and Audience to Enhance the Storytelling Experience Documentary film is a vital part of culture. It is a form of media that offers a way of better understanding, reasoning, inspiring, or even altering a world that is continually becoming more complex and complicated. These films are a tool that can empower people to change the world, sometimes in ways so significant that thousands of lives are bettered, but usually change happens in smaller ways – ways that simply allow someone to follow their dreams or find the courage needed to face a difficult situation. However, there are boundaries between this medium and the audience. Where do audiences go to more deeply experience documentary film when feeling inspired by storytelling? With the belief that design can act as a platform to create a space that fosters shared experience, this thesis proposes the design of a documentary production studio that serves two primary functions. The first is simply the function of a production house that produces documentary film. The second, and more relevant function, is a space where viewers can go to more deeply experience narrative; a three dimensional space where audiences can attend events that allow them to move from passive viewer to active participant. The written thesis is organized into four main chapters. Chapter 1 introduces the premise of the issue and why it was pursued. Chapter 2 presents research on documentary film. It explores and highlights significant milestones of this medium’s theory and history, provides an analysis of documentary film in the 21st century, and ends with a study of the technical production of the documentary. Chapter 3 documents how ii this thesis is translated into a functional interior space. A holistic analysis is provided for the programming, site selection, materiality, and overall methodology of the production studio. Chapter 4 offers a reflection of the project, including successes and lessons learned, while also providing brief guidance on how this program could be translated into other interior spaces. iii Table of Contents Chapter 1: Introduction ....................................................................................................... 1 Chapter 2: Research Findings ............................................................................................. 2 2.1: Introduction to Documentary Theories & Philosophies ........................................... 3 2.2: An Historical Overview ........................................................................................... 4 2.2.1: Significance of Government Documentaries ..................................................... 6 2.2.2: Use of Documentaries in Times of War .......................................................... 10 2.2.3: Significance of Non-Government Documentaries .......................................... 11 2.2.4: Documentary for Television ............................................................................ 13 2.3: Documentaries in the 21st Century ......................................................................... 15 2.3.1: Rise in Popularity ............................................................................................ 16 2.3.2: Contributing Factors of Audience Satisfaction ............................................... 21 2.3.3: A Platform for Social Change ......................................................................... 23 2.3.4: An Analysis of Main Players in Documentary Business................................. 25 2.5: Technical Production ............................................................................................. 33 2.5.1: Example of an Effective Design ...................................................................... 38 Chapter 3: Design Components ........................................................................................ 43 iv 3.1: Concept, Mood, and Inspiration ............................................................................. 43 3.2 Site Analysis ............................................................................................................ 59 3.2.1: Considered sites ............................................................................................... 60 3.2.2: Selected Site (The Dunbar Theater) ................................................................ 68 3.3 Programmatic Case Studies ..................................................................................... 76 3.3.1: Sundance Institute ........................................................................................... 77 3.3.2: Fledgling Fund ................................................................................................ 80 3.3.3: Seattle International Film Festival ................................................................... 84 3.4: Outline of planned program ................................................................................... 86 Chapter 4: Conclusions ..................................................................................................... 99 NOTES ............................................................................................................................ 101 BIBLIOGRAPHY ........................................................................................................... 109 APPENDIX ..................................................................................................................... 113 v List of Figures Figure 1: Image from Nanook of the North ....................................................................... 5 Figure 2: Movie theater advertising, March of Time ......................................................... 7 Figure 3: Impact of the Dust Bowl shown in The Plow That Broke the Plains................. 8 Figure 4: Impact of the Dust Bowl shown in The Plow That Broke the Plains................. 9 Figure 5: A devastation scene in The River, 1937 ........................................................... 10 Figure 6: Text displayed on screen from The City. .......................................................... 12 Figure 7: An image taken from The City. ........................................................................ 12 Figure 8: An image taken from Harvest of Shame .......................................................... 14 Figure 9: Number of documentaries released statistic ..................................................... 16 Figure 10: Sundance Film Festival infographic ............................................................... 18 Figure 11: Number of TV viewers who typically watch documentaries in the U.S. ....... 19 Figure 12: A scene from For Neda .................................................................................. 27 Figure 13: A scene from Killing Cancer ......................................................................... 30 Figure 14: A scene from Our Rising Oceans ................................................................... 30 Figure 15: An example of a typical editing suite at a production studio ......................... 41 Figure 16: An example of a typical sound booth at a production studio ......................... 42 Figure 17: Venn diagram illustrating connection between thesis concepts. .................... 44 Figure 18: Thesis concept boards. ................................................................................... 44 Figure 19: Documentary word map. ................................................................................ 45 Figure 20: Marshall Murray, owner and operator of the Dunbar Theatre ....................... 47 Figure 21: Historical image of the Dunbar Theater ......................................................... 47 vi Figure 22: Image of the distressed Dunbar Theater in the 1990’s ................................... 47 Figure 23: Małopolska Garden of Arts, Poland ............................................................... 49 Figure 24: Intermediae Matadero Madrid, Spain ............................................................. 49 Figure 25: Sant Francesc Convent, Spain ........................................................................ 50 Figure 26: Exterior view of Alice Tully Hall .................................................................. 51 Figure 27: Interior view of Alice Tully Hall .................................................................... 52 Figure 28: Interior view of Alice Tully Hall .................................................................... 52 Figure 29: The International Academy, Amman, Jordan ................................................ 54 Figure 30: Torremadariaga Basque Biodiversity Centre ................................................. 54 Figure 31: Glass elevators at the Museo Reina Sofia ...................................................... 55 Figure 32: Exterior rendering of the Museum of Image and Sound ................................ 56 Figure 33: Exterior rendering
Load more

Recommended publications
  • Teaching the Levees
    Teaching The Levees 7 Times-Picayune staff graphic by Emmett Mayer III; staff photos by Ellis Lucia, Alex Brandon, and Devaunshi Mahadevia Teaching The Levees A Curriculum for Democratic Dialogue and Civic Engagement 7 MARGARET SMITH CROCCO, Editor Teachers College Columbia University New York R This work is dedicated to the residents of the Gulf States, who survived the ravages of Hurricane Katrina by helping one another, and to those who died so tragically. R Published by Teachers College Press, 1234 Amsterdam Avenue, New York, NY 10027 Copyright © 2007 Teachers College, Columbia University. All rights reserved. This publication was made possible by a grant from the Rockefeller Foundation. Grateful acknowledgment is made to the following sources for permission to use their materials: Afro-American Newspapers Archives and Research Center for excerpt The Opportunity Agenda for reprinting of “The Opportunity from “Spike Lee captures pain, hope of Hurricane Katrina Agenda’s six core values” survivors,” by Zenitha Prince (August 26, 2006) Pew Research Center for reprinting of “Katrina has only modest AlterNet for excerpt from “Media hurricane is so much hot air,” by impact on basic public values” (September 22, 2005) Rory O’Connor (September 14, 2005) The Poynter Institute for excerpts from “Best practices: Images of The American Conservative for an excerpt from “The emperor’s new disaster and how they were captured,” by David Frank consensus,” by Scott McConnell (October 10, 2005) (September 3, 2005), and from “Katrina photos: A gallery & notes Associated Press for excerpts from “For now the offi cial Hurricane from photo editors,” by Kenny Irby (September 4, 2005) Katrina death toll stands at 1,697” (October 29, 2006) and from Reuters News Service for excerpt from “US censoring Katrina “Up to 35,000 kids still having major Katrina problems,” by Janet coverage,” by Deborah Zabarenko (September 8, 2005) McConnaughey (February 2, 2007) Joni Seager for excerpt from “Natural disasters expose gender divide,” Philip S.
    [Show full text]
  • SPRING 10 Alice TULLY HALL and the Juilliard School / City College of NEW YORK School of Architecture / FRANK SINATRA School OF
    Prsrt STD U.S. POSTAGE THE STEEL INSTITUTE OF NEW YORK THE ornamental metal INSTITUTE OF NEW YORK paid 211 EAST 43RD STREET, SUITE 804 PUBLISHED BY THE STEEL INSTITUTE OF NEW YORK AND THE ORNAMENTAL METAL INSTITUTE OF NEW YORK NEW YORK NY 10017 PERMIT NO. 161 LANCASTER, PA SPRING 10 ALICE Tully HALL AND THE JUILLIARD SCHOOL / CITY COLLEGE OF NEW YORK SCHOOL OF ARCHITECTURE / FRANK sinatra SCHOOL OF THE arts / NEW YORK LAW SCHOOL / 41 COOPER SQUARE / ONE JACKSON SQUARE / PUBLISHED BY THE standard HOTEL / MONROE HIGH SCHOOL ANNEX CONTENTS EDITOR’S NOTE SPRING 10 Test of strength 1 OVER THE YEARS, OUR introduce its own testing is EDITOR’S NOTE building codes have expanded unlikely to reduce them. Since beyond their traditional focus on virtually every structural material 2 AliCE Tully Hall and life safety to include requirements must undergo strength testing, THE JUILLIARD SCHOOL for social initiatives such as it’s reasonable to ask why steel energy conservation, accessibility isn’t also at risk of testing fraud. 8 for the disabled, and historic Because of how it is produced, City College of New York preservation under their regulatory steel is able to be certified and SCHOOL OF ARCHITECTURE umbrella. Given this evolution, verified as conforming to the 14 it is disturbing to find that one required shape, size, composition, Frank Sinatra SChool of the most fundamental of and strength before it’s ever OF THE Arts code concerns—validating the delivered to a job site. Two strength of structural materials— separate inspections provide this 20 is dominating industry headlines.
    [Show full text]
  • NYC Student Discounts
    NYC Student Discounts The Chamber Music Society of Lincoln Center Alice Tully Hall (Broadway at 65th Street)/ Daniel and Joanna S. Rose Studio (165 West 65th Street between Broadway and Amsterdam) The Chamber Music Society of Lincoln Center (CMS) presents an annual series of concerts. Students may purchase tickets at a 50% discount in advance at the Alice Tully Hall box Office, pending availability. Student rush tickets are $10 on the day of the performance, pending availability. Present a valid student ID beginning one hour prior to curtain for two $10 tickets. https://www.chambermusicsociety.org/nyc/ticketing-information/student-tickets/ Jazz at Lincoln Center Rose Theater, The Allen Room, Dizzy’s Club Coca-Cola at Frederick P. Rose Hall, Home of Jazz at Lincoln Center (Broadway at 60th Street) Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. Fill out the online registration form and submit a copy of your student ID to [email protected]. Be sure to include your expected month and year of graduation in the email. Please note that for Dizzy's Club Coca-Cola reservations, you will need to create a new account separate from your student account when making your reservation. The student rate varies by performance and will be listed on the specific event page. Once your reservation is made, a student ID is required to be shown upon arrival at the res- ervation desk. http://www.jazz.org/students/ New York City Ballet David H. Koch Theater (Columbus Avenue at 63rd Street) New York City Ballet is one of the foremost dance companies in the world, with a roster of nearly 100 spectacular dancers, a 62-piece orchestra, and a repertory of modern masterpieces.
    [Show full text]
  • Artist Series – Arnaud Sussmann Program Notes on the Program
    ARTIST SERIES – ARNAUD SUSSMANN PROGRAM JOHANN SEBASTIAN BACH (1685-1750) Brandenburg Concerto No. 4 in G major, BWV 1049 (1720) Allegro Andante Presto Arnaud Sussmann, violin • Sooyun Kim, flute • Tara Helen O'Connor, flute • Bella Hristova, violin • Francisco Fullana, violin • Richard O'Neill, viola • Dmitri Atapine, cello • Xavier Foley, bass • Hyeyeon Park, piano-harpsichord ERNEST CHAUSSON (1855-1899) Concerto in D major for Violin, Piano, and String Quartet, Op. 21 (1889-91) Décidé—Calme—Animé Sicilienne: Pas vite Grave Très animé Arnaud Sussmann, violin • Wu Han, piano • Kristin Lee, violin • Yura Lee, violin • Richard O'Neill, viola • Nicholas Canellakis, cello NOTES ON THE PROGRAM Brandenburg Concerto No. 4 in G major, BWV 1049 (1720) Johann Sebastian Bach (Eisenach, 1685 – Leipzig, 1750) Though Bach practically defined Baroque music as we know it today, he met with a surprising number of setbacks in his own lifetime. The Brandenburg Concertos were one such unsuccessful attempt for recognition. They were named after Christian Ludwig, the Margrave of Brandenburg, who Bach only met once—in 1719 during a trip to Berlin. The Margrave asked for some of his music but it took two years for Bach to deliver, at which time his employer, Prince Leopold of Cöthen, was having financial difficulties and Bach was probably looking for leads on a new job. Bach gathered six concertos with vastly different instrumentations, made revisions, and sent them to the Margrave. Not only did Bach not get a job, there is no record the Margrave ever listened to them or even acknowledged Bach’s gift. The Brandenburgs remained virtually unknown until the Bach revival of the mid-19th century.
    [Show full text]
  • 160 Emmy Photographs by Tommy Garcia/The Jude Group Grooming by Grace Phillips/State Management
    Randy Barbato and Fenton Bailey 160 EMMY PHOTOGRAPHS BY TOMMY GARCIA/THE JUDE GROUP GROOMING BY GRACE PHILLIPS/STATE MANAGEMENT FOR MORE THAN A QUARTER-CENTURY, RANDY BARBATO AND FENTON BAILEY’S WORLD OF WONDER HAS TACKED CLOSELY TO THE CULTURAL ZEITGEIST, EMBRACING — AS BAILEY PUTS IT — “THE UNEXAMINED AND THE UNCONSIDERED.” SAYS BARBATO: “OUR WORK TYPICALLY HAS A CONNECTION TO PEOPLE WHO FEEL MARGINALIZED OR JUDGED.” BY MICHAEL GOLDMAN TelevisionAcademy.com 161 USHING INTO THE CONFERENCE ROOM ON THE TOP FLOOR OF THE 1930S ART DECO BUILDING THEY OWN ON HOLLYWOOD BOULEVARD, RANDY BARBATO AND FENTON BAILEY APOLOGIZE FOR THEIR LATENESS. THEY’VE JUST COME FROM THE EDIT ROOM, WHERE THEY LOCKED THE FINAL CUT OF MENENDEZ: BLOOD BROTHERS, A TV MOVIE THEY COPRODUCED AND CODIRECTED FOR A JUNE DEBUT ON LIFETIME. Blood Brothers is one of hundreds of projects made by World of Won- English television. That show explored the camcorder revolution, building on der, the production company they have jointly operated since 1991. Bailey a theme that helped launch Barbato and Bailey’s producing careers. and Barbato have flourished by crossing genres and media platforms, and by Fascinated by New York public-access television, the duo created their spotlighting extreme and often controversial topics, including tabloid news, first TV show, Manhattan Cable, out of public-access clips in 1991. It was a gender roles, LGBT issues and, more generally, almost all aspects of human hit in the U.K. and led to more programs there, like the one that eventually sexuality. earned Nevins’s attention. She hired them in 1993 to produce HBO’s Shock “Sex is the engine or driving force of who humans are,” Bailey says.
    [Show full text]
  • Department of Film and Video Archive
    Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • BEDLAM a Film by by Kenneth Paul Rosenberg
    BEDLAM A film by by Kenneth Paul Rosenberg Trailer: ​https://vimeo.com/312148944 Run Time: 84:53 Website: ​www.bedlamfilm.com Facebook: ​http://www.facebook.com/BedlamTheFilm/ Twitter: ​@bedlamfilm Film stills: https://drive.google.com/drive/folders/1GuefJBcR5Eh4ILE8v_t6Wv9xZngWfvJE?usp=sh aring Poster: https://drive.google.com/file/d/1D46P8faWmvc06YAs5Vq3L1vm6_9NHf-C/view?usp=s haring PRESS CONTACT: DKC News Joe DePlasco & Jordan Lawrence [email protected] EDUCATIONAL SALES: Ro*Co Films Allie Silvestry [email protected] BOOK SALES AND PRESS: Avery, Penguin Random House Casey Maloney [email protected] FILM SYNOPSIS BEDLAM ​is a feature-length documentary that addresses the national crisis and criminalization of the mentally ill, its connection between hundreds of thousands of homeless Americans and our nation’s disastrous approach to caring for its psychiatric patients. In the wake of decades of de-institutionalization in which half a million psychiatric hospital beds have been lost, our jails and prisons have become America’s largest mental institutions. Emergency rooms provide the only refuge for severely mentally ill who need care. Psychiatric patients are held captive and warehoused in overcrowded jails as untrained and under-equipped first-responders are on the front lines. At least half the people shot and killed by police each year have mental health problems, with communities of color disproportionately impacted. The mentally ill take to the streets for survival, existing in encampments under our freeways and along our streets, doing whatever it takes to stay alive. This crisis can no longer be ignored. Through intimate stories of patients, families, and medical providers, ​BEDLAM immerses us in the national crisis surrounding care of the severely mentally ill.
    [Show full text]
  • February 2005 Resolutions
    C O M M U N I T Y B O A R D 7 Manhattan ______ _________________________________ February 2005 Resolutions Lincoln Center Task Force Lawrence Horowitz, Chair February 1, 2005 Re: Applications to the Department of City Planning related to The Lincoln Center West 65th Street Project C 050098 MMM, C 050170 GFM, C 050219 PQM Vote: 32 In Favor 0 Against 0 Abstaining 0 Present A. Introduction Lincoln Center for the Performing Arts has proposed a number of actions relating to West 65th Street between Amsterdam Avenue and Broadway, which require ULURP action and other approvals from Manhattan Community Board 7. The Lincoln Center Task Force of Community Board 7 has met with representatives of Lincoln Center and their architects and planners on numerous occasions to review each aspect of the proposed actions, and has held a public hearing at which comments were solicited from the public, including members of neighboring community and landmark preservation groups. These actions are sought by Lincoln Center because, if approved, they will permit the institution to enhance, improve and expand access to its cultural facilities and public spaces. The goal of the proposed improvements is to transform the West 65th Street corridor between Amsterdam Avenue and Broadway/Columbus Avenue into a “Street of the Arts” that would create a new “front door” for visitors and for the artists who work and study at Lincoln Center. To accomplish this, Lincoln Center will make changes to the street itself, to the sidewalks and to the public spaces and North Plaza adjacent to West 65th Street.
    [Show full text]
  • Doc Nyc Visionaries Tribute to Honor Sam Pollard, Jean Tsien, Alexander Nanau and Yvonne Welbon on December 10
    DOC NYC VISIONARIES TRIBUTE TO HONOR SAM POLLARD, JEAN TSIEN, ALEXANDER NANAU AND YVONNE WELBON ON DECEMBER 10 NANAU’S COLLECTIVE ADDED TO FESTIVAL LINEUP, NOVEMBER 11-19 ​ ​ New York, Oct 28, 2020 - DOC NYC, America’s largest documentary festival, celebrating its 11th edition November 11-19, announced the honorees for its annual Visionaries Tribute, which will take place as an online event on December 10. Lifetime Achievement honors will be ​ ​ presented to Sam Pollard and Jean Tsien. The Robert and Anne Drew Award for ​ ​ ​ ​ ​ Documentary Excellence will go to Alexander Nanau (Collective, newly added to the festival’s ​ ​ ​ ​ ​ lineup) and the Leading Light Award will go to Yvonne Welbon, founder of Sisters in Cinema. ​ ​ ​ ​ “This year’s Lifetime Achievement recipients are behind two of the year’s most timely films - Sam Pollard as director of MLK/FBI and Jean Tsien as producer of 76 Days,” said DOC NYC’s ​ ​ ​ ​ Artistic Director Thom Powers. “Both Sam and Jean are revered not only for their talent but also their generosity in mentoring others. We are also thrilled to honor Alexander Nanau for his feats of observational filmmaking, including his latest, Collective, and Yvonne Welbon for her ​ ​ exemplary work behind the scenes championing women filmmakers.” Films by honorees screening as part of DOC NYC this year are: MLK/FBI, which examines J. ​ ​ Edgar Hoover’s relentless campaign of surveillance and harassment against Martin Luther King, Jr.; 76 Days, an immersive look at life under COVID-19 lockdown in Wuhan, China, focused on ​ ​ front-line hospital workers and their patients; Collective, which follows a journalistic investigation ​ ​ into a Romanian political scandal that reaches the upper levels of government; and Unapologetic, executive produced by Welbon and supported by Sisters in Cinema, which ​ profiles two passionate young Black activists in Chicago.
    [Show full text]
  • Broadcasting What the NAB Irgser Ds to Din Bout Sex and Violence
    A roundup of honors earned by broadcasting What the NAB irgser ds to din bout sex and violence BroadcastingThe newsweekly of broadcasting and allied arts Our 46th Year 1977 Arb,00n. Apnl%Moy'». rSA. AOH. Adv. 55.49. Mon. n. 6:00 AM.I9,00 Midnight. All dota ore .bmoMS and frblecl to srr.ty lhtation.. Mr. fñovPublic Television is proud to be the recipient of five George Foster Peabody Awards -the best showing in all of broadcasting: 1 An innovative series of original A series of varied cultural A documentary on the problems of television dramas by new American performances from Washington's water utilization, presented on the playwrights. Wolf Trap Farm Park. PBS "Americana" series. Protletanu["' Prad,onsteam. VCET /Los Angeles Protlocaam WETA/Washington st. KERA/Da Ilas A series of historical dramas spanning A special report on the PBS 200 years of American history. "USA: People & Politics" series. P`=,:n7WNET surtan: /New York Protlucstatans: WETA/Washington & WNET /New York AMERICA'S PUBLIC TELEVISION STATIONS PUBLIC BROADCASTING SERVICE BroadcastingNJul4 The Week in Brief MORE TEETH IN CODE The NAB boards, meeting last Shiben notes FCC's new standards for screening week in Williamsburg, Va., had a busy four days. Standing employment practices are superior to those used in out was the television board's resolution calling for petitioners' screening. PAGE 29. stronger language against unacceptable programing. PAGE 20. NONDUPLICATION HANGUP The FCC has an inter - bureau split over criteria to be used for waivers. PAGE 31. FAMILY -VIEWING APPEALS Parties aggrieved with Judge Ferguson verdict file appeals. Department of CBS READING PROJECT Cooperative effort with local Justice contends FCC, Chairman Wiley did not pressure school board that has been tried by three network -owned broadcasters into accepting the plan.
    [Show full text]
  • 9Th Annual United Nations Association Film Festival to Screen 31 Documentaries from Around the World
    9th Annual United Nations Association Film Festival to Screen 31 Documentaries from Around the World October 25-29, 2006 at Stanford University Cubberley Auditorium/School of Education and Annenberg Auditorium/Cummings Art Building With screenings in San Francisco on October 18 & 22 and in East Palo Alto on October 20 Find out why celebrities like Ted Turner, Alec Baldwin, Lolita Davidovich, Danny Glover, Peter Coyote, John Savage, Susan Sarandon and Zucchero believe in UNAFF and became members of the UNAFF Honorary Committee. The 9th annual United Nations Association Film Festival with the theme SPARKS OF HUMANITY offers unique stories from 30 countries giving a voice to the voiceless and bringing diverse communities together. UNAFF hosts academics and filmmakers from around the world to discuss films at the festival with audiences and groups of individuals who are often separated by geography, ethnicity and economic constraints. From stories about refugees in the Sierra Leone and humanitarian aid in the Congo to the war in the Middle East and Iraq, from the status of women in Rwanda, Nicaragua and India to the fight against AIDS in Africa and China, from stories about environmental devastation on Native American reservations to the Tsunami tragedy in Indonesia, UNAFF presents images which will stay with us forever. Screenings will be held in San Francisco on Wednesday, October 18 at the Delancey Screening Room on 600 Embarcadero and on Sunday, October 22 at the Roxie Cinema on 3117 16th Street. UNAFF will also be holding screenings in East Palo Alto on Friday, October 20 at the Eastside Theatre on 2101 Pulgas Avenue, in an effort to create a dialogue with future generations and promote global understanding.
    [Show full text]