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THE INDEPENDENT is published 10 times yearly by the Foundation for Independent Video and Film. Inc.. 99 Prince St.. NY. NY 10012. with support from the New York State Council on the Arts and the National Endowment for the Arts, a federal agency. Subscription is included in membership to the organization.
Publisher: Alan Jacobs
Editor: Bill Jones
Associate Editor: Judith L. Ray
Assistant Editor: Fran Piatt
Contributing Editors: Mitchell W. Block
Dee Dee Halleck
Sol Rubin
Frances Piatt
Layout & Design: Bill Jones
Typesetting: Josephine Coppa, Compositype Studio
BUSINESS — By Mitchell Block 5
MEDIA AWARENESS — By Tad Turner 7
ETHNIC COMMUNITIES 9 CHALLENGE LOCAL STATIONS
CPB PAYS A VISIT — PART II 10
GLENN SILBER INTERVIEWED 12
THE COLUMN — By Judy Ray& 15
Rich Berkowitz
The viewpoints expressed herein do not necessarily reflect the opinion of the Board of Directors — they are as diversified as our member and staff contributors.
We welcome your response in the form of letters, reviews, articles or suggestions. As time and space are of the essence we can't guarantee publication. Please send your material tc THE INDEPENDENT. 99 Prince St., NY, NY 10012. If you'd like your material returned to you please enclose a self-addressed stamped envelope.
NOTE: All submissions to newsletter due by the 15th of month preceding publication, preferrably earlier.
FESTIVAL DE TROIS CONTINENTS 18 By Monica Freeman
COVER: THE WAR AT HOME
correspondence
INDEPENDENT FOCUS: A Peer's Review
It would indeed by unfortunate if the controversy over the four films excluded by WNET from this season's In- dependent Focus obscured the films that were ac- cepted, and the role of the peer panel in that process. In spite of its omissions, this year's programming is more diverse, and even "controversial", than in the previous two years, and the independent film community should not lose sight of this fact. Even in its limited, advisory role, the panel did have an effect.
For a program like Independent Focus, one of whose aims I would like to think is the expansion of the form and content of public television, this outside opinion is crucial. Bureaucracies are conservative by nature — and WNET is a bureaucratic organization. It operates according to the laws of gravity: it's always harder to push things up from below than it is to have them fall down from above.
The pull is always there to take the safe, competent films, to avoid the controversial, the outrageous, and
the interesting failures — anything that may not fall within the obscure yet rigid boundaries of "broadcast standards". Given the amount of work a programmer has to face in sorting through hundreds of films in a short amount of time, outside opinions are helpful.
This is not to say that the resulting group of films is, or should be, the product of a consensus. Nor does it mean that all the films have to appeal to all the segments of the WNET audience (past, present, or future) — or to the WNET management. But if the sta- tion is, as it says it is, committed to expressing diverse points of view, and developing new audiences, it has an obligation to include those prints of view in the deci- sion process itself.
Film programming is neither an art nor a science, nor simply a question of selecting "good" films; it's what you do with the films that have "problems" that makes the difference. There were, for example, no objections to Salt of the Earth, With Babies and Banners and
several other films. On the other hand, California Newsreel's documentary about multi-national corpora- tions, Controlling Interest, and Charles Burnett's fiction feature about a black family in Los Angeles, Killer of Sheep, were, and will be, less unanimous in their ap- peal. In style and content, they will upset some viewers, as they did people at WNET, but Independent Focus is a stronger series for having these films — and the views of the panel made their inclusion possible
I'd like to see more outrageous and courageous films on Independent Focus, and elsewhere on public tele- vision — but it's not going to happen unless people ask for them, and filmmakers are encouraged to make them because they think there is an audience for work which is out of the ordinary in some way. And I'd like to think that this year's program is a small step in that direction.
Eric Breitbart
THE INDEPENDENT REGRETS:
Mr. Alan Jacobs
President
A.I.V.F.
99 Prince St.
New York, N.Y. 10012
Dear Alan:
In the spirit of keeping your membership both regularly and accurately apprised of developments in the area of independent television program funding policy, I'd like to bring to your attention a fairly important inaccuracy made in the December/January issue of the INDEPENDENT.
The legal memorandum that was printed on pages 19-20, under the banner, "C.P.B. HEARS FOOTSTEPS", was mistakenly attributed to the Corporation. In fact, this memo was prepared for the Public Broadcasting Service (P.B.S.) under an arrangement with an outside law firm. The memorandum was in response to CPB's August, 1979 draft paper on independent television producting funding, a fact which can be confirmed by contacting Elizabeth Shriver, the PBS General Counsel.
Cordially,
Steven J. Symonds Assistant Director Legislative Affairs
CATCH 13
When Marc Weiss asked me to be on the Independent Focus panel, I declined (INDEPENDENT, October 1979). It seemed to be a no-win situation and I could tell it would be a long and drawn out battle. Not that I have anything against battles — but I'd rather do my fighting out-of-house or at least get paid (well) if the show's going on inside. The smoke is still clearing over at the Henry Hudson (Newark- on-Ninth), but here's what I see through the field glasses:
That the four panel-recommended films which WNET vetoed will NOT be included in the series was evident from the first meeting that the panel had with management. The only film that seems to even stand a chance of getting broadcast singly is Jan Oxenberg's A COMEDY IN SIX
UNNATURAL ACTS. It's not a question of the merits of the film — it's just that the gay community was the most vocal and organized.
So the series goes on, true to form for independents with NO publicity and NO follow through. There has been NO attention paid to the selections that did get by, and they include some of the most controversial work ever aired by public television: THE SALT OF THE EARTH, CIA CASE OFFICER, WITH BABIES AND BANNERS, and CONTROLLING INTEREST. Those films got under the fence, despite the objections of such WNET honchos as Walter Goodman, formerly of the limes and now editorial czar and gatekeeper. In a memo, he declared that the only reason CONTROLLING INTEREST would pass was because of the independent pressure.
At this point, it seems obvious that some controversial work was bound to get on and just as obvious that WNET would have had to draw the line at some point — if only to have us all keep in mind just who the boss is. Of course they knew we would object. I would venture to say that the main reason they had to draw the line was to make sure that the panel system failed. It would be a disaster for WNET and PBS if the panel system was to actually succeed in choosing a good series, getting good publicity and initiating positive and trusting relationships with indies What a frightening precedent! They might really have to do more of that sort of thing. And it was almost a success. Marc Weiss was the perfect combination of conscience and sensibility; the panel he chose and worked with was truly diverse and respected, the films they winnowed out are a good mix of topics and styles. That four of those films were nixed was just a convenient out for WNET. This way they are vindicated. Obviously independents are too hot to handle as programmers, spreading dissension and bad press. Best of all: WNET has remained — THE ENEMY. The image of the strong, protective, restrictive Daddy against those rebellious independent youngsters is one they like to cultivate in their board rooms and in Congress. The set-up feeds on keeping us angry and frustrated. The madder we get, the more reasonable they sound. It's a classic case of blaming the victim. Like the poverty programs of the Sixties, their gestures at reform need to fail.
Designing a panel system that can work against these odds is a tricky business. Marc Weiss is now in the difficult position of having to drum up attention to the films that DID get on the series (thereupon becoming a gratis promoter of WNET) and at the same time give support and sympathy to the irate panelists.
As an irate non-panelists, I will swallow my pride and watch the show. Thanks to Marc and the panel and despite Liz Oliver and her bosses, it's the best independent series so far on the tube.
DeeDee Halleck
AIVF is updating and enlarging our reference library so
that it will be more comprehensive and useful to our
members.
We are seeking the following materials from members
and other interested groups or individuals:
• successful proposals, treatments and scripts which can be used as models,
• sample budgets, contracts, business prospec- tuses for production companies,
• any tax law and copyright information pertaining to all areas of film and video production.
Mr. John J. Iselin WNET/ 13 356 W. 58th St. New York, NY 10019
Dear Mr. Iselin,
I wish to protest the refusal of WNET-13 to show our film "The Chicago Maternity Center Story" on Independent Focus after it had been selected by the selection panel and the producer of the show.
Our film and the three other important films ("Finally Got the News", "0 Povo Organizado", and "Comedy in Six Unnatural Acts") being censored from the series went through the selection process, and then were rejected by WNET executive Liz Oliver. There seems to have been no coherent or formulated standard applied to these films. I am familiar with all four films and believe that they all should be shown. If WNET wants to expand its audience from the elite educated class, if it wants to deal with social issues from alternate perspectives, then these films from and about oppressed communities (women's movement, gay movement, black worker's movement, Third World movement) are what is needed.
There is a great deal of cynicism among oppressed groups on the one hand and independent producers on the other, that Educational TV has no interest in serving their needs. This incident can only confirm the attitude that many already have that Educational TV is controlled by rich subscribers and corporate funders, and that those of us who use the "wrong tone" will not be allowed access.
At a point when Ms. Oliver was considering whether or not to program our film she called me to ask whether I would be willing to make certain changes in the film in order to make it acceptable to WNET. I agreed to discuss the matter and that I would consider making changes if when the film was presented WNET acknowledged that the film had been edited (or censored) for TV. Ms. Oliver agreed to this, and on this basis we talked for over an hour about the specifics of the narration. Of course one could protest the very idea that WNET should be re-editing or censoring works presented in an Independent Focus format. After all, these works were not commissioned by WNET, and the presentation format makes that clear. (The censoring of commissioned works is a separate, but related problem.)
However, in order to try and better understand Ms. Oliver's and WNET's criterion I agreed to the process. After the discussion we agreed to make a few changes, none of which would have fundamentally changed the meaning of the film. Ms. Oliver raised some questions that she was unable to support. However, there were no changes that she demanded and that I refused. It was left that she still wanted to think it over, and that she would get back to me. (Marc Weiss later informed me of her decision.) It became clear to both of us that her main objection was to the "tone" of the movie, to the "sarcastic tone" in the narrator's voice, and to the "manipulative use of music".
We all see sarcastic narration and commentary, and manipulative music on TV every day, often in films that claim to be "objective" (which ours does not). We feel that Ms. Oliver's and WNET's "problem" is the same with all four films. Not only do they deal with controversial subjects, but they are open and honest about their viewpoints and sympathies.
We believe that most of the media in this culture is controlled by a dominant culture, and while it will air some programs on controversial subjects, these programs must be in forms that are acceptable, i.e., they must have a tone with which the dominant culture feels comfortable.
There have been many programs on your station that have had as an underlying theme that one of the great values of advanced capitalism is the development of new technologies that serve mankind. Our film of course presents a different view of this question. I am beginning to understand, though, that this is not the "problem" that WNET has with it. I can even imagine you programming a "pseudo objectively styled" film that examined this question from our point of view.
Our film is different because it is made for and with the people who are suffering from the consequences of the dominant culture's view of technology. They cannot be asked to be "objective" about their own oppression. They cannot be dispassionate as they examine its historical sources.
In closing let me say again that I think the issue is the same for all four films. If you honestly wish to deal with controversies and to broaden your audience to include minorities and oppressed groups, then you must examine the prejudices and limitations of your present programming procedures. The independent panel approach for Independent Focus was a good beginning. If WNET is going to present a plurality of viewpoints, then your staff must be encouraged to respect and learn from these panels and the works they choose, and not to suppress them.
Yours,
Gordon Quinn Jerry Blumenthal Jennifer Rohrer
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BUSINESS
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GRANT APPLICATIONS: FORM, CONTENT and SAMPLE WORK"
I recently served as a screener for one of the largest grants available to individual filmmakers without matching requirements: the WNET Television Laboratory Independent Documentary Fund. As readers know, this $550,000 fund provides up to $80,000 for in- dependent documentaries. This year there were over 800 applications. I served on a jury with a Los Angeles- based public television station filmmaker. We were sent about 40 proposals with sample works to evaluate. In looking at the material about grants that has been published, I found that few jurors have written about the process from their point of view. I am not sure how the films and tapes we sent on will be evaluated by the final jury of the Independent Documentary Fund, or that my experience is necessarily similar to that of other screeners, but I feel that this experience is worth sharing.
I received a packet of 38 proposals. The instructions for the grant called for a 3-page proposal, consisting of 2 pages dealing with the project, its significance in terms of national programming, a short production schedule and some background on the key personnel, plus a third page for the project's budget. Additional material could include the key personnel's resumes.
We received two copies of each proposal. Since most of the proposals were rubber-banded to video casset- tes, most were folded in half. Only two of the proposals were bound. About half were badly typed or copied and were hard to read. Few proposals included resume or background material on the filmmakers. Most of the proposals were submitted on plain rather than bond paper. Most were badly written and organized. A number of proposals lacked clear identification. It would seem that some of the applicants did not care what their proposal looked like, and that they did not really want us to bother to read them.
GENERAL GRANT PROPOSAL NOTES
1. Follow the written instructions provided by the fund- ing organization (except as noted below).
2. Type proposal with carbon ribbon and clear, clean type font.
3. Xerox proposal onto bond paper. Use your letterhead for the cover letter.
4. For proposals under 40 pages, bind proposal with "Velco"-type binding.
Content:
1. Follow instructions; give the funding organization ALL the information requested.
2. Use headings on the pages to make finding that in- formation simpler for the readers.
3. Avoid making statements that are not universally "true". For example, one proposal I read, referring to an obscure local problem, said, "This issue has
resulted in wide national coverage." It had not.
4. Indicate as close to the beginning of the proposal as possible the following information:
a. Name of proposed film or tape
b. Length of proposed film or tape
c. Format (film or tape or both)
d. Color, black and white, sync sound and other technical information.
In a number of cases the WNET grant proposals fail- ed to indicate format or length.
5. Production schedules are useful and generally re- quired information. Provide one that shows realistic dates.
6. Key Production Personnel:
a. Name names; give one or two lines of information on the director, producer, writers, etc.
b. In an appendix, provide no more than two-page resumes of key production personnel. Resumes should show how that person's experience relates to the job you are hiring for on this grant project. A resume showing strong director credits for your cameraperson, for example, does not help as much as a listing of camera credits.
7. Be as clear as possible in your writing so that the readers can follow. What is the project about? How will you do it? How long will it take? What audience is the film/tape for? And how much is this going to cost? are the basic questions your grant proposal should answer. Other questions should include: Why should this film/tape be made? Why should I be given the chance to make it? If the film/tape gets funded, what is the chance it will be good? It is possible to answer ALL of these questions in a two- page, 900-word proposal. Granted, the answers will not be totally complete, but the jurors will get what they need to make their next set of decisions.
SAMPLE WORKS:
The purpose of the sample work for most grant applica- tions is to show the panelist that the work you are pro- posing to do is within your technical range. Some grants like the National Endowment-American Film In- stitute Independent Filmmakers Grants are for the inex- perienced. Sample works I screened fell into four categories: bad video .or filmmaking, "student" or amateur quality work, work whose authorship was questionable (quality varied), and outstanding. To those applying for grants where sample works are required, I would suggest the following:
1. Put your name, project or grant title, sample work title, your credit, and the length of the sample on the outside of the shipping carton.
2. Select a sample work which you directed that most represents the project for which you are seeking
BUSINESS continued
funding. An excellent narrative fictional film almost never shows that its director can do a documentary, for example.
3. Make sure credits on work are clear. If you are apply- ing for a director's grant, and have never directed anything, then show a work you at least edited.
4. % inch video seems easier to screen. KCET, for ex- ample, had only one 16mm screening facility we could use and I ended up bringing my Kodak Pageant projector so we could look at the 16mm films. Try to offer your sample work on % inch tape.
5. If your work is varied, try providing the panels with an edited % inch reel showing selected parts of the work you have done. Make sure written credits, descriptions and running times are packaged with the videotape.
6. If you lack sample works as a director-producer,
perhaps you are applying for the wrong grant and should consider packaging a grant for a different organization that funds first films.
I found the experience of working for WNET's Documentary Fund very interesting and worthwhile. I am somewhat concerned about the lack of guidelines for the panels. No one told us what a fundable film was, what was a subject of national significance, or what the final panel was looking for. This process in many ways seems unfair, since no two juries are the same in terms of bias or whatever. How does WNET know they are get- ting the best? or What is the best? are questions that have interesting answers. In any event, getting too many "great" ideas for shows does not seem to be a problem, (c) 1980MWB
BEST BOY To Open in New York On February 29
SUTTON THEATER, 57 th between 2nd and 3rd
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Public Broadcasting
Whose network is it ?
by TAD TURNER
With PBS's new Association for Public Broadcasting, the proposed formation of the Blue, Red and Green net- works, CPB's insulated Program Fund, and its five year plan, public broadcasting is once again in a state of "total reorganization". It seems worthwhile then to re- examine the goals of the system and the forces acting on it from both the public and commercial sectors.
Battles with commercial interests in broadcasting have a long history. The Wagner-Hatfield amendment to the Communications Act of '34 sought to reassign 25% of existing radio stations to non-profit licensees. Defeat of the bill was permitted by a split in the public interest lobby. The original demand for non-profit con- trol of stations with the option to sell unused airtime was countered by broadcasters who offered free use of their unsold airtime to preserve commercial control of the stations. While some proponents of Wagner- Hatfield recognized this offer as a temporary response to temporary pressures, others, in the words of Eric Barnouw, felt that broadcasting "was entering a new and promising phase." (The Sponsor, p. 29)
Minorities and independents have spent much of their time shut out of the public broadcast system. In 1978 congressional lobbying netted for independent pro- ducers increased access to federal funds going to public television. By CPB's own admission (pp. 5 & 6 of the withdrawn Programming Goals and Policy of 11-21-79), Congress mandated a "set aside" to finance independent productions. Even though the percentage of CPB's program fund going to independents is still being debated, similar minority gains within the same time period are non-existent.
At the time Congress was debating the Public Telecom- munications Financing Act of 1978, the Minority Task Force commissioned by CPB made specific recommen- dations as to how the 1978 Act should address the needs of minorities. In their study, A Formula for Change, the Task Force recommended (p. 63) that Con- gress should "specifically earmark funds for national and local minority programming." Remarking on the "substantial portion" of federal funds the bill allocates for independent programming, the Task Force observed (p. 11) that "a large number of minority programs are in- dependent" and stated bleakly that minority producers "could possibly benefit from such a provision." The bill was generally labeled as addressing minority needs "in a very indirect way" (p. 10). One wonders why Congress did not try at least to earmark a fixed percentage out of that "substantial portion" of programming funds for minority independents.
In the two years since 1978, minorities have been treated to severe cutbacks in the authority and financ- ing of CPB's Human Resources Department, to an ex-
pensive and belated reply to A Formula for Change
which was emphatically rejected by the Minority Task Force, and to a one million dollar subsidy for a "minori- ty SPC" that was intended only for station producers.
Many independent producers' organizations support the findings of the Minority Task Force Report. Amidst the intense competition for federal funds, however, non-minority independents need to develop their public interest coalition with minority groups. The alliance is not a static situation; even minority independent pro- ducers could conceivably be separated out of the coali- tion we all enjoy.
PBS' proposed Minority TV Lab, for example, producing perhaps twelve hours of programming, is designed to make a highly visible yet insubstantial commitment to programming by and for minorities. This is certainly an instance where PBS hopes it can satisfy minorities with a few concessions. But this is also an instance where money that will come from CPB (large corporations have no history of funding minority programming) will be administered by an organization immune to indepen- dent influence. PBS, in essence, is providing an incen- tive for a section of the independent community to reconsider its demands at CPB for peer panel judgements on programming monies.
Many independents might unwittingly regard the Minority TV Lab as a "minority issue". On a certain level they may be right: minority independent programs are the ones that will get the money. But this "pocket- book process" for deciding independent lobbying strategy leads to concessions for the whole indepen- dent community and ultimately wears away at its power base. Thus, the maintenance of vaguely articulated "support for the Minority Task Force Report" on the part of independent producers' organizations can easily constitute a "blind spot" that can be manipulated to the advantage of others.
Corporate sponsorship of programming, as a subtle political tool, also predates the existence of the public broadcast system. As a response to Senate investiga- tion of the $230 million profit that Dupont made on World War I, the corporation sponsored THE CAVALCADE OF AMERICA, a sort of "Dupont radio highlights of American history". Much like today's Con- nections or the National Geographic Specials, it ex- cluded many "unpleasant" topics to focus on an idealized America.
"Absolute taboos included government projects such as the TVA, which the sponsor considered socialistic; labor history; and for a long time, the Negro. (The ban on Negro topics lasted until 1948, when the company agreed to a program on Booker
7
TAD TURNER
T. Washington — who had felt that the Negro should 'keep his place' until better educated.)" Eric Barnouw, The Sponsor, p. 34
In public television today, public tax dollars support a system that corporations can "skim" for high visibility. Corporations know, as we all do, that programming is the heart of the broadcast system. Although corpora- tions provided only 25% of the funding for national pro- gramming from 1975-1978, their programs were watched by PTV's largest audiences. Of the public television programs most watched between 1975-78, corporations funded 100% of the educational specials, 96% of cultural series episodes, and 100% of the public affairs serials (see pp. 34 & 36 of chapter III, CPB's First Annual Program Priorities Statement).
Removing corporate dollars from public broadcasting would take an amendment of the Communications Act of 1934. But corporate sponsorship should be publi- cized as a damaging element in public television. In- dependents, especially those whose programming is non-controversial, are in a perfect position to demonstrate poor treatment by the system, simply because their programming is less profitable than "high-ticket" cultural series.
This kind of approach is even more important in light of PBS's proposed "Blue Network". Competition from commercial cable interests has forced the development of a super-slick, single-purpose network that can deliver a large prime time audience to corporate sponsors. The economics of public television are no match for the cable industry: cable can generate more than four times the revenue with a fifth of the audience. Cable competition can steal the public broadcast system's image as "alternative television" by providing the same general audience and programming imported from abroad, by developing whole channels of target audience programming, by giving PTV producers better financial arrangements, and by taking away public television's suburban, upscale audience.
Those PBS member stations that receive considerable funds, both from their audience and from corporate underwriting (matched federally 1:2) are perfectly will- ing to stiff the Corporation for Public Broadcasting to compete effectively. The "Blue Network" will ask for five million in FY '81, growing to sixteen million in FY '85. In the words of PBS:
"In judging the financial feasibility of such a five- year plan, the stiffest test would be to measure the projected 1985 expenditures against the 1979 income. That comparison would look like this: ...It would absorb 16 million of the 27 million dollars in CPB's 1979 programming fund. The point is this: even if there were no increases in any of those three funding categories by 1985, the five-year plan outlined would still be financially possible." (PTV-1 — The Blue Service, 10-15-79)
Can those unserved by public television let CPB com- mit itself to this kind of long-term commitment?
Another element of commercial broadcasting that has crept into public television is the membership organiza- tion, providing a powerful lobby and the insulation of self-regulation. One broadcasting lobby, known as the National Association of Broadcasters, is second only to the armaments lobby in the power it wields on Capitol Hill. For example, in 1971, Action for Children's Tele- vision began to file petitions at the Federal Trade Com- mission and the FCC in an attempt to ban commercial advertising during children's programming. The NAB was able to prevent any government action through "self-regulation", by ending on-air product sales by pro- gram hosts, discontinuing vitamin promotion on children's shows, and shortening commercial time dur- ing children's programs by six minutes per hour. Although this pleased many television reformers, the revenues from children's advertising increased. Adver- tisers were merely charging higher rates and selling smaller commercial slots.
PBS also enjoys this same ability to self-regulate and exert powerful pressures on entities like Congress and CPB. One of the first actions PBS took after its forma- tion in 1969 was to effect strict programming and jour- nalistic standards that would control the content of NET'S productions. NET was at that time very different from today's WNET, and also independent of the system. PBS pressures upon CPB result from PBS's control of the station interconnection. At one point, there was actually a stated "partnership agreement" that outlined the powers each organization had. Because CPB is prevented from distributing its produc- tions to the stations, it is dependent on PBS for the survival of its programming. CPB needs to keep PBS happy.
Of the 267 PTV stations that make up public television, only a handful control the direction of PBS. Larry Hall states that the 73 privately directed "community" sta- tions receive about 54% of all public broadcasting revenues. The top dozen reach half of the entire public television audience. The number one station, WNET, gets about a quarter of its funds from corporations and says that it produces about 30% of each year's national programming schedule. The few stations, then, that decide policy for PBS, have some obvious interests to protect (p. 184, Telecommunications Policy and the Citizen, Timothy R. Haight).
Not all stations enjoy their PBS membership. Smaller stations are often unable to capitalize on the corporate money they could receive as producers of national pro- gramming. In a submission to CPB's five-year planning effort, the station manager at the University of Utah's KUED wrote:
"The clamor for dollars at the national level for programming, for satellite distribution, for na- tional promotion, and for an unending list of things that are needed and necessary have drain- ed the resources of the stations to the point that little local programming can be funded with the dollars that remain. . . . The stations are not a
TAD TURNER——
monolith, but rather a very diverse group with very diverse needs. PBS cannot represent nor should it be expected to represent all of the programming needs of the stations. They may be in a position to represent the national program views of a sta- tion, but they cannot represent the local produc- tion needs of KUED." (Letter to John Dimling, CPB 12-23-79)
KZLN-TV of Harlingen, Texas is scheduled to go on air in early 1981. It will be the nation's first community- based, minority-owned public television station. Given PBS's neglect of Chicano and Hispanic programming, the national organization will be of little use to those who intend to serve the community in the lower Rio Grande valley.
The one impression of unity that the stations convey is, oddly enough, at their yearly Station Program Coop- erative (SPC). The SPC is a process of subsidized and prorated group buying for national program proposals. The cost to a station for a particular series is determin- ed by the size of a station's Community Service Grant and the number of stations that buy the programming. This is the method that most stations use to buy public affairs programming.
The effect this has is to fund well-known and generally liked programming. This is a disappointment for new programs and independent producers. Their work is often cut out in the selection process and never viewed.
What can be done to get consideration for independent proposals for national series is not clear.
The PBS design for the SPC, as laissez-faire as it may seem, is structured to confirm the programming strength of public television's major producers. Pro- grams like The MacNeil — Lehrer Report, that are offered year after year and are consistently one of the top programs bought, should be handled outside the SPC. No station manager needs to see another pro- posal or pilot for Nova. Buying proven popular pro- gramming could take place by mail or the DACS system prior to the SPC. The present character of the SPC festivities is more a celebration of how great the system already is, rather than the forum for innovation in national public television that it could be.
In the months ahead, independents, who are now learn- ing how to utilize the Corporation for Public Broadcast- ing, must develop a strategy for influencing the other elements of the system. Generally, there is a need to solidify a power base through an active coalition with other public media advocacy groups. This effort needs to be actively pursued and well-publicized to be effec- tive. In addition, independents need to better under- stand the other forces within the system: PBS and the stations; and the forces from outside: corporate under- writing and cable competition. This understanding will serve to protect the victories already won at CPB and eventually to expand public access to our public air- waves.
ETHNIC COMMUNITIES CHALLENGE LOCAL STATION — AND WIN
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The Federal Communications Commission has settled a 15-year struggle over control of an NBC television af- filiate in Jackson, Miss., by approving the award of the license to a black-controlled group.
Approval of the agreement among four contending bid- ders for control of WLBT was made by Lenore G. Ehrig, an administrative law judge. It ends 10 years of legal maneuvering since the station's license was vacated in 1969 by the United States Court of Appeals for the District of Columbia.
The ruling today represented a triumph for Mississippi blacks and the communications office of the United Church of Christ, who brought the original legal challenge in 1964.
The license of WLBT was set aside because the Court of Appeals ruled valid charges that the station had fail- ed to serve the needs of Mississippi black citizens, even though they constituted 43 percent of the popula- tion in the viewing area.
Among specialists in broadcasting the WLBT case is considered historic. It marked the first time that the commission, under direct pressure from the court here, entertained a license challenge from anyone other than broadcasters or others with a purely economic interest.
New Era of Sensitivity
Also, the case marked the first time that a license was lifted on ground that a public interest had failed to be served. It is said to have touched off a new era of heightened sensitivity by broadcasters to community needs.
In the award of the station license this week, Judge Ehrig chose TV3, a largely local Jackson group that is 51 percent black and that is headed by Aaron Henry, one of the original challengers, who is head of the state National Association for the Advancement of Colored People.
Everett C. Parker, who helped to start the detailed monitoring of WLBT's programs in the early 1960's as head of the communications office of the United Church of Christ still holds that job.
In a statement today, he hailed the decision as "a re- sounding victory over deep-seated racial discrimination and a boon to minorities who have long been second- class citizens in television and radio."
"At last we have a black-controlled network affiliate," he said. "We hope this is the first step toward establishing a strong minority influence in network television."
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CPBPaysaVisittpartll
A VISIT FROM SAINT CPB
'Twas Indian Summer, and all through the Kitchen Not a dancer was stirring, not even a smidgen. The mikes were hung over the table with care In hopes that Saint CPB soon would be there. The indies were straggling in from their beds While visions of planning grants danced in their
heads; And we in our neckties (from mothballs unwrapped) Were all settled in for a long morning's rap. Then up on the dais arose such a clatter That the Kitchen staff peeked in to ask,
"What's the matter?" When who should appear, amid catcalls and hoots, But a team of execs in their three-piece wool suits, With a grim-looking leader, all dressed up so fine, That I knew in a moment it must be George Stein. More rapid than eagles his excuses came As he (craving our sympathy) called them by name: "Poor ratings! Tight budgets! Unclear definitions! I don't know your address!
I don't make those decisions! And besides, there's nobody to answer the phone! So go away, go away, leave me alone!"
by FRAN PLATT
Then out from their brown leather briefcases fat
Came statistics beloved by each bureaucrat,
Which they raised o'er their heads, like a shield from
our ire, As they leaped from the frying pan into the fire. Poor George! He appeared more bewildered than
mean, And I pitied the fellow in spite of my spleen. He wore a long beard, but his bearlike appearance Seemed far too well-fed to excite our forebearance Until he asked softly (and stifling a sob), "Is there anyone here who can give me a job?" So we put up our weapons, and laid it out plain (For berating him further was clearly in vain), And got right to the point, put our question in black And white: "Tell us, George,
what you've got in that sack." "Alas, independents, your suspicions are true: Among all of these goodies, there's nothing for you." Then he cast his damp eyes sadly down at his burden, and took to his heels ere we could get a word in; But I heard him exclaim, as his team disappeared, "Good luck to a few; to the rest — try next year!"
Continuation of Discussion on CPB Draft Proposal Held at The Kitchen, October 16, 1979
(For Part I, see THE INDEPENDENT, Vol. 2 No. 9, November 1979)
Ralph Arlyck: I've been making films for eight years. In that time I've made six films; two have had CPB money and four didn't. The two with CPB money didn't get on TV. The four that didn't DID get on public television. I'm not sure what to conclude from that.
John Reilly: You should get a contract with CPB that within a year you have to deliver a finished work that could go out on the system. You have the option of not going through PBS if PBS sits on it for more than a reasonable period of time. Six months is too long. If they sit on it for two months without reacting to it, you should have the option of going around PBS and offering it directly to the stations or to EEN (Eastern Educational Network) or to the other networks around the country or to the satellite. CPB should help with that notion. We have to build in a lot of options and a hell of a lot of control.
DeeDee Halleck: There's been a lot of talk about linkage be- tween the independent and the station. I think it's instructive to look at our competition — to see what type of linkage ex- ists with the kinds of shows that do go out. If we look, for in- stance, at a series called Feelings with Dr. Lee Salk, the linkage there is very clear: it's Hoffman-LaRoche, the drug company, makers of Valium, who are at this time under a great deal of pressure from the legislators at hearings in Congress 10
investigating the addiction of 15% of the American population to Valium. They are sponsoring Feelings, and are making sure that it gets out on every PTV station. They put out brochures, and they follow through. If there are any questions about con- tent, they have legal assistance and staff to take care of any difficulties and make sure that the show gets on the air. The question is, who is going to be our Hoffman-LaRoche? Either CPB, or the panels, or a Center for Independents, has to pro- vide that kind of back-up support.
George Stein: The thing that will make sure your work gets on the air is the quality of your product.
Halleck: Have you ever checked out Feelings? It's not exactly a high point of broadcasting. (Laughter)
Stein: CPB is not going to tell the stations what to put on the air.
Halleck: But somehow we need to get the kind of support that Masterpiece Theatre gets from Mobil, and Feelings gets from Hoffman-LaRoche.
Stein: We just don't have the kind of money for promotion that Gulf does, that Mobil does. Halleck: Should they determine what gets on the air? Stein: They don't decide what gets on the air.
CPB VISIT
Tad Turner: They make it damned attractive.
Reilly: Any person can go to Western Union and buy time (on the satellite). There are eight transponders.
Henry Baker: But we should be able to go to CPB. It's a public entity. An individual can go around to all the organization structures and get it for themselves. But the idea is that if CPB is buying a chunk of that, independents should be able to go there and get advice and information on allocation and funds. The brokers are just capitalizing on the information that they have centralized. You have to pay them and they have to make a profit. CPB could provide us that service at cost.
Halleck: I would hope that in fulfilling the intent of the legisla- tion, CPB can see to it that the information from this meeting gets out. I just don't want to see the money coming from pro- gramming funds. We've had a lot of meetings in the past year, and I'm afraid they all get racked up as "money to in- dependents."
Vicki Gholson: In that vein, I would stress that money to set up the panels, fees for the panelists (at reasonable profes- sional rates) and money for promotion should come out of CPB general operating expenses, not out of programming funds for independents.
Jon Hall: Would it be possible for CPB to do some sort of marketing for programs that they do fund?
Stein: One thing that we're thinking of doing is to provide a modest facility at CPB. David Stewart had the concept and used the term "Contact Service for Foreign Markets". We want to pursue the marketing aspects with a lot more vigor.
Gholson: In Cannes (the TV Market) just about every aspect of that market was represented, except for American indepen- dents. Perhaps CPB could give partial sponsorship to send a representative. I know there was considerable interest from many countries in seeing that kind of work. I was dismayed to see that one of the "minority" programs presented there was Soul with Stevie Wonder as guest. It was an excellent pro- gram, but it's only a hundred years old.
Stein: I'm not familiar with that festival.
Gholson: It is a television marketplace. U.S. public television was represented by KQED, KCET, WGBH and WNET.
Karen Thomas: I think Input is supposed to do some of that for independents.
Stein: I know we put a lot of money into that, but I'm not familiar with the results.
Gholson: In the past two years I and many other in- dependents, out of responsibility and concern, have been in- volved in research, public speaking, preparing papers, sitting on panels, to try to make changes in this process. But when that concern and that information is not respected, it just comes back in some philosophical report.
Stein: Are you talking about the Minority Task Force Report?
Gholson: I'm talking about that, and the Update Task Force Report, and the Carnegie Commission, and the testimonies to Congress and the Senate, and the reports to the CPB board and to the Rockefeller Conference. There has been a great amount of work, above and beyond production by a lot of in- dependents. I've heard the two of you sit there and say, "Give us specific recommendations, give us ideas." The problem is that when the information is given, the policy as you go back
and spell it out somehow gets lost. So we are always forced into a reactionary situation.
Stein: One of the greatest stresses of my job is always falling short. I could synthesize everything you all have said and somebody is bound to be disappointed. We are involved in a business where we have not nearly enough money to do the job.
Gholson: The problem is a bit more basic than dollars and cents.
John Cohen: I had one of my independent projects on WGBH on the Nova series earlier this year. I understood that they had the desire to utilize the work of independents, but my ex- perience shows that they couldn't deal with the implication of what that means.
The film I did in Peru was based on 20 years of experience and research concerned with the subject. I am fully aware of the needs of anthropologists for accuracy in reporting this kind of information. Yet Nova rewrote and deliberately overrode my research, my advice and my expressed requests.
They used techniques which I find questionable in a respected science series. They used narration from one scene over a totally unrelated other scene. There was the presenta- tion of a very important myth that I included in my film. They took the liberty to have someone else retranslate the myth and completely change the meaning of it. This was done without my knowledge. I'm the one who has to deal with the anthropologists, not them.
They placed wedding music over a funeral. The recording was done in another part of Peru, entirely unrelated to the subject. I had specifically forbidden such use when they asked me. The source of that music was recordings I had made in 1964. They used it in violation of my rights and wishes, since it was not part of my agreement with them. I was not allowed to com- ment on the fine cut — I was shown it after the mix was done.
Stein: You should get yourself a lawyer, next time you make a contract.
Steve Symonds (CPB Lega Department): Did you have a con- tract?
Cohen: Yes, but there were many undefined areas in that con- tract. They considered that they were acquiring the film and that they could make. certain adjustments to conform to their program format. There was no mention of a rough cut or fine cut, but there were verbal statements to me — that I could see it and make changes.
Stein: I guess it's a learning experience. But when you're dealing with public television stations or anybody in the world, you should get yourself on paper and have it examined by somebody you trust who's experienced in contract law.
Cohen: I feel they had a lot of cards they kept to themselves. I wish there could be a way that those cards could be out on the table.
Symonds: If you're an attorney working for an organization, your job is to get the maximum value for your dollar. Screw you. . .if you're dumb enough to walk into that organization not knowing you can negotiate, they're going to take advan- tage of you.
Gholson: But CPB has to design some kind of system that can protect these people. You are dealing with people who have been alienated, misrepresented, and exploited.
Transcribed and edited by DeeDee Halleck.
(UertaSiMkn
INTERVIEWED
Alan Jacobs
AJ: How are you planning to distribute THE WAR AT HOME in theaters, when practically all theatrical ex- hibitors are convinced that documentaries are death in theaters?
GS: I know that the industry has a great built-in prej- udice against documentary features and if you mention those two words to any distributor he'll nearly have a heart attack. Yesterday we screened the film for one of the major studio heads. He said, "Boys," I was with my partner, Barry Brown, "I want to tell you something; I want you to get it straight. I guarantee you that there is not a theater in the city that will ever take that film. It's good, some college campuses might want to see it, but it's not for theaters." And this is funny because we had just come from the New Yorker Theater, of the Walter Reade Theater organization, and they had told us they were 90% sure they would take the film. And they gave us a very good deal. But that is the attitude. That
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HEARTS AND MINDS, because it did not recoup its negative costs, and did not do well from their stand- point, put a death knell, even though it won an Academy Award, on feature distribution of documen- taries.
What we're trying to say with the Independent Feature Project, and with THE WAR AT HOME and with JOE AND MAXI and with other films, is that not only are alternative feature films that are made as documen- taries good fare for audiences — alternative fare perhaps — but we're also going to promote our own films in an alternative way. That will help create a con- stituency for independently produced films.
AJ: How are you going to do that?
GS: Well, I think NORTHERN LIGHTS and the people who worked with that film, particularly John Hanson and Rob Nilsson, have really set a trend by working
GLENN SILBER
with community groups and building audiences around national constituencies for a film, and by really being able to spend a good deal of time after the making of the film ends, to ensure that the film has a life in the theatre. Unfortunately, until recently, independent pro- ducers were sort of stuck answering the question, "What are you going to do about distribution?" by say- ing, "Well, I hope it will go on PBS, or we're trying to make a deal with PBS," which is nice, because you can reach a very large audience that way. The last film we did was seen by millions of people, which was the Joe Mc- Carthy documentary — AN AMERICAN ISM: JOE MC- CARTHY. And that was a new experience after having produced community video programs. But now I think that the plans we have for the near future are very ex- citing. We're going to build, from the ground up, an alternative network across the country, not just in NYC or specific communities. I predict that within a year and a half there will be a minimum of fifty cities that are organized to exhibit independently produced documen- taries and features.
AJ: How do you convince a theatrical exhibitor that what you're talking about is going to work?
GS: We were in a very odd position, because with THE WAR AT HOME we had a film that was obviously well- timed with all the Vietnam films — like APOCALYPSE NOW, THE DEER HUNTER, COMING HOME. But still, because it was a documentary, there was a built-in prej- udice on the part of the exhibitors. We were very for- tunate to work initially with Gary Meyer, who runs the Parallax Theatre chain and has 20 theatres across the country, including the one in which we wanted to open in our own home town. Because I'd made another film that he'd heard about, that had been shown, it wasn't as though I was calling strictly from left field. I got him to book our film, sight unseen, three months in advance so it could go on a schedule in Madison. He figured it would probably do well there, since it was a hometown story. He scheduled it in Minneapolis and Milwaukee as well, which were seen as test markets.
I think we surprised theatre exhibitors in Madison, because every performance for the first 3 nights in the 500-seat theatre were sold out with lines around the block. What really freaked him out was that the after- noon performances, on a perfectly clear fall Sunday, were 85 to 90% sold out.
AJ: Who did the promotion? Who got those crowds out?
GS: The hometown crowds weren't so hard because, for the people in Madison, it was almost like a home movie. They could see all the people who are really well known — the radical mayor, Carleton Armstrong, who's been in prison for 8 years and was just recently paroled, and a lot of just friends.
We decided to open the film in mid-October because it was the tenth anniversary of the Madison moratorium, October 15. And November 15 was the tenth anniver- sary of the national moratorium in Washington. We were trying to set up some kind of showcase that would help bring out feeling for the film. We did in fact show
the film at the JFK Center, at the AFI theatre on November 15.
We had the opening in Madison, the next week we opened in Boston, then in Minneapolis and Wilwaukee. In every single instance we were working with a com- munity group. In Minneapolis we worked with a very broad-based anti-nuclear coalition, called the Northern Sun Alliance, that had worked with John Hanson [NORTHERN LIGHTS] when he opened his film there. In Boston we worked with an alternative exhibitor. Because the film was so successful and got such a good response from the press, we actually got our first continuous run there. That was at the Orson Welles Cinema, where it played for five weeks.
AJ: How did you do at the Welles?
GS: We did fantastic — the first week it broke the house records of the Orson Welles Number 3. And then we started to creep into Variety and things like this. Then we opened the film in Milwaukee. There's a case where we had done a lot of organizing — for five weeks, just for a 2-day run. In 2 days 3,000 people saw the film and it made over $9,000.
A J: Were the successful runs in the smaller cities the basis for the decision to open in NY? What convinced a NY distributor that a documentary about anti-war activi- ty in Madison, Wisconsin ten years ago would be an in- teresting commercial venture?
GS: We knew we had to go in steps, and Madison wasn't really even a step since it was a hometown show. Minneapolis was a good step; Milwaukee was a step; the Welles was a great step. We have received ex- traordinary press. There was yet to be an unfavorable review out of 25 or 30, including Variety who more or less said that they thought our film was better than APOCALYPSE NOW and COMING HOME, which is a lit- tle bit much. But the point is that we had a lot of momentum building, and then we went ahead and decided that after our last opening we would go ahead and blow the film up to 35mm.
AJ: Do you think blowing up your film to 35mm makes it more attractive to exhibitors?
GS: Most exhibitors do not want to go through the has- sle of showing 16mm because they're not set up for it, and that's a real problem. I would rather show it in 16mm in some ways, because there's no picture cut-off and you don't have to screw around with the aspect ratio. On the other hand, like in Biograph in Chicago when we were at the Chicago Film Festival, they pro- jected it in 16mm and every one of the 800 seats was sold. We've also realized that the film is much more likely to be damaged if it's shown in 16mm, and the sound is also poorer in 16mm, which can be a problem. Even if they have a good projector, a lot of times the systems don't jive. The other problem is that you wind up paying extra money, 9 times out of 10, to have pro- jectors brought in and have projectionists set up for 5, 6 or 7 hours. I'm not sure how much most projectionists really respect 16mm; it's kind of how we feel about Super 8. ,3
GLENN SILBER
AJ: Is that why you decided to blow up to 35mm?
GS: We had to blow it up, because you can't show your film in Iowa (which is probably where we'll show it someday) with 16mm unless you want to take it to one city at a time, carrying the projectors with you.
to get funding from the NEH because of Wisconsin ETV Network support, to get foundation support with them doing some of the fundraising for us. In fact, the Wisconsin ETV Network has consistently supported the work of independent producers, and deserves a lot of credit for their foresight and guts.
AJ: Have you previewed the film for television?
GS: PBS already has the rights to it, and we've been going through a lengthy discussion as to when they're going to show it. I think we've finally moved them out of 1980. It was produced in cooperation with Educational TV in Wisconsin, however, because of some of the pro- gress that a lot of groups have made, particularly Peter Adair getting permission not only to show WORD IS OUT theatrically, but to distribute it for a year before it ever aired on PBS, we expect the room to realize our potential distribution.
If they were to take a hard line against theatrical distribution prior to their air date, then it's probably not worth working with PBS, because you're slitting your own throat. It's tough enough if you've sold the American broadcast rights, not to be able to go ahead and try and sell syndication rights before it's aired on HBO or even ABC.
AJ: Were they asking for the rights to broadcast it before you distribute it?
GS: It was not specified. It was all so complicated that when we went to them — we thought we were produc- ing a four-hour film, an epic. Then we changed our minds and decided we just couldn't have a film that long. We came up with a two-hour version, a fast and dirty rough cut, lifting the best sections, but that didn't work. At that point our earlier contracts became ques- tionable, because we now realized we were going to produce the best shot for both. So, finally we've just about come to a completion, where they know if they want to get the film from us, delivered on schedule, they have to hand us a letter from PBS Programming saying they will not air this film in 1980.
NORTHERN LIGHTS has already been postponed twice, because even if it had been shown the second time it was supposed to be scheduled, the film would no longer have a theatrical market. I don't think there are too many people who would disagree with the fact that a PBS showing would kill your theatrical market. If people see it on PBS they say, "Why should I pay for it in a theatre?" and also "It'll be on again." Even though it took me about a year and a half to realize that, it's very clear now. Nobody is going to touch your film if it's shown on PBS. No theatrical distributor.
AJ: // you hadn't been prepared to get behind your film and distribute it yourself, what would have happened to your film?
GS: There's no doubt in my mind, we would have had very little success if we weren't willing to promote the film as hard as we did. Once your film is finished, however many years it takes to make it, that's when the life of the film begins. If you're not willing to work to promote your own film, you're going to be in for some rude awakenings. I mean the film just isn't going to go anywhere. If it does go somewhere, it's going to take a lot longer, and won't be as successful.
When we show our film out in Portland, Oregon in a few weeks, I am going out there, certainly for the press screenings and to hang around to talk to the communi- ty that's supporting our effort. I'm getting the exhibitor to pay for my airfare. It was very easy to convince him that if I went out there and met with the press, we'd get a lot more coverage. If I met with the people who are supporting it, we'd do a lot better. It would be well worth it, and in his interests, to have me out there to promote my own film. In Boston, when we opened the film at the Welles, we convinced them that it was necessary to have 2 organizers: one who would work with the community and the political groups, and another person who would deal with the media, hired full-time as part of the advertising budget. And it went into the budget, so we spent less money on advertising and more money on getting out the word-of-mouth, talk- ing to groups and making sure the media was well taken care of. And it paid off. So we were looking for both things — to have full-time organizers and whatever expenses I incurred put on as part of the advertising budget, and to spend a little less. You can throw so many thousands of dollars away and get very little response — I mean an extra couple of inches in the papers. In any market, it is outrageously expensive, but if you put in into human resources, human energy. . . .
It has been the thrill of our lives to see the film in theaters.
On the other hand, I don't think our film would have been made without assistance from PBS. We were able
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^^^M^*tK
by RICH BERKOWITZ & JUDY RAY
FEATHERS IN THEIR CAPS. . .Creative Artists Public Service Program (CAPS) recently announced the recip- ients of its 1979-80 grants cycle for video. $49,000 was awarded to a group of 12 video artists from a pool of 179 applicants in this category.
We would like to congratulate the following CAPS win- ners: AIVF Board member Maxi M. Cohen, Mark J. Brady, Barbara Buckner, Tom De Witt, Ernest Gusella, Sara Stever Hornbacher, Les Levine, Anthony D. Ramos, Ira Schneider, Vibeke Sorensen, Arthur K. Tsuchiya and Edin Velez.
Of the 12 honored recipients, 5 were previously award- ed CAPS grants. Composing this year's judging panel were John Camelio, Doris Chase, Juan Downey, Gunilla Mallory Jones, Joan Logue and Antonio Muntadas. Ann Eugenia Volkes served as consultant.
A video show of work by the CAPS recipients will travel through New York State. It is being made available for viewing to video centers under the auspices of Com- munity Service Program of CAPS.
Filmmaker Jack Willis, whose last film was PAUL JACOBS AND THE NUCLEAR GANG, has been award- ed $400,000 from the National Endowment for the Humanities to do a three-hour film on the history of the civil rights movement in the american South. Jack con- fided that he's been bombarded with calls from indies interested in working on the production, but already has his crew lined up.
The Institute of the Black World, a Black think-tank in Atlanta, GA. has been awarded a research/development grant from the National Endowment on the Humanities to develop a TV series based on the manuscript THE OTHER AMERICAN REVOLUTION by IBWs founder, Dr. Vincent Harding. Filmmaker St. Clair Bourne has been named Project Director and Executive Producer of the proposed TV series, which he described as "sort of a more political ROOTS."
A JOB WELL DONE: Liz Oliver's handling of this season's INDEPENDENT FOCUS series has sparked much outrage in the independent community. This has led to the formation of a coalition of angry community groups and independents which sponsored a recent press conference, much talk of protests, a possible license challenge, and a massive letter-writing cam- paign against WNET's station policies. So what was the response from WNET top brass? They promoted Oliver to Manager of Independent Acquisitions. A move as tactless as it is revealing. . .
BIDDER DILEMMA: National Black Network and Inner City Broadcasting Corp., two New York-based, minority owned broadcasters which serve black communities, are taking a stern approach toward getting access to cable in the boroughs. They recently asked City leaders
"to reject [current] bids for cable TV franchises as not being demonstrative of significant minority group par- ticipation," urging that the bidding process for cable franchises in Staten Island, Queens and Brooklyn be re- opened.
WHAT'S COOKING AT THE KITCHEN? Tom Bowes was
named new TV programmer in charge of the Kitchen Center's video viewing room. He plans to broaden the scope of their video programs, as well as improve facilities at the screening room, "bringing them up to broadcast level". Tom is continuing his long involve- ment with the Kitchen coordinating their media produc- tions work.
Is it possible for a young and dynamic independent filmmaker to find happiness outside AIVF? We cer- tainly hope so. Rich Berkowitz (a.k.a. Vinnie Preziosi) left us after two years of undaunted service at the end of December to pursue his filmmaking career. We wish Rich much success and a lot of nachas to our favorite landsman.
If you've been to the AIVF loft recently you may have noticed a new face at the front desk. Our new admin- istrative assistant is Judy Ray. Judy, whose future plans include independent feature production, brings to us a varied background of experience in the arts, publishing and state politics. We are very pleased to have her working with us.
NEW YORK TO FRISCO: Here's hoping that Peter Adair will hurry back to the Big Apple. Peter, who has spent the past several months working in NYC, has now returned home to San Francisco. We want to thank him for his support at AIVF meetings, our November forum on distribution, his article in the Dec/Jan issue of the Independent, and for speaking at the meeting with CPB at the Kitchen last October.
The board of directors of Pittsburgh Film-Makers, Inc.
has announced the appointment of Marilyn Levin as ex- ecutive director. Levin will be replacing Robert Haller who has moved to New York City to assume the direc- torship of Anthology Film Archives.
IFP REPORTS: The Independent Feature Project's next regional meeting will take place on Tuesday, Feb. 26, at 2:30. Items on the agenda are the definition of the role of regional filmmaking for the N.Y. metropolitan area, and discussion of organizing plans for the independent. For information on location and future meetings, con- tact the IFP at 674-6655.
GOVERNMENT FILMS: We fished this out of the Great Lakes Film Forum Newsletter and thought the info should be passed on to our members:
Listed below are government agencies that, from time to time, bid out jobs on film and video production. If
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The Column
you are interested in getting on the bid lists, write or call the agency you are interested in, and ask for an ap- plication to get onto the "bidders mailing list".
Defense Supply Service Director Washington Office Secretary of the Army Washington, DC 20310
Director of Procurement and Production U.S. Army Missile Command Redstone Arsenal, Alabama 35809
Office Administrative Services Procurement Division US Dept. of Commerce Washington, DC 20230
US Information Agency
Contract and Procurement Division
Washington, DC 20547
Assistant Regional Commissioner
US Customs Service
Dept of the Treasury
55 East Monroe
Suite 1501
Chicago, III. 60603
Contract and Procurement Internal Revenue Service Dept. of the Treasury Washington, DC 20226
Regional Director of Business Affairs Business Service Center General Services Administration 230 So. Dearborn Chicago, III. 60604
Procurement Division Office Admin. Services Dept. of Commerce Washington, DC 20230
Contracts and Procurement Federal Highway Admin. Dept. of Transportation 400 7th St. Washington, DC 20235
NASA
Lewis Research Center 21000 Brockpart Rd. Cleveland, Ohio 44135
Small Business Admin. Procurement & Supply 1441 L Street NW Washington, DC 20416
The GLFF (815 N. Cass Street, Milwaukee, Wl., 53202) is a non-profit organization formed to encourage and pro- mote indie filmmaking in the Great Lakes region.
SCREENINGS
BY GEORGE! Filmmaker George Nieremberg is current- ly negotiating a theatrical release in New York City for his lively documentary, NO MAPS ON MY TAPS. His
I6
film, which focuses on the performances and reminiscences of three old-time Harlem hoofers, just completed an extremely successful run at the Central Square Cinema in Boston. Several of us at AIVF recent- ly caught a screening of the film and have been tapping our toes ever since.
PRESUMED INNOCENT, A videodocumentary by Stefan Moore and Claude Beller, will be broadcast Thursday, December 13, at 10 p.m. on WNET/Thirteen.
Selections for the New York Visual Anthropology Center's regular film series, "NYVAC at the Cayman", which begins Feb. 8 and runs through June, will feature ethnographic film classics, documentaries on cultures throughout the world, anthropological views of contem- porary America and recent work. Among the films NYVAC is presenting are Donn Pennebaker's and Chris Hegedus' THE ENERGY WAR: FILIBUSTER on March 7, and Marva Nabili's THE SEALED SOIL, about the dilem- ma of an 18-year-old Iranian woman. Also featured is Charles Burnett's KILLER OF SHEEP, which will launch the first of NYVAC's 4 programs on Black Film/Black Video. For more information, (212) 777-6908.
VIDEO VIEW-POINTS 1980: Independent videomakers talk about and show their work. Critics discuss the medium. Tuesday evenings, 7:30 pm, Founders' Room, sixth floor, 11 West 53 St., NYC 10019. Feb. 19, Stefan Moore and Claude Beller, "Access to the Air"; Feb. 26, Gary Hill, "Processual Video;" March 4, John Sturgeon, "Video: Art as Alchemy;" and March 25, Nam June Paik, "Random Access Video." Tickets are free.
INDEPENDENT FILM AND VIDEO AT THE WHITNEY: Mitchell Kriegman's audio project, THE TELEPHONE STORIES, Sat. Mar. 1 through Sun. Mar. 30; five video- tapes by Nam June Paik, Tues. Feb. 26 through Mar. 2; three films by Jonas Mekas, Tues. Mar. 4 through Sun. Mar. 16; and Jill Godmilow's and Judy Collins' ANTONIA: A PORTRAIT OF THE WOMAN, Tues. Feb. 5 through Sun. Feb. 10. For more information: (212) 794-0630.
The Column
Within the next month, three documentaries by in- dependent producers will explode a myth held sacred by theatre-owners and distributors all over the country. The idea that documentaries are "death to the theatres" is being put to the test with the grand en- trance into NYC commercial theatres of Maxi Cohen and Joel Gold's JOE AND MAXI, Ira Wohl's BEST BOY, and Barry Brown and Glenn Silber's THE WAR AT HOME.
BEST BOY, a film by Ira Wohl, opens Feb. 29 at the Sutton, 57th between 2nd and 3rd. and THE WAR AT
HOME will be at the New Yorker I (2409 Broadway/at 88th St.) starting on March 19. (See accompanying ar- ticles in this issue.)
JOE AND MAXI, an absorbing drama, focuses on the relationship of a young woman with her father. It ex- plores the world of Joe Cohen, a self-made man, recent- ly widowed as he attempts to rebuild his life in Cape May, N.J. JOE AND MAXI will open at the Greenwich I Theatre (97 Greenwich Ave.) on March 14, under the newly renovated theatre's new policy of first-run films.
Maxi excitedly informed us that "The film will continue to run as long as box office grosses are up. This will be an important deal for other independent docs., because if we do well in the first few weeks, more films like this will be booked." She added, "Anyone who wants to help with promotion for the opening should contact me. . .fast."
CABLE D AIRS INDEPENDENT ISSUES
CABLE D (Manhattan Cable/Teleprompter) presents COMMUNICATION UPDATE, a series on telecommunication issues and the independent producer. The half-hour program will appear twice weekly on Mondays at 5:30 and Wednesday at midnight. The series is produced by Liza Bear and Michael McClard through the Center for New Art Activities.
The upcoming schedule is as follows:
FEB. 4 & 6 — YVONNE RAINER
FEB. 18 & 20 — VICKI GHOLSON
FEB. 25 & 27 — DEE DEE HALLECK, PERRY TEASDALE ', on
low-power transmission.
MARCH 10 & 12 — WILLIAM WEGMAN
MARCH 17 & 19 — DUNCAN SMITH
MARCH 24 & 26 — STEVEN TORTEN
MARCH 31 & APRIL 2 — RAE SPENCER-CULLEN "23rd
Street"
APRIL 7 & 9 — ALEX SUSTEROVIC, "non-alignment"
ALSO ON CABLE D
SATURDAY MARCH 1st, 9:30 — RAPE TRIAL, produced by Italian television, was the first feminist documentary on rape to be broadcast nationally in Italy.
GAYS PULL SHADES ON "WINDOWS"
The National Association of Lesbian and Gay Film- makers and the National Gay Task Force have joined with other feminist, lesbian and gay organizations in
protesting WINDOWS, a feature film from United Ar- tists. Producer Michael Lobell, director Gordon Williw and screenwriter Barry Seigel have produced, under the guise of a "romantic thriller, a film which perpetuates and sensationalizes the most pernicious lies about les- bianism and rape.
The plot features a psychotic lesbian killer who hires a man to rape her best friend with whom she is secretly in love. The equation of lesbianism with psychotic violence is an old and tired stereotype.
The film's treatment of rape is equally unreal. Violence against women has reached epidemic proportions and is still increasing. A congressional subcommittee estimated that rape affects between a quarter and a third of the female population in this country and every woman lives with the threat of rape. The fact is that rape is a crime committed against women by men. The depiction in WINDOWS of rape as a crime instigated by one woman against another is a monstrous lie, a gross misrepresentation of lesbianism and of rape.
It would be cynical to argue that this film portrays only "one sick individual" and not all lesbians; for the fact remains that other, contrasting images of lesbians do not exist in Hollywood films. We think that most viewers will dismiss this distasteful film as an insult to their intelligence. But we have to respond, nonetheless, if only in memory of the pain and discrimination so many of us have suffered because of twisted images of what it means to be a homosexual as perpetuated in films like WINDOWS.
AIVF BOARD MEETS
This month's Board meeting covered a number of issues im- portant to AIVF members.
The first order of business was health insurance for the membership. Len Klaftner spoke to the board about his plan which included a $1000.00 minimum — $10,000.00 limit catastrophe insurance. The board then discussed other plans and decided to hold further discussion until more information could be obtained.
Next the Board discussed the move to new quarters at 625 Broadway. A new space for AIVF offices has been found and shortly the lease will be signed and the move will begin. In order to raise funds for the move, a benefit will be held. The benefit was then discussed.
Alan Mitosky told the Board about this year's Short Film Showcase entries and asked for suggestions to increase the number of films submitted before the next selection was made.
Mark Weiss spoke to the Board about the controversy over the peer panel selections for WNET's Independent Focus series. Weiss said that the coalition formed over the controversy — wherein four of the films the peer panel recommended were not accepted by WNET — is now doing a complete study of WNET programming to see if there are existing audiences being denied.
17
fesN/als
FESTIVAL DE TROIS CONTINENTS by Monica Freeman
A new festival was launched in France recently: The FESTIVAL DES TROIS CONTINENTS (December 4-11, 1979) opened in Nantes with selections from Africa, Asia, and Latin America. The festival is a cultural event based on public screenings of both 16mm and 35mm, feature and medium length films. The screenings are followed by discussions with the filmmakers, to bring together and confront, through both fiction and documentary, the social, historical and cultural realities of the various countries on these three continents.
To do this, the festival utilizes four aspects. There is a competition, including entries this year from Algeria, Argentina, Bolivia, India, Iran, Nigeria, Senegal, Mali, and Morocco; an information section of films; and two retrospectives. One retrospective is devoted to the Egyptian filmmaker Sala Abou Seif, who was present at the festival. The other is a Black American retrospec- tive devoted to films made by black filmmakers in this country, including the early classics of Oscar Micheaux, BODY AND SOUL (1924) and Clarence Muse's BROKEN STRINGS (1940), presented by film historian Pearl Bowser.
Others presenting films at Nantes were Melvin Van Peebles (who was also on the jury) with his SWEET, SWEETBACK'S BAADASS SONG and DON'T PLAY US
CHEAP, Warrington Hudlin with STREET CORNER STORIES, Jackie Shearer with A MINOR ALTERCA- TION, Monica Freeman with LEARNING THROUGH THE ARTS, and Valerie Harris representing Third World Newsreel with the films VARNETTE'S WORLD by Car- roll Blue and A DREAM IS WHAT YOU WAKE UP FROM by Larry Bullard and Carolyn Johnson, and Udayan Gupta who assisted the festival with this retrospective selection. Following the festival program, the directors presented their films at the Cinematheque Francaise in Paris.
The eighty or more films at Nantes were well received, with the Black American retrospective being extremely successful with the press and gaining very large au- diences. Festival director Philippe Jalladeau wants to continue the festival as an annual event, in order to pro- mote film as a means of artistic expression and univer- sal communication to western Europe, where films from Africa, Asia, and Latin America are little known, and to develop invaluable contacts and dialogue be- tween cinema people from these parts of the world. For further information contact: Directeur du Festival des Trois Continents, BP 3306, 44033 NANTES Cedex, France.
FESTIVALS
Video documentaries and documentaries made especially for television, either tape or film, may be sub- mitted for the SIXTH ANNUAL GLOBAL VILLAGE VIDEO AND TELEVISION DOCUMENTARY FESTIVAL.
For the first time up to $1000 in cash will be awarded. The Deadline for submission is March 1, 1980. For fur- ther information contact Charles Addotta at Global Village, 454 Broome Street, NYC 10013. (212) 966-7526.
THE BIRMINGHAM INTERNATIONAL EDUCATIONAL FILM FESTIVAL is now accepting entries for 16mm op- tical track films and VHS Vz" and %" video cassettes not more than 40 min. in length, released between Jan. 1978/Jan. 1980. Entry fee — $25 per film; student films, $15. If after Jan. 31 — $30 and $20 respectively. For en- try forms, fees and films, Feb. 15, 1980. Please mail films separate from forms and fees. Contact: Birm- ingham International Educational Film Festival, c/o Alabama Power Co., Box 2641, Birmingham, AL 35291. (205) 323-5341, ext. 3173.
US INDUSTRIAL FILM FESTIVAL 16mm motion pic- tures, 35mm and 16mm filmstrips, 35mm slide pro- grams, and % " video cassettes. Entry deadline is March 1, 1980. Contact: U.S. Industrial Film Festival, 841 N. Addison Ave., Elmhurst, IL 60126. (312) 834-7773. IS
Film entries are now being accepted for THE FOURTH ANNUAL INTERNATIONAL REHABILITATION FILM FESTIVAL, to be held May 21-23, 1980 at the Fordham University at Lincoln Center in NYC. The competition is open to 16mm films and %" videocassettes (NTSC only) relating to medical and social aspects of physical or mental disability. There is no limit on length or release dates. The deadline for entries of films in English or English subtitles is March 15, 1980. The deadline for films in other languages is February 15, 1980. Entry fees are on a sliding scale dependent on film length. Entry information and entry forms may be obtained by writing: Film Festival, Fs, Rehabfilm, 20 West 40th St., New York, NY 10018.
THE INTERNATIONAL FESTIVAL OF MOUNTAIN AND EXPLORATION FILMS, "Citta di Tre'nto", will take place from the 27th of April to the 3rd of May, 1980. 35 and 16mm feature or documentary films can be entered. (Films produced before 1978 will not be accepted.) All films must reach the Festival Director by March 20, 1980. For details and regulations write: Piero Zanoto, Director, Film Festival Montagna-Espbrazione "Citta di Trento", 38100 Trento, Italy, Casella postale 563.
FESTIVALS
THE THIRD ANNUAL ATLANTA INDEPENDENT FILM AND VIDEO FESTIVAL will be held April 12-15, and is open to works in S8, 16 and 3A" video cassettes. Entry deadline is March 9, 1980. Write: AIFVF, Image Film/ Video Center, 972 Peachtree St., Suite 213, Atlanta, GA 30309.
1980 TORONTO SUPER 8 FILM FESTIVAL will be held May 16, 17 and 18. Deadline for submission of S8 films is May 1st (must be accompanied by entry blank). For more information, write Toronto S8 Film Festival, Box 7109 Postal Station A, Toronto M5W 1X8, Ontario, Canada.
14TH ANNUAL KENYON FILM FESTIVAL will take place April 11-13 in Gambier, OH. Entry information due by March 25, films by April 1, $5 entry fee. 16 op. or silent films only. Contact: Kenyon Film Festival 80, Kenyon College, Box 17, Gambier, OH 43022.
11TH ANNUAL BALTIMORE INTERNATIONAL FILM FESTIVAL is open to 16mm films made in the past two years. Cash prizes and $1.25/m for every film screened. Entry fee $10-20. Deadline for submission is March 15, and Festival will take place May 1-14. Contact: Festival,
Baltimore Film Forum, Room 401, 516 North Charles St., Baltimore, MD 21201.
1980 ATHENS INTERNATIONAL FILM FESTIVAL will be held April 15-May 4, with a March 31 deadline. Open to all 35, 16 and S8 films in the categories of feature, short story, animation, experimental and documentary. For further information, write: Festival, Box 388, Athens, OH 45701.
THE THIRD INTERNATIONAL ANIMATION FESTIVAL, sponsored by the Canadian Film Institute, will be held in Ottawa, Canada at the National Art Centre from Aug. 25th to Aug. 30th, 1980. For the first time, electronic and computer animation will play a major role in the Festival agenda. For more information contact Kelly O'Brien or Frederick Manter at: "OTTAWA '80", c/o The Canadian Film Institute 1105-75 Albert St., Ottawa, Ontario, KIP 5E7 Canada.
6TH ANNUAL ITHACA VIDEO FESTIVAL. Vz" or 3/4» tapes not exceeding 30 min. in length. Selected tapes tour museums and media centers around the country; one-time $100 rental fee to producers. Deadline for en- tries is March 1. Contact: Ithaca Video Projects, 328 State St., Ithaca, NY 14850.
TULE, The Cuna Indians
Of San BlaS by Lillian Jimenez
I was sitting on a dilapidated ferryboat in the middle of the ocean when the motor died. A storm was brewing. Waves licked at the sides of the boat, causing it to totter ominously. Before long the boat went into a tail- spin, creating a whilrpool that began to suck it under. My thoughts were racing as fast as my heart: "I can't swim that well. . .the waves are high. . .I'll tire before I get to the shore. . . I don't speak Kuna (the language of 95% of the ferry's crew) ... I don't want to die ... " Ethel Velez, co-producer of Tule, the video documentary we were trying to make on the San Bias Kuna Indians, began to get seasick. I was sitting next to the railing, holding onto my bench for dear life, when Ethel started to sway violently: if she fell over the side, only I could grab her.
"Jesus Christ", I thought, "She's an ex-surfer. I learned to swim at Orchard Beach, where the sludge keeps you afloat!". I compromised and held onto her and the rail- ing at the same time. Edin Velez, co-producer and direc- tor of Tule, was on the verge of quiet hysteria. He couldn't swim a stroke. As the boat began to really lurch, Ethel shrieked, "The equipment!" They both ran into the hold, where women and children were crying and being very sick. While they were securing the equipment, I was developing a full-fledged asthma at- tack. I tried to talk myself out of it, knowing that if I let go completely, I would lapse into total hysteria.
Just as we thought the boat was going to capsize, the motor kicked over and we chugged toward the closest island. Later, en route to Panama City, the pilot in- structed us to watch out for incoming planes. There had recently been a number of midair collisions and he was unable to communicate with incoming flights; his sole radio contact was with ground control. We looked at each other and realized that we might never see home again.
While working together at Young Filmakers/Video Arts, Edin and I had discussed collaboration on his project on the Kuna Indians. We originally believed that they were matriarchal, and wouldn't it be wonderful to docu- ment a society where women play such dominant roles? So Edin and Ethel flew down to the island of Ustupo and began the work. Because I was unable to leave my work at Third World Newsreel for a long period of time, I went down for only two weeks. Just before I was to leave, Edin called to say that the Ustupo airstrip had been completely washed out by the rainy season. I would have to take a boat ride from the island of Maimitupo to Ustopuo. "Sure, so what's a little boat ride?"
I have always been criticized for overburdening myself with clothes and luggage, and this time was no excep- tion. Armed with a Beaulieu 2000 to document the pro- duction, loads of film, and clothes to dress an army I
I9
TULE
arrived in Panama city. I never made it to Mamitupo the first day; the flights were cancelled due to the rain. The second day my luggage and I were separated at the air- port, where ! had arrived at 4:30 in the morning. After a harrowing flight, I was deposited in the middle of a clearing. One other passenger disembarked with me, but he auickly disappeared into the jungle.
After a while I was escorted to the dock where my transportation to Ustupo was waiting. It was a hugh dugout canoe with a small outboard motor attached to it. There was this enormous piece of pink plastic in the middle of the canoe. I kept asking them what it was for, and they kept laughing and telling me I would soon find out. As we headed out to open seas, I asked, "Sirs, are there any sharks or large fish in these waters?" They pealed into laughter and informed me that the sharks were not longer than ten feet. Though I consider myself an atheist, my Catholic upbringing kept me chanting, "Jesus, Mary, Joseph .. .Jesus, Mary, Joseph." I had never in my life been out in the open seas in a canoe.
The first night there I slept on a bed infested with bed- bugs. There was an earthquake in the middle of the sec- ond night, the rest of the trip was spent absorbing the tranquility of the Kuna people. We would wake up at 20
4:30 a.m. to shoot the early morning scenes. It was eerily beautiful to see women rowing in the dawn, the huts lit from the breakfast fires and the island slowly coming to life. It was a feeling I won't ever forget. With our equipment covered with plastic to protect it from humidity, we videotaped all over the island and in the jungle on the mainland. The night before we left we were taken again to the Congress House, and bade an emotional farewell; as we left, the men applauded us.
The Kuna are no longer a matriarchal society, though there are definite vestiges. Women play a vital role in the economic life; female children are revered more than male children; both women and men work very hard. Although there are job distinctions based on sex, they operate as a collective. In the tape, we did not touch on the fact that their self-imposed isolation is slowly being eroded by commercial tourism. Panama, which has jurisdiction over the islapds, is touting the Kuna Indians and Ustupo as a vacation attraction. In Panama City we saw Kunas selling their molas (reverse applique squares of brilliantly designed cloth) to tourist centers for a fraction of the resale price. Tule was meant to be representational of the beauty of the peo- ple. I hope that when the Kuna see it, they will under- stand just how marvelous we think they are.
NOTICES
BUY/RENT/SELL
FOR SALE: Bolex SBM w/16-100 Vari Switar, 1.9 zoom lens, in MINT condition w/many extras. Retail cost is over $2100, I'm asking $1200. Call Steve at (212) 545-5108.
FOR SALE: BOLEX RX 3 like new, $400. Pan Cinor zoom f2 with reflex finder 17-85mm, split-field range finder, C or RX mount, $300. Write Filmmakers Workshop, Box 40, NYC 10038.
FOR SALE: 1610 Sony Video Camera, JVC 3800, Akai cc 150 Color Camera. Call (212) 486-9020.
FOR SALE: Bolex Rex 3, 10mm Switar RX lens, 25mm Cine Ektar, 10mm Cine Ektar, Quickset Tripod IV, Craig s/8 ed. Call: (212) 989-7184.
FOR SALE: Miller Pro Fluid Head Tri- Pod. Standard legs, case, Hi-hat, Ron- ford Spreaders. Excellent condition. $600. Call Peter at (212) 736-3887.
FOR SALE: 1 synchronizer (16mm) with 4 gauge, footage and frame counters and 1 soundhead, ($200). Also 1 director's viewfinder, burns and sawyer ($140). Call: Sebastian at (212) 749-3610. Weekdays after 7pm.
WANTED: Lighting equipment of any kind. Call: Josh Karan (212) 642-1112.
FOR RENT: 40x50' studio space, suitable for filmmaking. Includes office space, separate general purpose rooms. Very low cost, negotiable. Call (516) 626-3019.
FOR SALE: Playback deck, Sony SLO 320 1/2 " Betamax record playback, color, industrial model. Only 3 months old. Asking $800. Can use for rough cuts in 3A" editing. Contact: Tom Bowes, The Kitchen, (212) 925-3615.
YOUNG FILMAKERS/VIDEO ARTS: will initiate a PORTABLE VIDEO LOAN PROGRAM, starting Feb. 1980. Resources include color camera, %" deck and accessories, and a profes- sional technician. For details contact YF/VA, 4 Rivington St., NYC 10002, (212) 673-9361.
FOR SALE: NEW, never used, Ediquip REWINDS with shafts for 4 reels. $50 or Best Offer. Also, entire published volume of Filmmakers Newsletter (1967-79) and several yrs. worth of other film periodicals, all available at negotiable prices. CONTACT: Julian Rubenstein, 590 West End Ave., NY, NY 10024. Tel. # (212) 799-7265.
OPPORTUNITIES/GIGS/ APPRENTICESHIPS
HELP WANTED: Sound person to col- laborate on an article about low-budget sound, as guest-columnist. Write: Sol Rubin, Box 40, NYC 10038.
HELP WANTED: Cable technician (CMX Editor) at Synapse Video Center, Syracuse Univ. Full university benefits; salary negotiable: minimum $4.00/hr. Contact: Henry Baker at Synapse Video Center, 103 College PL, Syracuse, NY 13210; or call (315) 423-3100.
HELP WANTED: Audio-Visual Equip- ment Manager at Rutgers Univ. position available. Must have Bachelor's degree plus experience in servicing and use of 16, S8, 1/2 " and %" video equipment. Salary $11,582. Write: Rutgers, Division of Personnel, New Brunswick, NJ 08903.
WANTED: Partner to collaborate on comedic screenplays with. A knowledge of screenwriting technique preferred. Please call (212) 877-4262 before 11pm.
NYU SEEKS VIDEO TECHNICIAN: to be responsible for repair and maintenance of Sony helical-scan videotape equip- ment. Send resume to NYU, Graduate In- stitute of Film and TV, attn: Vito Brunet- ti, 40 East 7th St., NYC, 10003.
WORK WANTED: Gaffer with lights and cables will negotiate rate according to budget. Contact: Josh Karan at (212) 642-1112.
WORK WANTED: Soundperson with Nagra 4.2L available for work. Call: (212) 486-9020.
WORK WANTED: Actor available for work. Call (212) 478-7504, before 11am or after 6pm for resume and picture.
WORK WANTED: as P.A. in film/video. Presently working on feature film, also experience as intern at Manhattan Cable. Contact: Robert Sharpe, 342 West 71st St., NYC 10023, or call (212) TR 3-5999.
WORK WANTED: Editing or assistant editing work on documentaries or educational films. Proficient in all aspects of post-production. Contact: David Dresher, 50 MacDougal #9, NYC 10012 or call (212) 228-9128.
EXPERIENCED NEGATIVE MATCHING: Quick, clean cut, low prices. B/W, color, or negative reversal. Call Pola Rapaport: (212) 431-3773.
WORK WANTED: Michael Angelo, Jr. seeks PA job or any type of production work leading to production manager position for completion of his degree. Write: Box 25, Andrews Memorial Drive, Rochester, NY 14623. (715) 475-4391.
POSITIONS AVAILABLE: Film produc- tion company seeks multi-talented ex- perienced crew preferably with own equipment for grant-funded 16mm documentary series to begin production fall 1980. Positions: Cameraman, Assis- tant Cameraman, Sound, Production Manager, Editor, Assistant Editor. Send resumes to: Low Sulphur Productions, 355 West 85th St., NYC 10024.
POSITION AVAILABLE: Film Techni- cian-Repair. Temple Univ. is seeking qualified maintenance repair person for the Film Program. Responsibilities in- clude routine maintenance and repair on 16mm cameras, film sound, editing, aux- iliary equipment and overseeing repairs by outside vendors. Candidates should have good organizational and technical skills. Salary, benefits excellent, in- cluding tuition remission. Send resume and salary history in confidence to: Ellen Scheitrum, Temple Univ., Room 203 University Services Building, 1601 N. Broad St., Philadelphia, PA 19122, (215) 787-7175.
VIDEO COORDINATOR/LIBRARIAN: Responsible for operation of a com- munity resource center; production and editing; conducting training sessions in video production skills, exper. in com- munity group process; programming film, photography, video; writing and im- plementing grant proposals. Send letter and resume to: Lillian R. Katz, Media Port Services, Pt. Washington Public Library, 245 Main St., Pt. Washington, NY 11050.
FUNDS/RESOURCES
POST PRODUCTION GRANTS are avail- able from Synapse to independents who want to edit work for broadcast. Pro- posals should be sent to: Synapse, Syracuse Univ., 103 College PL, Syracuse, NY 13210.
CINETUDES FILM PRODUCTION: editing and post-production facilities available. Fully equipped rooms, 24-hour access in security building. 6-plate Steenbeck, 6-plate Moviola flatbed,
21
NOTICES
sound transfers from 1A " to 16mm mag, narration recording, sound effects library, interlock screening room avail- able. Contact: Cinetudes Film Produc- tions, 377 Broadway, NYC 10013. (212) 966-4600.
FILM RESEARCH SERVICE: Media Works, Inc. will locate stock footage for your next production. Access to exten- sive stock footage by government agen- cies, associations, etc. Complete ser- vices — research, previewing, reproduc- tion, and delivery. Tell us your needs — we'll find the footage. Media Works, Inc. Box 57269, Wash. D.C. 20037.
FILMS WANTED
NEW COMMUNITY CINEMA is in- terested in updating files on filmmakers, and would like to receive information from filmmakers about themselves and their work and if work is available to preview. Send info to: New Community Cinema, Box 498, Huntington, NY 11743. Attention, Steven Davidson.
CRM/MCGRAW-HILL is seeking com- pleted 16mm films to distribute on a royalty basis to the non-theatric, educa- tional and/or business markets. Films can be on any subject for any age if they are of value in the classroom or business training situations. Write to: Ms. S. Rose, Acquiring Editor, CRM/ McGraw-Hill, 110 15th St., Del Mar, CA 92014.
BF/VF SEEKING FILMS AND VIDEO- TAPES to present in monthly series starting Feb. 1980. All works will be con- sidered for broadcast at local television stations. BF/VF is presently negotiating with several of these stations for broad- cast in the Spring. Contact: Irwin Friman at (617) 254-1616.
KDBI-TV, a public station in Boulder, CO is organizing a cooperative to distribute independent work to public television. The Independent Film and Video Distri- bution Center will acquire works by in- dependent producers, create broadcast length packages of works of similar sub- ject or genre, and market the packages to the PBS stations. The amount of in- come from a package will depend on the number of stations that buy it, and the producers' share will be 75% of gross revenue, minus the cost of satellite time to feed programs to the stations. Descriptions of work and inquiries on the IFVDC are welcome at Front Range Educational Media Corp., Box 4262, Boulder, CO 80306.
CENTER SCREEN AND WGBH: want films and tapes for intermission spots on WGBH. Rates for local broadcast are on a sliding scale from $100 to $85 per minute. Works selected for this initial group will be offered to national and 22
regional PBS systems shortly, with addi- tional rates paid. Local broadcast will begin in early 1980. To submit work, please send films or videotapes to: "Brief Encounters" project. CENTER SCREEN Inc., 18 Vassar St., 20B-126, Cambridge, MA 02139. Works will be sent back within 10 days. Deadline is Jan 31, 1980. Any questions, contact CENTER SCREEN Director Barry Levine, (617) 494-0201.
FRENCH FILM COMPANY: interested in acquiring independent films: features, animation, documentary, and children's films. Company owns theatres in Paris. Contact: Eva Mekler, 28 East 10th St., New York, NY 10003, (212) 777-3055 or (212) 724-7400.
FILMS WANTED BY CINE: a non-profit organization that selects independent films for international festivals, attempt- ing to match films with festivals. Selec- tion is done by regional juries. Contact CINE, 1201 16th St., NW, Washington, D.C. 20036, (202) 785-1136.
WNET-TV: is presently seeking films for acquisition that highlight events of the 1960's or rites of passage from adoles- cence to adulthood. Contact: Liz Oliver, Program Acquisitions, WNET, 356 W. 58th St., NYC, 10019.
BLACK ENTERTAINMENT TELEVISION: is in the process of establishing a net- work to exhibit Black TV programming that it acquires to cable TV subscribers across the country. BET is interested in licensing Black programming (tape/film) for exhibition on an advertiser-sup- ported basis, particularly entertainment- type programming, including "docu- drama", rather than educational or politically oriented programs. For info, contact: Bob Johnson, Pres., BET, 3544 Brandywine St., NW, Washington, DC 20008, (202) 457-6776.
CENSORSHIP? We need short (5-30 min) films and tapes (3A") which deal with censorship or freedom and restraint in American Society. Also, we need short films/tapes dealing with industrial waste/work/quality of life. The material we seek will be used in an interactive cable experiment in Pennsylvania. If you have pertinent tape or film, please send description/costs/rights information to: E. F. Churchill, Pennsylvania State Univ., Capitol Campus, Middletown, PA 17057 or call (717) 783-6197.
METROMEDIA TELEVISION is accept- ing proposals for a series of specials on themes pertinent to the communities served by their 7 stations: WNEW New York, KTTV Los Angeles, WXIX Cincin- nati, and KMBC Kansas City. Producers are invited to contact the program direc- tor of the Metromedia affiliate in their
area, or write: Richard Ballinger, Direc- tor of Programming, Metromedia TV Inc., 485 Lexington Avenue, NY NY 10017; (212) 682-9100.
WORKSHOPS/SEMINARS/ CONFERENCES
RIVER CITY FILM CONFERENCE will be held March 7-9 in Omaha. Dedicated to previewing the short film to a Midwestern audience. Special guests. To register, write: RCFC, Box 14232, Omaha, NE 68124.
VISITING LECTURESHIPS IN FILM for filmmakers and film scholars. One semester term of teaching, seminars and workshops, heavily instructional. For more information write: R. J. Lewis, Chairman, Film Dept., San Francisco State Univ., 1600 Holloway Ave., S.F., CA 94132.
OPEN CHANNELS is a three-year NEH Learning Museum Program presented by The Museum of Broadcasting. Seven evening lecture courses of six classes each, on aspects of broadcasting, designed for the general public as well as experts. Course subjects include "TV as a Visual Art", "Broadcasting's Fight for Freedom", "Fact, Fiction and Documentation." OPEN CHANNELS courses are open to all by advance mail registration. Students can arrange academic credit. Single admissions ($5) may be purchased at the door. For more information call 752-4682.
PROMOTION ON A SHOESTRING: A ten-week intensive workshop for anyone who has anything to publicize, advertise or dramatize on a tight budget. Con- ducted by Victoria Lucas and Helen Kruger. For more information call (212) 489-8008 or 243-1661.
ADVANCED TV STUDIO PRODUCTION course to be offered at YF/VA: geared toward broadcast-quality color produc- tion. YF/VA video course or comparable training required; also resume, work sample and interview. 12 sessions, Thur. 6-10pm, 2/28 through 5/15. $100. Class limited to 15 students.
PORTABLE VIDEO PRODUCTION course also at YF/VA. Comprehensive hands-on introduction to all phases of Vz" b/w video. All equipment provided; scholarship aid availble. Application, in- terview required. 12 sessions, Mon. 6-10pm, 3/10 through 5/27. $300. Limited to 15 students.
SOUND RECORDING WORKSHOP course also at YF/VA. To upgrade sound recording skills of f/v professionals. 2 sessions, Sat. 3/22 and Sun. 3/23, 1-6pm. $100 if paid in full before 3/7; $115 there- after. Limited to 12 students. For more
NOTICES
information on these 3 courses, contact Young Filmmakers/Video Arts, 4 Riving- ton St., NYC 10002, (212) 673-9361.
THE INDEPENDENT PRODUCER presented by YF/VA in March, will be a series of discussions about producing for film and television. Guests will in- clude Frederick Wiseman, on "Produc- ing the Independent Documentary", and Michael Hausman, on "Producing the In- dependent Narrative". Other topics will include "The Independent Producer and Commercial Television" and "The In- dependent Producer and Cable TV". For more information contact YF/VA, 4 Riv- ington St., NYC 10002, (212) 673-9361.
CMX COMPUTER EDITING, a course given on new 340X Expanded Keyboard. Learn the basics of operating the CMX system through intensive, hands-on in- struction. Previous %" video editing ex- perience required. For more information Call: (212) 966-4510, Downtown Com- munity Television Center.
WOMEN MAKE MOVIES will offer five workshops starting the first week in March: Basic 16mm filmmaking, Basic 1/2 " video production, Basic Animation, a workshop on Feminist Aesthetics, and a film/discussion series on the history of social documentary film. For further information call Women make Movies at 929-6477.
TRIMS AND GLITCHES
NEGATIVE MATCHING: A quick, clean cut at low prices. All 16mm and 35mm stocks. (References available). Call: (212) 749-3610.
MEDIA BUS INC: video editing facilities for artists and producers (Non-com- mercial). Beta, 1/2 " and % " to Sony 2860. Dubbing, titling, proc amp, RM 430, audio mixing. $15/hr with engineer. Call: (914) 679-7739, Woodstock, NY.
COMPLETE EDITING FACILITIES: avail- able (including a 6-plate Steenbeck). Also complete sound transfer equip- ment. Call: (212) 486-9020.
ELECTRONIC ARTS INTERMIX'S NEW CATALOGUE, VIDEOCASSETTE FOR- MAT: now available to educational and cultural institutions. Also available is the new print catalogue, which contains descriptions of sixty-nine programs made by Indie video artist-producers. In- cluded is a listing of all 160 programs distributed by EAI. Print catalogue is available without charge to educational and cultural institutions on request. WRITE US ON YOUR INSTITUTIONAL LETTERHEAD, TO: 84 Fifth Ave., NYC 10011.
RED CURTAIN: a 26-week series, pre- sents videotape and film works by artists. Most of the tapes and films (nar-
rative, docu-collage, drama, perfor- mance and experimental) have been screened at clubs and showcases in New York and abroad. The video/film works are available individually or as a series for rent or sale to museums, tv/cable stations and individuals (%" color videotapes). Contact: Matthew Geller, 4 White St., NYC 10013.
PUBLICATIONS
THE NEW FILM AND VIDEO MAKERS DIRECTORY, Second Edition: available for $5/copy. This expanded, updated DIRECTORY includes a complete index to thousands of film and video makers, as well as institutions, organizations, museums, universities, media centers and distributors involved with indepen- dent film and video in the U.S. and abroad. An organization profile (equip- ment facilities and policies) is provided for many institutions. Please include check (payable to "Carnegie Institute") with your order. Special rates that in- clude both a copy of the DIRECTORY and a subscription to the TRAVEL SHEET are $6/yearly in the U.S., and $12/ yearly airmail abroad. Contact: Carnegie Institute — Film Section, Museum of Art, 4400 Forbes Ave., Pittsburgh, PA 15213.
EDUCATIONAL AND INDUSTRIAL TELEVISION: researched pieces, together with news columns and items on everything from distribution to prompting devices and cheap ways to jazz up titles, may make the annual $15 (12 issues) worthwhile for independents. Write for "E and I TV" at C.S. Tepfer Publishing Co., Inc., 51 Sugar Hollow Rd., Danbury, CT 06810.
THE INDEPENDENT FILM-VIDEO GUIDE: a new quarterly to aid librarians, educators, A/V departments and others order independently produced pro- grams. Issues will list about 250 titles, and cost $10 per year. Contact: Educa- tional Film Library Assn., 43 West 61st St., NYC 10023.
THE NEW FILM AND VIDEO MAKERS DIRECTORY, Second Edition: available for $5/copy. This expanded, updated DIRECTORY includes a complete index to thousands of film and video makers, as well as institutions, organizations, museums, universities, media centers and distributors involved with indepen- dent film and video in the U.S. and abroad. An organization profile (equip- ment facilities and policies) is provided for many institutions. Please include check (payable to "Carnegie Institute") with your order. Special rates that in- clude both a copy of the DIRECTORY and a subscription to the TRAVEL SHEET are $6/yearly in the U.S., and
$12/yearly airmail abroad. Contact: Carnegie Institute — Film Section, Museum of Art, 4400 Forbes Ave., Pitts- burgh, PA 15213.
EDUCATIONAL AND INDUSTRIAL TELEVISION: researched pieces, toegher with news columns and items on everything from distribution to prompting devices and cheap ways to jazz up titles, may make the annual $15 (12 issues) worthwhile for independents. Write for "E and I TV" at C.S. Tepfer Publishing Co., Inc., 51 Sugar Hollow Rd., Danbury, CT 06810.
THE INDEPENDENT FILM-VIDEO GUIDE: a new quarterly to aid librarians, educators, A/V departments and others order independently produced pro- grams. Issues will list about 250 titles, and cost $10 per year. Contact: Educa- tional Film Library Assn., 43 West 61st St., NYC 10023.
23
FOUNDATION FOR INDEPENDENT VIDEO AND FILM, INC 99 Prince Street New York, N.Y. 10012
NON-PROFIT ORG. U.S. POSTAGE
PAID New York, N.Y. Permit No. 7089
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MARCH 80
THE INDEPENDENT is published 10 times yearly by the Foun- dation for Independent Video and Film, Inc., 625 Broadway, 9th Floor, NY, NY 10012, with support from the New York State Council on the Arts and the National Endowment for the Arts, A federal agency. Subscription is included in member- ship to the organization.
Publisher: Alan Jacobs
Editor: Bill Jones
Associate Editor: Judith L. Ray
Assistant Editor: Fran Piatt
Contributing Editors: Mitchell W. Block
Dee Dee Halleck
Sol Rubin Layout & Design: Bill Jones Typesetting: Josephine Coppa, Compositype Studio
The viewpoints expressed herein are not intended to reflect the opinion of the Board of Directors — they are as diversified as our member and staff contributors.
We welcome your response in the form of letters, reviews, articles or suggestions. As time and space are of the essence we can't guarantee publication. Please send your material to THE INDEPENDENT, 625 Broadway, 9th Floor, NY, NY 10012. If you'd like your material returned to you please enclose a self-addressed stamped envelope.
NOTE: All submissions to newsletter due by the 15th of month preceding publication, preferrably earlier.
BOARD NOTES
WAXMAN LETTER 5
AND NOW A WORD FROM 6 LEWIS FREEDMAN
SONG OF THE CANARY 9
UPSTATE REPORT 11
THE COLUMN 13
YVONNE RAINER: JOURNEYS 15 FROM BERLIN/1971
D AIVF STAFF MEMBERS: Alan Jacobs, Executive Director; Leslie Tbnkonow, Assistant Director; Judith Ray, Public Information Co- ordinator; Alan Mitosky, Short Film Showcase Project Administrator; Nancy Gerstman, Short Film Showcase Administrative Assistant; John Rice, Media Awareness Project Director; Media Works: Lillian Jimenez, Project Director; Bob Wiegand, Executive Producer; Karen Brinkman, Project Coordinator; Frances Piatt, Project Coordinator.
COVER: AMERICA LOST AND FOUND — Lance Bird and Tom Johnson
The Feb. 5th AIVF/FIVF Board meeting evaluated two health plans for the membership and reviewed the pro- cedures for Short Film Showcase, resolving that past and future SFS winners be allowed to participate equally in all SFS competitions, that special solicitation be ex- tended to minority producers, and that solicitation be as broad as possible. Nominating procedures were de- signed and recommended for upcoming Board elections.
On February 9th, a few days after its regular monthly meeting, the FIVF Board met for a full day to review its national structure. The Board was responding to an in- creasing national membership, governed by a Board whose directors are based in New York City. Presenta- tions identifying the needs and concerns of regional film and video makers were heard from Glenn Silber, Madison, Wisconsin, and Barbara Zheutlin, Los Angeles, California.
The FIVF Board resolved to create, on a preliminary basis, regional representatives who will facilitate development of FIVF membership in their region and provide a live, two-way channel between that member- ship and the FIVF Board.
AIVF/FIVF BOARD MEMBERS: Executive Committee — Matthew Clarke, Treasurer; Pablo Figueroa; Dee Dee Halleck; Alan Jacobs, Ex Officio. Stew Bird; Jeff Byrd (AIVF only); Maxi Cohen; Monica Freeman, Vice-President; Manny Kirchheimer; Kathy Kline, Chairperson; Kitty Morgan; Jane Morrison, President; Elliot Noyes, Secretary; Ted Timreck.
BOARD MEETINGS are held monthly at AIVF, 625 Broadway, 9th Floor, and are open to the public. The next two meetings are scheduled for Tuesday, April 1st and Tuesday, May 6th. Both will start promptly at 8:00 pm. Dates and times are sub- ject to last minute changes, so please call (212) 473-3400 to confirm.
IT'S TIME TO RENEW
Your membership in AIVF has expired, and this issue of THE INDEPENDENT will be your last un- less you renew immediately. Board elections are coming up in April and your votes won't count un- less your memberships are current. Your member- ship in AIVF means a show of support for a healthy Independent community. So don't let your membership lapse — we need each other! To join or renew, send your check for $20.00 (New York City residents). $15.00 (individuals outside NYC) or $40.00 (institutions) to our new address at:
AIVF
625 Broadway, 9th Floor
New York, NY 10012
or call our new telephone number: (212) 473-3400 for additional information.
THE INDEPENDENT REGRETS
It seems every few months or so I somehow "lose" another film in the pages of "The Independent". I am referring to p. 18 of the December/January issue and the attribution of "Finally Got the News" to Stew Bird. The credits of course read alphabetically, Stew Bird, Peter Gessner, and Rene Lichtman.
In the cuthroat world of indie production, this is bad form, and unfair to Rene who works in a paint factory in Detroit, and to me, living out here three thousand miles from the world of grants, PBS, WNET etc. Sorry if I sound pissed, but I am.
I was unaware that FGTN was submitted to Indepen- dent Focus, but as to their contention that it is "dated" I suppose one could argue that they themselves are sponsoring an update with "Rising Up in Motor City". But I'd rather not make that point, because that's to play their balanced journalistic game. Obviously, their stance is ultimately a political one, and that's where they should be taken on.
Yours for truth in cinema, Peter Gessner
LIZ OLIVER REPLIES
To the Editor:
Richard Berkowitz's editorial concerning INDEPENDENT FOCUS, which appeared in the December/ January issue of The Independent, ignored significant and noteworthy facts.
Within just three seasons, INDEPENDENT FOCUS has aired more than seventy (70) independent films and tapes, all television premiers of works not originally produced for television. In this series Thirteen has broadcast both works by veteran independent producers, and first films by relative unknowns. Documentaries have covered a broad spectrum of subjects including the Japanese- American experience during WWII ("Uprooted!" by Donald and Susan Rundstrom); the effects of Agent Orange on Vietnam Veterans (Jody Eisemann's "War Shadows"), growing old in America (Cinda Firestone's "Retirement" and "South Beach"), portraits of spirited and talented individuals (Susan Wengraf's "Love It Like A Fool"), family profiles (Alfred Guzzetti's "Family Portrait Sittings"), small- time boxers, (Augie Cinquegrana's "Goodnight Miss Ann"). INDEPENDENT FOCUS has presented such varied dramatic works as Karen Arthur's "Legacy," Jan Egleson's "Billy In the Lowlands," "Loose Ends" by David Morris and Victoria Wozniak, and Mark Rappaport's "Scenic Route." We will have also aired such humorous works as Stan Woodward's "It's Grits," Michael Wiese's "Hardware Wars," and Michael O'Connell's "Model Railroading Unlimited."
Nor is INDEPENDENT FOCUS by any means the only avenue at WNET for presenting independent work locally on Thirteen. In addition there is the TV Lab's unique series VIDEO AND FILM REVIEW, which is coming upon its seventh season; the Lab's Artists-in- Residence program, as well as the many projects for which Thirteen' s Lab has provided production support.
WNET also has developed thematic series which provide a means of further utilizing independent work. THE SIXTIES LEGACY, which aired this past summer, included many independent works such as Emil de Antonio's "Underground" (interviews with the Weather Underground), Peter Rosen's "Bright College Years" (student activism), "The Season's Change" (documenting the demonstrations at the 1968 Chicago Democratic Convention). We have just finished airing a series of prime time specials relating to New York City neighborhoods, including Third World Newsreel's "The People's Firehouse #1," about a Brooklyn community's fight to keep their firehouse; Donald Schwartz's "Louie," the story of an elderly shopkeeper in Greenwich Village who helps young boys in trouble; Bob Machover's "Collection and Disposal," about garbage collection and dumping in Staten Island. All these are in addition to the WNET TV Lab's work nationally with the Independent Documentary Fund, the numerous local special presentations and the many films WNET has supported for national presentation on PBS. Regarding the latter, WNET has consistently supported efforts to convince CPB to fund the acquisitions at higher rates to the producers.
What is obvious from this partial list is there is the range of subjects, means of access, and numbers of filmmakes who have worked with or whose works have been seen on the station, and that these works are designed to appeal to diverse audiences. In his editorial, Mr. Berkowitz noted that the latter point was a special challenge to this year's^ advisory panel for INDEPENDENT FOCUS. And, it was a chaUenge well met. A look at the films included in this series shows significant representation of films for and by the constituencies Mr. Berkowitz himself singled out, such as "Loisaida" by Beni Matias and Marci Reaven, "Tule" by Edin Velez, "With Babies and Banners" by Lorraine Gray, "Varnette's World" by Carroll Partott Blue, "Killer of Sheep" by Charles Burnett, "The Flashettes" by Bonnie Friedman, "Jenny" by Virginia Hashii, "Simplemente Jenny" by Helen Solberg-Ladd, "Trnasmagnifican Dambamuality" by Ronald Gray, "Passing Through" by Larry Clark, among others.
In addition, to insure that various communities were aware of the WNET broadcasts which might be of special interest to them, Thirteen's Community and Government Affairs Department mailed community alert bulletins to neighborhood and professional
correspondence
newsletters, community organizations and leaders. In collaboration with the producers, we have been planning special screenings for relevant community organizations. We have also assisted filmmakers with mailings of their own. This effort complements our Public Information Department's press kit which included detailed program notes (available to viewers); press previews and follow-up calls to the press; highlights in WNET's regular calendar ads; a special article in Thirteen 's February membership magazine; plus on-air promos aimed at the general viewing audience.
INDEPENDENT FOCUS has not shied away from films which take a strong or controversial position on a particular subject. Two such films included this season are "Controlling Interest" and "Salt of the Earth." Several other films in this season's INDEPENDENT FOCUS also deal with socio-political themes and express' strong points of view.
Mr. Berkowitz refers to a 'history' of censoring gay programs at WNET. There is no such history. Not only did WNET contribute completion funding to "Word is Out" and support its national presentation, but that program has been repeated in prime time. Following "Word is Out" WNET had also produced an hour-long special program, "Gays at Work," which examined the recurring problems encountered by gays in the metropolitan area work force, and included viewer call-ins to the studio. We have aired and plan to repeat VISIONS' "War Widows," and will soon be airing Richard Benner's "Outrageous." Mr. Berkowitz also mentioned our editing 'gay moments in non-gay programs,' and then referred to Frank Vitale's "Montreal Main." A part of the scene in question was edited — on the advice of WNET'S legal counsel. Before anything was edited, however, Terry Kemper, last season's Coordinating Producer of INDEPENDENT FOCUS, contacted Mr. Vitale directly. There were no 'subtle' pressures brought to bear, as Mr. Berkowitz alleged. Rather, the concerns were explained to the filmmaker, who was asked directly about the edit, and to which he agreed. Finally, for the record, in this season's series, Wendy Clarke's "Love Tapes," a compilation of short monologues on love, includes what Mr. Berkowitz would probably refer to as a 'gay moment.'
Regarding the selection process for INDEPENDENT FOCUS, a few facts:
When Marc Weiss was hired as the Coordinating Producer this season, it was with the understanding that he would be working with an advisory group which would assist him in making recommendations to WNET for the series. It was stated from the outset that:
1. the panel's role was advisory
2. that while no film or tape to which any panel member objected would be included . . .
3. ... final responsibility for the selections remained with the station — a legal responsibility.
It was the Coordinating Producer's role to work with the advisory group, organizing screenings and review sessions. (Incidentally, two of the panelists never showed up for any screenings or meetings, and one panelist appeared only at the opening and closing meetings).
The process was not designed to position Marc as a 'go-between' or 'buffer' as Mr. Berkowitz charged. That belittles the importance of Marc's role. Rather, it was a division of responsibilities which Marc endorsed at that time.
Throughout the screening period Marc and I discussed the films under review. The panel rejected several which I had recommended for inclusion. Mr. Berkowitz' s remark that films were 'axed without comment' is a misrepresentation of the facts. Further, films rejected for INDEPENDENT FOCUS do not represent the 'last chance' for broadcast. As I have explained, there are many points of access at the station, and the four films in dispute, "Finally Got the News," "0 Povo Organizado," "A Comedy in Six Unnatural Acts," and "The Chicago Maternity Center Story," are currently being reviewed by the program department for possible broadcast use.
It is important to keep in mind that WNET accepted 24 of 28 recommendations by the advisory panel and did not include any works in INDEPENDENT FOCUS which were not recommended through that process.
There is no denying that the process was not perfect — from either the station's or the panel's perspective. But there is also no denying that it was a major step which resulted in a high degree of consensus.
If INDEPENDENT FOCUS is as important as we believe, then resolution of issues, constructive forward movement and a long life should be the goal. Now is the time for a substantive exchange of ideas, for learning from one another. It is time to recognize that good faith efforts have been made, and build upon those efforts and alliances.
As we evaluate this past season and begin plans for next season, I hope and expect tht the independent community will work with us to forward our mutual goals.
Liz Oliver
Manager, Independent Acquisitions
WNET /Thirteen
Congress of tfje Winitth States
Jlouge of 3t\epresentattbeg
fflaffyin&tim, 53.C. 20515
HENRY A. WAXMAN 24th District, California
December 13, 1979
Dr. Robben W. Fleming
President, Corporation for Public
Broadcasting
1111 16th Street, N.W.
Washington, D.C. 20036
See "minimum legal response" published in the Dec/Jan. Independent (Vol, 2/no. 10).
Dear Dr. Fleming:
I have received a copy of the legal memorandum prepared by Theodore D. Frank, dated September 18, 1979, regarding CPB fund- ing of independent television productions. It discusses at length congressional intent regarding CPB's obligations to allocate funds to independent producers.
I merely wish to comment on the memorandum's reference to my colloquy with Chairman Van Deerlin on the House Floor on July 10, 1978. The purpose of my discussion with the Chairman was to leave no doubt that it was our intent and full expectation that CPB would set aside 50% of its programming funds for products developed by independent producers. Although CPB certainly has statutory dis- cretion in determining the level of funding for independents, it would not be correct to conclude that any lesser figure would be consistent with the legislative history of Section 396 (K). I en- gaged in my colloquy with the Chairman precisely to make the re- cord clear on this point.
Please accept my thanks for this opportunity to share my views on this section of Mr. Frank's memorandum.
With kind regards, I am,
Sincerely,
HENRY A. WAXMAN Member of Congress
FIVE YEAR PLAN FOR TV PROGRAM FUND RfflKgM MMIK]
And Now q Word From Lewis Freedman...
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(This is the first paper from Lewis Freedman, director of the CPB Program Fund, submitted to the CPB long range planning committee at their Feb. 6th meeting. It is an overview of his general programming projections for the coming years. His affirmative commitment [below] to independent producers is intended specif- ically for F/Y 81.)
"N.B. Since a substantial amount of money must go directly to independent producers and since a large share of the ongoing programs are station produced, the Program Fund will have to channel almost all of its new funding directly to the in- dependents."
The Program Fund of CPB was created in response to the CPB Board's conclusion that individual program decisions were better made by a Program Director than by the Board. Therefore, they would henceforth provide overall guidelines within which the Director would make decisions. The special province of the Program Fund is the creation of innovative and exciting pro- grams, particularly in those areas where the conven- tional system of program selection falls short.
There are two or three areas of possible programming glaringly absent from the current schedule: American Drama, American History, American Government, American Art, and American Health. They are absent both on the adult and on the children's level. Before ex- amining the possible steps forward that must be taken in the next two or three years, it would be useful to look toward more distant goals both ideally and realistically.
Our target for American Drama should be a yearly series of plays stretching across 39 weeks and in- cluding originals and American classics. This National Television Theater would represent the best talent in Los Angeles and in New York as well as in the regional centers. It would include world drama interpreted by American actors and American directors. Ideally, it would include one full-length play each month with shorter plays the remaining weeks. This National Television Theater would require one year of planning and pre-production at the cost of $300,000 and one year of production before it reaches the air. The final cost would be 24 million dollars.
A second target will be the dramatization of American History. Using actual events as well as literature, the lives of great American men and women and perhaps the entire Saga of America could be told. Ideally, in five years time, the programming schedule for public broad- casting would consist of 7 five-part dramatizations of 6
such material as The Life of George Washington Carver or Will Cather's "O Pioneers". The total cost of such a season realistically will be 15 million dollars.
American Government on the national, state, and local levels has been noticeably absent except through the occasional special. In five years time, it should be possible to program on a regular basis a number of series that would explain to the citizen in an entertain- ing way how the government works. For example, a series of 13 programs on how to be President of the United States, or how to be a Congressman, or how to be Secretary of State, should be created that would combine general problems with the human interest of particular men and women who have filled those roles. The cost of a series of 30 minute programs for 13 weeks would be 3 million dollars, or 9 million dollars for a season of 39 weeks.
Another approach to American Government is through its processes. For example, in any given year there is a wide variety of decision making, often controversial, which the average citizen rarely understands. A series of programs analyzing the process by which a decision is made in the government, and including the often heated adversary positions, could be presented on a weekly basis. Including an occasional live "Town Meeting of the Air" originating in whatever part of the country most concerned, bringing back to public broad- casting and to its viewers a sense of participation in the national action. The cost would be 3.5 million dollars for 13 weeks.
The current United States commitment to overseas engagements is not fully exploited by public broadcast programming. There are at least two approaches that might be valuable. On the one hand, a series of broad- casts that examined in detail our activity abroad: diplomatic, economic, educational, and military, sug- gests a series that might be called "Stranger in a Strange Land" and would examine on a weekly basis the various Americans living and working abroad — the diplomat, the engineer, and the military advisor. This series over a period of 13 weeks would cost 3.3 million dollars.
On the other hand, our commitment to defending our in- ternational interests, since it has become an urgent problem, suggests a series of programs that explains both political and military realities, ranging from an ex- amination of foreign policy to an analysis of a particular weapons system. This kind of series would enable the viewer to understand the headlines that he sees in the newspapers as well as the policies that are determined by the President and Congress, focusing each week on some particular place in the world where American
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stakes are high. This would cost 3.3 million dollars for a 13 part series of one hour's length.
Not last and certainly not least is the opportunity that public broadcasting has to make the government visi- ble: that is to say, to broadcast on a nightly basis the debates and decision making of the Congress of the United States. Although steps have been taken to make available the daily sessions of the House, it is still not yet available to every public broadcasting station on a regular basis. In five years, it could be possible to see and hear regularly both the House and the Senate as well as to have available, for each local station, the par- ticular activity of its own Congressman both on the floor or interviewed in a studio about a particular issue. The cost of this service would be 5 million dollars yearly.
Concerning American Art, there is currently fairly good coverage of the major performance events in New York and occasionally in Los Angeles. What is obviously missing is a chance for the audience to see perfor- mances taking place across the country. In the past decades, through the encouragement and assistance of federal and state art councils, there has come into ex- istence a rich variety of artistic adventures which have not yet become visible beyond their local neighbor- hoods. It is certainly within the mandate of the Program Fund to develop that visibility so that the entire citizenry can share the experiences that range from the Kennedy Center in Washington DC to the Jackson Mississippi Opera Company. This series of specials, however, could be far beyond the formally organized arts and might include various regional events which regularly take place and which range from the Congress of Native Americans in the Southwest to the Autumn Fairs in New England. A series of weekly specials, sometimes broadcast live, would cost 12 million dollars yearly.
The non-performing arts are rarely programmed but offer a rich part of the American experience that could serve both to broaden the understanding of the spec- tator while encouraging the artists themselves. Al- though there have been sporadic specials and occa- sional low-key series dealing with a particular museum or a certain artist, there has never been a fully endowed and fully thought through organization of this material. It is possible in five years, then, to imagine a weekly series of programs in a museum without walls, that could make the artistic life of America a part of the con- sciousness of all citizens. This national museum would take advantage of, as well as publicize, events like the National Sculpture Show in Washington DC and as lit- tle known as the Arts and Crafts Fair of a Mexican- American Barrio or a Shaker community. It would range from the highest art in the National Gallery to the popular folk art in which this country is so rich. A series of 39 one hour programs would cost 9 million dollars.
The sciences are rather well served at present. Various funding has made available the NATIONAL GEO- GRAPHIC specials, COSMOS, NOVA, 1-2-3 CONTACT, and soon ODYSSEY. What seems to be lacking, however, is both the exploration of the purer scientific
researches that take place each year having continuing impact on our lives and also the simple explorations of the electronic and mechanical world we live in. At least two series are possible: "EXPERIMENT" — which follows a particular scientist and his team from the in- ception to the completion of whatever experiment he has decided to work on, and "EUREKA" — a series of programs that explains everything from the zipper to the picture that comes back to us from Mars. A consis- tent programming effort on these two levels providing a weekly 30 minute program over the course of one year would cost 6 million dollars.
There is an area of programming that is hard to place within the traditional subdivision. It concerns the in- dividual and his daily problems: how to get a job, how to save money, how to make a decision at the super- market, how to fight City Hall, and the thousand other problems that most people do not know how to solve. Some of these subjects deserve to be treated national- ly; many of them are local. It should become normal procedure for the Program Fund to stimulate the local level of programming. A strong local show can serve as an example to other local stations. Secondly, a poten- tially national program idea can be tried out and developed on the local level without too great an expen- diture of funds. Thirdly, it is on this local level that writers, directors, and producers can be trained. Lastly, local programs provide the best possible farm-league for discovering on-the-air talent. Therefore, in five years time it should be automatically assumed that the Pro- gram Fund will underwrite at least 5 thirteen-week local series each year. The cost would be 5 million dollars.
All the above general programs will include the in- terests and concerns of minorities. It is still necessary, however, to create programs which stress their achieve- ments and which will contribute to a better understand- ing by the general audience. For example, a series of 1 hour programs called "Woman of the Week" would allow public broadcasting to focus on a wide range of achievements in the fields that are not necessarily celebrated. The candidates would be congresswomen and athletes; but more often they would be teachers, engineers, soldiers, and lawyers. This series would cost 9 million dollars. In addition, the Program Fund will seek to stimulate programs on a local level dealing specifically with minority issues and aiming at the minority audience.
After the enormous impetus given to children's pro- gramming by CTW, public broadcasting has failed to come up with ideas as striking and successful as SESAME STREET. It is the obligation of the Fund to work toward the creation of a steady flow of strong children's programming both in school and out of school and aimed at pre-schoolers, in-schoolers, and high schoolers. The Children's Television Workshop needed 8 million dollars 12 years ago to create a 1 hour program year-round. It would need between 15 and 20 million dollars now to accomplish the same objective. It is estimated that five years from now public broadcast- ing will need between 22 and 30 million dollars to pro- vide a one hour daily program year-round, on the highest level of quality. Occasional children's special at
Lewis Freed man
the rate of 6 a year would cost 4 million dollars.
Perhaps the most important area of programming lack- ing at present concerns spiritual, physical, and mental health. It has become more and more evident that an enormous educational effort must be started to make Americans aware of their personal health problems. Medical self-care: diet, exercise, smoking, drinking, might take priority over everything else as an essential part of public broadcasting's responsibility nor can these subjects be treated casually in an uninspired manner and underproduced, as are the usual early morning calisthenics and the once-a-year scare special. Working with the Office of the Surgeon General toward a series of programs encorporating entirely new ap- proaches to the subject, the Program Fund could raise the health consciousness and change the habits of the public. The cost would be 1.5 million dollars for 13 half hours, 4.5 million dollars for a season of 39 weeks that deals with mental and physical health.
Lastly, there is a general agreement in this country that we are going through a period of spiritual malaise. If nothing else, the Program Fund should be responsible for a series of programs that will awaken a concern and create a dialogue on the subject of moral and ethical
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values. If successful, such a series of program efforts would almost justify in themselves the existence of the Fund. Here again, an attempt must be made to create new forms and to find new approaches if it is to attract an audience that is indifferent to the "old fashioned" dialogue. The cost of such an effort would be 4 million dollars for 26 half hours.
In short, all the above provide the barest sketch of what would be possible if sufficient funds were available. Part II outlines the real situation as it exists presently and for the next two fiscal years. It will not include the possibilities that substantial private underwriting might stimulate. It does not include the programming that will emerge as time goes by and the national community changes. Nor can it conclude the unpredictable creative ideas that will emerge from independent pro- ducers and public television stations.
But, until a sufficient amount of money is diverted to programming, the Program Fund's impact on the na- tional schedule will be limited on the occasional special, the occasional drama, the occasional mini- series, or the occasional 13 week series. Experience has shown us that occasional programming is not suffi- cient to attract a genuinely national audience.
m
i 1
SONG OF THE CANARY
On December 18th, AIVF sponsored a screening of SONG OF THE CANARY, at Millenium in NYC. Filmmakers Josh Hanig and Dave Davis were present to discuss the controversy surrounding the airing of their film on PBS. The film examines occupational hazards in two very different fields: workers exposure to dangerous chemicals in a California petrochemical plant, and a cotton factory in S.C., where workers have been suffering from Brown Lung disease for generations.
For the last ten months, WNET put up the money for the proj- ect, so they own the TV rights. But once they saw the film, they decided that they would not show it unless we would agree to re-edit certain sections and change some of the nar- ration. They were primarily concerned with the cotton dust section: they felt we were unfair to the industry, and didn't give them enough credit for what the industry was trying to do for the workers. They said that unless we would agree to numerous changes, they would not show the film. So, for the last ten months we've been battling over that issue. There were several steps in the process. They finally told us that if we found a station somewhere in the country that would spon- sor us, that would make a difference. So we did find a sponsor station in Madison, Wisconsin, and we also agreed to have a studio discussion to follow the film, in which industry representatives would be invited to speak, along with labor and consumer representatives. That, I think, probably helped to reassure them that at least another station would help assume responsibility rather than just PBS and Washington. So they then agreed to broadcast the film. As of now at least as far as we know verbally, the film will be on this spring. Meanwhile it's been distributed nationwide to union and labor education programs, colleges, libraries and everyone that we can find.
Question: How did you select the factory to film?
We went down to the Carolinas and made contact with the
Carolina Brown Lung Association, and got suggestions from them as to which mills had allowed media in the past, and we approached those same mills again. We had a sense that they made an industry-wide decision that they would show us one mill and it would be one of their best. This man in the film was at the time head of the mill owners organization, and also he owned one of the newer mill buildings in SC. So he agreed to let us film in his mill, and all the others turned us down. They knew that we were coming in well before, and there was a big sign that welcomed us. We had gone into another mill several weeks before and looked around; it was also considered a model mill in terms of its cleanliness. Everytime you turned a camera in a certain direction, there would be somebody sweeping the floor. They were really careful to not let us visually see the dust. The mill that we were in before was very different. You looked out over theworks and all the machinery and it was just a haze, it looked like a fog; and the mill we filmed really didn't look that way at all. So it's comparatively very clean. Then we were surrounded by six mill executives, one with each of us, barraging us with public relations spiels. So Josh and I were continually occupied, but we had mapped out a strategy with the camera and the sound person so they knew what they were looking for already. They went off on their own, while we worked the counter-strategy of keeping them busy and letting them tell us all about the mill. Mean- while our crew was shooting everything they could see to il- lustrate the situation. 9
Song of the Canary __
In the first half of the film you saw the workers with those masks on. But during the time that they were working and ex- posed to DBCP before they became sterile, they were working in their shirtsleeves and not wearing those protective suits. It was only after the whole scandal that they were forced to put those masks on, and wear them in most of the chemicals they were running. After the scandal broke, we were allowed to come into the plant. They kept saying, "No, you can't come in and film." Their strategy once the whole thing had broken was, rather than have people like us standing outside the plant, to let us in to film. In fact, it was household bleach that they were bottling on the day we were shooting, but they had the workers all suited up in their heavy-duty, most dangerous toxic substance gear to show the world how they were pro- tecting people.
Question: Did making the film for public television change the film?
I think ... we might have made a different film if we were not making it for PBS. If we had been making a film for trade unions, we would have made it more specific about exactly what workers can do about the problem given the fact that they work in a dangerous place, in a very concrete way. But because we essentially had in mind the public TV audience, we wanted to make a film that didn't jus talk about the prob- lem but raised it as a socio-political issue. In other words, if profits are to take priority over health and safety, does our society want to accept that? If not, we should start thinking about it on that level, not should we be wearing masks or hav- ing ventilators. It's partly important to think in the short term as to what can save people's lives, but it's also important to be thinking of it as a broader political and social issue. I don't think we censored ourselves or altered our perspective because we were concerned about PTV so much as because we wanted this film to be as useful as possible to the broadest segment of the US public. So the perspective of the film reflects our desire to have it be seen by a lot of people who might not necessarily know anything about the subject or be already convinced or have a left, anti-corporate perspec- tive.
Question: Has PTV shown any interest in the film?
Well, oddly enough the public television station in SC, which is a state network, wanted to show the film just as it was before any changes were made and before the controversy arose. Partly because of the pressure put on them by the Carolina Brown Lung Association, they wanted to show it na- tionally for the whole system. PBS in Washington could stop that because they own the TV rights. So they said no local sta- tion would be allowed to show the film until they decided what's going to happen to it nationally. Stations in HA, Wl, SC, and other places were expressly interested in showing it, but we were not allowed to. Question: What are the reasons for the long delay at PBS?
We can only speculate as to the real reasons. At different times, they've said they felt the film was unbalanced, that it was inaccurate, that it was unfair to the corporations, that it was poorly edited, that it should be shown as two separate films, that it was so good that it should be made even better, and all kinds of different things. They sent us a very long, detailed list of things they wanted in the film, which is a tricky way of saying the things they didn't want. Some of the things were really "crucial" issues, like, they wanted to know whether cotton was an organic or chemical substance (laughter); they wanted us to show how cotton was harvested. It was basically a case of what they thought were priority issues, and they didn't think workers' compensation was an important issue. A group of three people reviewed the film and said, "We're missing some crucial information here. To get
that crucial information in, you have to take some of this other information out." They wanted us to tell "The Cotton Story," how it grows from a cotton ball, then in the department store, Macy's basement. If you've ever seen the show, you know that they'll sometimes do a pretty hard-hitting program on pesticides, but then there'll be long animated sequences on how something goes from being a molecule of a whale to being a molecule of DDT. We felt that kind of thing was totally out of the question. It would have required more money, more time, reshooting and re-editing, and of course they made no promise that they would give us this money. We spent a year calling them. They would say, "I'm really busy now, I'll get back to you." A week later your call hasn't been returned; then you're supposed to talk to somebody else in the department, and it's just a tremendous shuffle. Since they funded this film, you would think that they would really want to at least talk to you about putting it on the air. We felt like we were in a maze and we didn't know which way to go, who to talk to. The whole process was set up to make communication more difficult, ac- tually. The only written statement we got was a single-page typed list of maybe thirty or forty criticisms by the staff of the "MacNeil/Lehrer Report," who had looked at the film and had done shows on the same subjects — the in-house experts. We didn't know whether to take them all seriously, or to make all of the changes or what. So we wrote back our feelings about all the criticisms, point by point, and we asked them to let us know exactly which of the changes we should make. We have never, in a whole year, received anything in writing which told us exactly what they wanted us to do. The only thing they ever said, and this is all verbal, was that if the MacNeil/Leherer people were satisfied with the film, it would be shown, and if they were not, it would not. They have their legal liabilities to think about: if their in-house experts were not satisfied with the film, they might be legally vulnerable. If you open up the Columbia journalism review at random and look through it, you will often find an ad that says "Be informed about your world-watch the "MacNeil/Lehrer Report," brought to you by Allied Chemical." These are the people who were reviewing our film and deciding whether the content was objective or not.
Now they act like they wanted it on all along. They say, "Hey, let's get this thing on the air, what's holding this thing up?" The difference is that we have a local station now, WHA in Madison, and they take the flak instead of PBS. What they told us was that if somebody complains about the film, PBS in Washington has no production facilities, so they can't pro- duce an equal time program that gives them an equal chance to respond to our film. But they can go back to the local sta- tion and say, "You have to make a program that gives industry a chance to attack the film." So the people in Madison are in that position. If they get enough heat from industry about our film, they will have to produce a talk show that will give in- dustry people equal time. It's possible that the talk show after the film will serve the purpose. It's almost built into the pro- cess that industry will nave a chance to respond; I think that's part of why they're letting it go. PBS probably would have been very glad to just let the film slide and die. Even now, the one last big barrier to people seeing the film on TV is that they are still asking the local stations to pay 20<t collectively for every dollar that CPB put into the film. That amounts to 14,000 dollars that the local stations together will have to pay, ac- cording to formula based on the size of the station, for this film. Most of the stations won't pay it because they can get a cheaper documentary from TIME/LIFE Films or Films Inc. if they want to show a documentary. Plus this is a controversial film anyway. So it's very unlikely that the majority of stations will buy it, and we've been urging CPB to drop that completely and even give the film away to the stations.
IO
Upstate Report pant one
By FRAN PLATT
During the last week of the 70s, The Kitchen's Media Bureau funded an FIVF-sponsored whirlwind tour of 7 upstate New York media centers. Because dispropor- tionate attention has been focused heretofore on facilities in New York City, we — Ann Volkes, of Elec- tronic Arts Intermix and Anthology Film Archives; Gerry Pallor, most recently of Young Filmakers/Video Arts; and I — felt that readers of THE INDEPENDENT would benefit from a greater familiarity with what the rest of the state has to offer. So we set out to absorb as much first-hand information as we could in four days.
What follows is a summary of our explorations. Due to space limitations, it is brief and impressionistic. Anyone can write to these places for equipment lists; we wanted to convey the subjective "feel" of each envi- ronment, which significantly affects the work produced or exhibited there. A full report with more detailed infor- mation is in preparation, and will be available from FIVF in the near future.
MEDIA STUDY 207 Delaware Ave. Buffalo, NY 14202 (716) 847-2555
Workshops/Equipment Access:
Kurt Feichtmeir Film Programmer: Bruce Jenkins Video/Electronic Arts Curator:
John Minkowsky
We were most impressed by the Media Study building, an old hotel on a busy downtown street. Space is what they have plenty of, from a huge, high-ceilinged, windowless ballroom, rendered acoustically dead by ex- posed fiberglass insulation, to an empty swimming pool with a 7-second echo. The former is generally used for video installations; the latter is being developed as an audio recording/performances space.
Exhibition is paramount here. Media Study's two en- thusiastic full-time staff curators are eager to hear from artists with completed work for potential installations and screenings. Mail your film or tape with insurance and return postage; references and phone calls are helpful. Even if they can't offer a show in the near future (bookings are about four months in advance), it's a good idea to make your work known to these folks.
The equipment program is geared toward local small- format producers, with a strong emphasis on audio, in- cluding a professional quality sound synthesizer, 4-channel mixer and tape recorders. Half and %" video editing systems and a Rutt/Etra synthesizer are housed in warm, bright rooms. Portable video equipment is loaned for use in Buffalo only. Prices are low; a deposit is required; reserve equipment by phone and bring iden- tification.
WXXI TELEVISION WORKSHOP
P.O. Box 21 (716) 325-7500
Rochester, NY 14601 Coordinator: Carvin Eison
Rochester's PBS station, WXXI-TV, occupies a spiffy modern building located between Eastman Kodak's cor- porate headquarters and Interstate 490. At present, the NYSCA-funded Television Workshop is allotted two rooms, a %" editing lab and an office area. The work- shop is active in three areas: equipment access, Post- production grants, and Artist-in-Residence grants.
The five Artist-in-Residence grants are designed to help New York state video and filmmakers complete a work in progress or create a work from inception. Each grant provides 3A" portable recording equipment, including a 3-tube camera; and editing facilities in the TVW's semi- automated % " BVU Lab, including time base corrector and color corrector. Tape, travel and a small honorarium are also provided. The four Postproduction grants pro- vide access to WXXI's Ampex 1" convergence editing system, plus the lab facility, travel and a stipend.
The second application deadline for the latter is coming up on March 28. Selection criteria emphasize "broad- cast quality production". Copyrights and ownership are retained by the video-maker, with exclusive broadcast rights going to WXXI for a three-year contract period. The TVW makes every effort to market and distribute the finished product. Carvin Eison, the outgoing and personable coordinator, is primarily concerned with handling the productions with quality, speed and effi- ciency, and making sure that the collaborations are a positive experience for both the producers and WXXI's Public Broadcasting Center. Access to this facility is generally during regular business hours.
PORTABLE CHANNEL 1255 Univerty Ave. Rochester, NY 14607
(716) 244-1259 Director: Bob Shea
Residents of SoHo-style industrial lofts should feel at home in Portable Channel's renovated warehouse. It was chilly the day of our visit, having just been reopen- ed after Christmas weekend. But the vibes are warm and the energy level high here. PC is busy with a wide variety of programs, mainly serving the Genesee region. The facility includes video editing rooms, workshops, a video archive, and a gallery for closed-circuit exhibition. A film equipment access and workshop program is be- ing developed, an audio program begins in April, and a live cable injection point is a possibility.
A rental program provides small-format video equip- ment, including a new 3-tube camera, and is mainly for local community service-oriented projects. Editing is done on four V2 " decks plus a new JVC % " system, and
ii
Upstate Report
film and slide chains; 24-hour access can be arranged. Rental fees vary, with PC members at the low end and commercial producers at the high end of the scale. Familiarity with the equipment must be demonstrated by a test, or a Saturday workshop taken. PC's educa- tional programs involve artists-in-residence, visiting ar- tists and a summer workshop.
To date, by tradition and demand, their production work has been largely documentary. About 40 of their pro- grams have been broadcast over the local PBS affiliate, and PC has maintained good relationships with local commercial stations. Bob Shea wants to increase the organization's emphasis on production, for cable, broadcast, gallery and closed-circuit.
SYNAPSE VIDEO CENTER
103 College Place (315) 423-3100
Syracuse, NY 13210 Executive Director: Henry Baker
Synapse is located on the campus of Syracuse Univer- sity. This brings certain advantages, such as in-kind support and free space for the offices, and many restaurants, bars and other college-town amenities within walking distance for the user. (Says staffer Alex Swan, "We show our producers a good time.")
But there are also disadvantages. Synapse's main at-
traction — broadcast quality CMX computer editing, interfaced with 2" VTRs — is housed in and shared with the Public Communications School. Synapse grant recipients have access to the system from 6 pm to mid- night on Monday, Wednesday, Thursday and Friday only. As 2" editing is more cumbersome than %", you should plan for several visits.
This was the only place we visited that serves a national constituency, awarding about 30 grants an- nually. In addition to a rough edit, applications should include resume, project description with approximate number of edits and types of special effects needed, shooting ratio, and budget. Extensive planning and dialogue with the staff will ensure satisfactory postproduction.
A mandatory charge of $20 per hour covers the services of a professional engineer, a CMX editor and worktape. Other goodies available are film (16mm and Super-8) and slide (35mm) to tape transfer capabilities, and pro- motion of your finished product for sale or rent through Synapse's tape catalog.
COMING NEXT ISSUE: Ithaca Video Projects, Experimental Television Center, Media Bus and IMAC.
CHICAGO MATERNITY CENTER STORY.Xartemquin Films
*76e>CfltM*M>
BY JUDY RAY
AMERICA FOUND — THE DEPRESSION COMES ALIVE ...AMERICA LOST AND FOUND, produced and directed by Lance Bird and Tom Johnson, will be aired on PBS April 18th as part of "Non Fiction TV", a weekly series of documentaries by independent producers now in its second season. AMERICA LOST AND FOUND uses archival material to document America during the Depression decade and is narrated by Pat Hingle (last seen as Sally Field's dad in NORMA RAE). The story of this film's funding sets an interesting precedent for in- dependents — a proposal written for the Media Study Center in Buffalo helped raise funds from the Indepen- dent Documentary Fund (PBS) as well as from NEH. AMERICA LOST AND FOUND, which got its first theatrical release in New York at Joseph Pap's Film at the Public, is also showing at Filmex in Los Angeles on March 20th.
AIVF members out on the west coast should check out the schedule for Filmex, which will feature a good number of independent films, including Stewart Bird's and Deborah Shaffer's THE WOBBLIES.
INDEPENDENTS AIR ON PBS ... We just received the schedule for PBS's Non Fiction TV series in its entirety. It starts off Friday, April 4th with DEADLY FORCE, Richard Cohen's documentary about police use of deadly force against unarmed suspects. Listed below are shows which will be aired in April. Make sure to check local schedules for times. The remainder will be listed in next month's Column.
April 11: THIRD AVENUE by Jon Alpert and Keiko
Tsuno April 18: AMERICA LOST AND FOUND by Tom
Johnson and Lance Bird April 25: NO MAPS ON MY TAPS by George
Nierenberg May 2: ALASKA: TECHNOLOGY AND TIME by Rick Wise
ON THE NATIONAL FRONT ... I wonder what kind of expertise someone with a long career in the Depart- ment of Defense can bring to CPB? Is the Corporation for Public Broadcasting gearing up for a war with In- dependents in hiring Fred Wacker, the Defense Depart- ment's principal financial manager since 1976. He's just been named CPB Vice President and Treasurer.
ORGANIZING FLASH ... The National Endowment for the Arts recently awarded a $11,000 grant to help spon- sor the Second National Conference of Media Arts Center Directors. Tom Lennon served as Conference Director of the 1979 MAC Conference at Lake Min- newaska, out of which the 1980 Conference has grown. It is slated to take place in Boulder on May 29-31, and will be hosted by Virgil Grillo and the Rocky Mountain Film Center.
Our friends at the Media Alliance, a coalition group of New York Media Centers, just elected the following people to the Board of Directors: Pat Anderson of the
ZBS Foundation, Ft. Edwards; Henry Baker of Synapse Video Center, Syracuse; Carol Brandenburg, WNET-TV Lab, New York; Margot Lewitin from Women's Interart Center in NYC; Nathan Lyons of the Visual Studies Workshop in Rochester; Michael Rothbard, IMAC in Bayville; Carlotta Schoolman of The Kitchen Center in NYC; David Shapiro from Media Study in Buffalo; and Bob Shea of Portable Channel, Rochester.
Janet Cole was recently appointed Director of Marketing/Distribution for Iris Films/Iris Feminist Col- lective, Inc.
THE ENVELOPE PLEASE ... An important political documentary, Barry Brown's and Glenn Silber's THE WAR HOME has been nominated for Best Documentary by the Academy Awards, along with Ira Wohl's BEST BOY. Good to see such substantial work being recognized by the industry.
BOOGIE WOOGIE TIME ... The Rockefeller Founda- tion recently funded BOOGIE WOOGIE X 3, a one hour television program featuring three of New Orleans' greatest piano players, "Tuts" Washington, Prof. Longhair, and Allen Toussaint. The show was taped in early February at Tipitina's in New Orleans. A video project of the Contemporary Arts Center, the program was produced by Stevenson Palfi in association with Eddie Kurtz. Palfi is planning to air the show nationally over PBS.
ART WORK . . . The Labor Institute for Human Enrich- ment, a non-profit foundation created in 1978 by the AFL-CIO, has embarked on a major project, the Employ- ment and Training Program for the Arts, Entertainment and Media Industry, designed to ease chronic unem- ployment in a field with the highest jobless rates in the country. The three-part program intends to 1) stimulate more private-sector jobs for' performers and tech- nicians, particularly minorities, women, older workers and the handicapped in New York, Los Angeles and Chicago where most of the unemployed live, 2) establish national apprenticeship standards and pro- mote the adoption of apprenticeship programs in the industry and 3) design counseling services for union people seeking to change their jobs or career objec- tives.
MORE NEWS FROM NAMAC The National Alliance
of Media Arts Centers (NAMAC) is planning a regional meeting for Monday, April 21st, at 1:00 p.m. Its purpose will be to discuss the draft proposals of the Steering Committee for NAMAC's organization and structure. Regional meetings are being held prior to the national meeting in Boulder at 12 sites around the U.S. This par- ticular meeting is important to the independent media community not only for the NAMAC discussions, but because increased regional cooperation and represen- tation is being sought. The meeting will take place at Millenium Film Workshop, 66 East 4th Street, and Robert Haller, on the Steering Committee, is the con- tact person in charge of information for New York
I3
The Column
"TELEVISION DISCRIMINATES AGAINST WOMEN AND MINORITY ACTORS..." said Kathleen Nolan, President of SAG, at the October 29th press conference in New York at which the Annenberg School of Com- munications' study, "Women & Minorities in Television Drama, 1969-1978" was released in collaboration with the Screen Actors Guild. Further excerpts:
• "The Annenberg School report on Women and Minorities ... is a clear indictment of network policies and employment practices."
• "Of 47,000 members in SAG, close to half are female — and last year, only 400 of those, less than 2 percent, earned more than $10,000 at their craft."
• "Earlier this month, almost 1,000 SAG members par- ticipated in rallies in New York and Hollywood, to pro- test the neglect of women and minorities on television. We were protesting the failure of the Association of Motion Picture and Television Producers to honor the affirmative action sections of our contract."
• "The proportion of leading women characters has been rising from its lowest point in 1975-76 (25 percent) to its highest point in 1978 (37 percent of all prime time characters). However, total female representation has changed little, if at all, since 1969. Furthermore, the in- crease in female leads has been mostly white; there was no corresponding increase in the percent of non- white female leads." For more information, contact Anne Bowen, National Women's Agenda, Women's Ac- tion Alliance, 370 Lexington Avenue, NYC, NY 10017 (212) 532-8330.
INSIDE NEA . . . Information from the NEA newsletter about grant money allotted Services to the Field: Grants up to $25,000 for services to filmmakers, video artists, and radio producers. Received: 153 applications requesting $2,716,794; recommended: 80 grants total- ing $710,000. The grants fall into six categories: facilities and working spaces, 29; conferences, 16; com- bined services, 13; distribution, 10; information materials, 9; and research, 3.
The cost of maintaining and replacing equipment was the most serious problem panelists discussed. The NEA panel decided the only reasonable solution to funding the large number of applicants was to grant 30-40 percent of the amounts requested. The panel hoped that this less-than-ideal level of funding would provide leverage at least for foundation funds and in- creased local support.
The National Association of Lesbian and Gay Film- makers, recently formed, and already active is putting out a call for membership and support. For information, contact either Richard Schmiechen, 301 West 19 Street, NYC, NY 10011 at (212) 691-7497 or Lucy Winer, 157 Gar- field Place, Brooklyn, NY, 11215 at (212) 768-2228.
NIGHT OF THE LIVING REJECTS. . .The Coalition to Make Public Television Public has tentatively schedul- ed public screenings of the four films dropped con- troversially by WNET from their INDEPENDENT FOCUS series. They are planned for the nights of April 15th and 17th (two films will be shown on each date) and will be
I4
shown at Hunter College Playhouse theater, 695 Park Avenue. The films are CHICAGO MATERNITY CENTER STORY, by Kartemquin Films; A COMEDY IN SIX UN- NATURAL ACTS, by Jan Oxenberg; O POVO OR- GANIZADO, by Bob van Lierop; and FINALLY GOT THE NEWS, by Peter Gessner, Stew Bird and Rene Lichtman. For finalized dates and times, call Terry Lawler at 475-3720.
INDEPENDENTS PLAY FOR KEEPS AT COLUMBIA- DUPONT JOURNALISM AWARDS.... On Thursday, February 21st, the Columbia-Dupont Journalism Awards were held. Independent filmmaking seemed to be the theme for the evening. Glen Silber received the first award given an independent for AN AMERICAN ISM — a documentary on Joe McCarthy. As he stepped to the platform to receive his silver trophy, he pointed out to the black-tie crowd that the only reason his film was able to say what it said was because it was in- dependently produced. These sentiments were echoed by Dorothy Tod, who won an award for her film, WHAT IF YOU COULDN'T READ, sponsored by the Vermont Humanities Council. Nancy Adair added to the chorus, proudly proclaiming WORD IS OUT to be "very indepen- dent" and putting in a word for Gay and Lesbian film- making. Tony Batten, a black producer for WETA in Washington, D.C. and presenter of the awards, capped the evening by knocking public television for their deplorable minority record. He declared that an un- named but infamous public television station, which could also be described as the largest in the nation, had a worse record NOW than they had had ten years ago. Then, at least ten minority producers worked at the station. At present, there are four, a dismal headcount, producing far too little. Ironically, all this was broadcast LIVE on Channel 13, a station that suspiciously re- sembles that "unnamed" station Batten referred to. It was also the place where Tony Batten used to produce programs.
Tom Lennon, Director of the 1979 MAC Conference.
JOURNEYS FROM BERLIN /1971 a film by YVOIMIME RAIIMERC1980)
An article by ABBY TURNER
Yvonne Rainer has described her recent film WORKING TITLE: JOURNEYS FROM BERLIN/1971 as:
"a long, discursive, fragmented discussion of political violence on the one hand. On the other, it's an account by a woman character in a psychoanalytic session of her odyssey from 1971, a year when she tried to kill herself while living in Berlin. The film is a constant paralleling of the activities of the Baader-Meinhoff Gang dur- ing that period, with her reflections on her own life and feelings about various historical women revolutionaries."'
A more complete description of the elements of the film would include the following:
"The voice of a young woman reading from the diary kept by an American adolescent in the 1950s."2
An unseen man and woman who prepare dinner, read from the memoirs of revolutionaries and discuss the readings.
Printed titles and excerpts from memoirs and letters report acts of repression and reprisal in Germany over the past three decades.
A man and woman walk in front of the entrance to a church.
A woman teaches another woman to play the baroque recorder.
A woman reads a letter to her mother which she has written.
A young man describes the construction of the Berlin Wall.
Visual images include "aereil tracking over Stonehenge and the Berlin Wall; views from train windows and apartment win- dows in Berlin, London and New York City; tracking along Berlin streets; objects on a mantle-piece. . ."3
While these elements are not united by a narrative construct, they are not unrelated. Rainer has said:
"I don't start out with a whole. My process is one of accretion and then finding the underlying connections, either thematic or visual or psychological or temporal or whatever, after I have accumulated things that interest me."'
The discovery of those underlying connections is also a part of the experience of viewing the film.
Rainer's use of narrative is not a simple one.
"Narrative produces an expectation and effect different from those produced by the distillations, transmutations, and perambulations and between meaning and sound that characterize poetry. It also stands in opposition to the parataxic, a method or ordering that in its emphasis on the discreteness of things, presumes their a priori relatedness or equivalence, a relatedness that is not always im- mediately evident. Evidence and qualification are not as crucial to a paratoxic method of ordering materials as to a narrative one. The latter continues to over- whelm and intimidate us with its hierarchies of contingent facts; its hordes of psychological priorities, circumstantial details, and extenuating circumstances; its excesses of circumspection — or irresponsibility, as the case may be — in reveal-
15
JOURNEYS FROM BERLIN/1971: a film by Yvonne Rainer (1980)
ing or concealing particularities of location and time; its potential to produce endless speculation, discourses on the real and the plausible, mistaken identies, and chronic complications not to mention murder and mayhem. Is it any wonder that so many artists have given it a wide berth and a short shrift?"'
Rather than give in to or give up narrative, Rainer exploits and subverts its power to her own uses. She makes use of a number of narrative and non-narrative elements which may oc- cur separately or simultaneously. Sound, image, and titles are used separately, in concert or at variance. Sound and visual tracks which have seemed unrelated momentarily seem to comment on each other. Objects found in one context are later found in another. Sentences begin and then shift direc- tion. Verbal continuity may be maintained in spite of changes in syntax and meaning. Her actors act, read, speak, move. Established narrative expectations are unfulfilled, frequently resulting in ambiguity.
While much of the material of the work is strictly auto- biographical, which is narrative by nature, her techniques undermine the authority of narrative. This contradiction is used effectively in many ways, but it may be a source of con- fusion among some viewers. Referring to an earlier film, Rainer has recalled, "There was a perfectly obsessed young man in LA who asked me in six different ways at six different times during the course of the evening what exactly in WOMAN WHO was true and what wasn't. I said I don't remember anymore. Who knows! Who cares!"8 One explana- tion for this man's persistent questioning would be that he may have been reconstructing a narrative by piecing together autobiographical bits. Old habits die hard.
In this film there is potential for similarly wilful readings. The film is most overtly concerned with political violence. It is the kind of subject which people have opinions about even if they are complex, unresolved, emotional and intellectual opinions. One would expect a film concerned with political violence to be propogandistic, stating the director's stance for or against it. The film presents a number of positions on the subject, but while Rainer is very much a presence as author-director, none of these is presented as her position. This fact, the urgency of the subject, and the refusal to dominate the viewer with nar- rative risks the possibility that the viewer may attribute one of the stances presented to the filmmaker.
". . .my women will probably continue to vacillate between being fools, heroines, and — yes — victims. Victims of their own expectations no less than those of the opposite sex, or of prevailing social mores."' (italics mine)
This statement is from a 1975 interview done while Rainer was working on her previous film KRISTINA TALKING PICTURES. In that film she studies the theme of people as victims of their own expectations, a study continued in JOURNEYS. In this film some of the sources of these expectations are located. While this is a form of self-victimization, the sources of many of these expectations are cultural institutions and traditions. The cycle of expectation and disappointment is one of the uni- fying aspects of the film. Although the particulars vary, the consistency of this cycle allows much of the cutting from one narrative thread to another to be done without the extreme discontinuity which might be expected.
"(Voice of a young girl reads:) April 27th, 1951. Yesterday I went to an assembly in 306. A girl sang "Come, come, I love you truly" from THE CHOCOLATE SOLDIER. As she sang I began to feel the most peculiar sensations. Cold shivers were wrack- ing my entire body. Clammy currents ran all over me. I thought I was sick, but when she had finished, the shivers left me. Very often these sensations come to me when I hear or read of some outstanding experience of bravery or perseverence, or a story of great emotional appeal. Sometimes these stories are absolutely corny or excessively melodramatic, like the one Louise Utis told in Oral English the other day about a G.I. who corresponds with a girl whom he intends to marry as soon as he returns from the war. His face is left badly scarred, and he is also crippled after a battle. The day before his ship is to dock in the U.S. the girl is hit by a car. She suffers a serious brain injury which results in blindness. There was some dramatic closing which I can't remember. At any rate, during the last few sentences I had the chills. I really fight against them because basically I reject such stories for their contrived nature and unreality. Intense drama is so removed from my own life that it leaves me with an empty feeling. I was also irked by the melodramatic manner of delivery. Then what in God's name do those damned shivers mean?"" 16
This is one of the opening texts of the film. Given Rainer's statements about narrative, it is not surprising to find this diary entry introducing the film. The ability of narrative to overwhelm or bypass intellect is discussed here without dis- crediting or denying the lump in the throat. The ambiguity caused by the irresolution of emotion and intellect will recur both as subject and technique.
The above quote also exemplifies the way in which people may be victims of their own expectations. The diarist writes "Intense drama is always so removed from my own life that it leaves me with an empty feeling."9 The chills indicate that the cycle of identification, expectation and disappointment has been completed although that cycle has been collapsed into a moment.
"By the time I was assemblying the script of WOMAN WHO. . .I was interested in plain old Aristotelian catharsis. I wanted the audience to be swept away with pity and, if not terror, then a strong empathetic unease. The intertitle 'She grieves for herself.' stays on for a good 15 seconds. I wanted to impregnate the audience with the depth of that grief. It is still a very uneasy moment for me to watch; is too easy to see it as a kind of self-pitying indulgence."'0
The following text from JOURNEY runs the same risk, a risk increased by isolating it as a text from the context of the film. The text occurs in a therapy session. These sessions dominate the film. Their arrangement is very formal: the Pa- tient faces the camera; the Therapist sits behind his/her desk with his/her back to the camera; the Therapist is played alter- nately by a man/woman/boy. The sessions take place in a vast, dimly lit loft space. People appear in the distant background and engage in various unexplained activities. The density of the text, the stark staging, and the chiaroscuro lighting create a changeable atmosphere which is consistently disquieting.
The telephone rings and the Woman Therapist answers it. In a voice-over the voice recognized as "He" from the soundtrack reads in a soft, rapid monotone a text in which he promises not to "bring up all that business about being such a low ele- ment" "as long as you'll like me a little."" As the Woman therapist hangs up, the phone rings again and the Boy Therapist picks up the receiver. The voice continues reading, but now there is a row boat on the Therapist's desk and the Patient wears "slinky" eye glasses. The caller is now compar- ing himself unfavorably with Katy Hepburn, Merle Oberon, Roz Russell, Rita Hayworth and Jane Wyman.
"I never faced the music, much less the dawn; I stayed in bed. I never socked anything to anybody; why rock the boat? I never set out to get my man, even in the mirror; they all got me. I never smiled through my tears; I choked down my terror. I never had to face the Nazis, much less- their night. Not for me that succumbing in the great task because it must be done; not for me the heart beating in incompre- hensible joy; not for me the vicissitudes of class struggle; not for me the uncertain- ties of political thought. . . .""
Here he is interrupted as the Patient discusses her experience of pain. Then in a voice-over "She" reads:
"This is by Angelica Balabanoff. 'I knew that I was a very fortunate person. The suf- fering and struggles of these intervening years — unlike those of my childhood and youth — had meaning and dignity because they were linked to those of humanity."'"
The male voice-over continues —
. . .not for me a struggle for meaning and dignity. As for humanity, save it for the Marines, not for me. I'm nothing but a. . . ."
at which the boy therapist hangs up.
This is an emotionally overloaded text. While it is a text that will succeed in sweeping the audience away, the danger is that it may also be rejected as "self-pitying indulgence." The techniques used are distancing tactics and the insertion of disjunctive elements. One Therapist is instantaneously replac- ed by another; a row boat appears on the Therapist's desk; the Patient wears "slinky" eye glasses. The caller's voice is male while we would expect this text to be written by a woman; the text is read in a soft, rapid monotone; the only narrative con- nection between verbal and visual elements is the telephone. This treatment of the text is contrary to traditional narrative expectations.
Toward the end, the tirade begins to shift. The brave acts he/she is unable to live up to change from those of Hollywood heroines to those of revolutionaries. The acts of revolutionary figures lack the assistance of Hollywood in making them com- pelling to a mass public. They may have greater force than those fictional acts of bravery because they have been done, rather than portrayed.
"(Patient). . .No, we're not nearly there. The worse of my malignancies are still to come. At the risk of bragging, let me put it this way: You know how I hate famous people, especially live ones. What I am about to confess is so embarrassing that I must resort to the third person singular. I must also emphasize that this person — whoever she is — is the embodiment of a specific social malaise for which neither she nor I can be held accountable. Much as I would have liked to believe that I am unaffected by the corruptions of modern life — and we're talking about me now — me, your original Independent woman earning her own living, thinking her own thoughts, carving her own coattails. Then one day whadyya know, there she is be- ing courted by Samuel Beckett, pursued across the ocean by Samuel Beckett, fallen in love with by Samuel Beckett. And then guess what? The very next day — and this Is after two days of sex and loving companionship with Samuel Beckett delicieux — There he Is, buying her clothes, with her along of course, in. . .in. . .
Therapist: Bloomingdale's?
Patient: OK Bloomingdales. . .and all she ever wanted was [a hug] and a cuddle. Not shoes, believe me, not shoes. Look, you can tell me till you're blue in the face that you're not God. I may agree momentarily, but I'm not going to believe you, not for love or money. And I can talk to you until I'm blue in the face modes of produc- tion and exchange, surplus value, commodity fetishism, and object-cathexis. But when the chips are down who do we find in Bloomingdale's spending the sperm?
Therapist: What do you mean?
Patient: You heard me. I said ["spending the sperm."] And then to top it off I said to him, "I don't want to harden myself against my distress as the only way of coping with it." He misunderstood and thought I wanted to pardon myself for my new dress.
Therapist: Who misunderstood?
Patient: Samuel Beckett, goddammit, Samuel Beckett (She is shouting.) And fur- thermore, my cunt is not a castrated cock. If anything, it's a heartless asshole! (At "castrated cock" the contents of a bucket of water are thrown across the frame, left to right in slow-motion, without sound.)""
Here a famous person, Samuel Beckett, is the subject of ad- miration. In this case rather than want to be him, the Patient is loved by him. This, again, is despite her rejection of "famous people." Rather than attempt to unravel all of the intricacies of this complex text, there are a few points I would like to isolate.
The deification of the Therapist is a recognition of his/her authority and the extension of it as absolute authority. The Pa- tient repeatedly tries to define their relative value and mutual obligation. She states, "You owe me everything: I owe you nothing."16 "Paying you money gets me off the hook."17 "But just you watch out when I feel like your equal: I'll walk out without a backward glance and why should you mind?'™
Related to the investigation of egalitarian relations is the problem of an "authoritarian regime expropriating individual moral responsibility."19
"(Patient). . .What I mean is that I have to be careful. I find the idea of an authoritarian regime expropriating individual moral responsibility — I find this much too attractive. Such expropriation is just one step removed from institu- tionalized proof of one's worth, or being rewarded for talent and effort which is like being congratulated for living, and being congratulated for breathing by a duly con- stituted authority is just one step away from institutionalized proof of my expen- dability. All this is much too irresistible, don't ask me why just now.""
The attractiveness and danger of submitting to authority is taken from a personal level to a political level.
Returning to the Beckett text, the Patient had said '"I don't want to harden myself against my distress as the only way of coping with it.' He misunderstood me and thought I wanted to pardon myself for my new dress."21
Often the texts operate on several levels and often humor is one of them. Techniques of humor include displacement, mis- understanding, and surprising juxtapositions all of which are techniques used by Rainer. Humorous stories place a ripple in the narrative, then allow the narrative to recover itself. Rainer's assault on narrative is ultimately more severe. While
Beckett's misunderstanding is funny, if we are to believe the narrative it is also distressing for the patient.
Also in this text Beckett takes the Patient to Bloomingdale's where he buys her shoes and a new dress. She goes on to talk about "modes of production and exchange, surplus value, commodity fetishism and object-cathexis" and nonetheless finds herself in Bloomingdale's "spending the sperm," Somehow spending money and sex are equated and the Pa- tient is left with shoes rather than the hug which she had wanted.
"It's probably true that this contagion started spreading in the seventeenth century when they brought in silvered mirrors, self-portraits, chairs instead of benches. The self- contemplative self and the personal as a. . .slave?. . .the per- sonal as a slave of autonomy and perfectability."" Chairs in- stead of benches may seem like an over-subtle point, but a chair — like anything else — can be understood as a tool of socialization and as a symbol for the autonomy and perfec- tability of the self.
If this contagion started spreading in 17th century Europe, it has long since been brought to the New World where it has flourished and taken new forms.
"Patient: Somehow I always thought that the great American invention, "being in touch with your feelings," would make a better person out of me. What a shock to discover that feelings can erode not only one's best interests, but one's con- science. How shocking to discover that decisions are so much easier without "be- ing in touch" with one's fear, anger, and envy."'3
"Being in touch with your feelings" is a favorite American pur- suit. Having pursued it, the Patient seems to have concluded that it promises more than it delivers. It is a goal that can be pursued with the expectation that it will "make a better per- son out of me," but this, like other expectations, may end in disappointment.
Psychology plays another important role in this film in its ability to generate explanations.
"Patient: Don't worry; I'm well aware of more plausible excuses: such as my in- jurious past. A cruel father, a doting father, an indifferent mother, a dead mother; I was only a child, first child, youngest, middle; I grew up in poverty, wealth, the nineteenth century? My daddy called me Cookie? My grandfather fled a program?"
She: Angelica Balabanoff was the youngest of nine children. Olga Liubativich's mother died when she was an adolescent. Elizaveta Kovalskaia's mother was a serf. Emma Goldman's father beat her. Vera Figner had elegance, education, in- telligence and the ability to conduct herself properly in all social circles. Vera Zasulich's father never sat her on his knee or called her Cookie. A racial bigot who had been accused and acquitted of bombing a synagogue burst into tears one day and sobbed that his mother had always hated him and somehow he was getting back at her.""
The Patient offers these excuses to explain her professed lack of humanity, but many of them are mutually exclusive and while any one of them could be accepted as an excuse, the over-abundance of excuses calls into question this type of ex- planation.
"He" and "She" read from the memoirs of a number of historic terrorists, discuss the lives of the terrorists and ques- tion their motives. "She" asserts "A lot of their violent acts were carried out in a spirit of personal revenge rather than social justice."" Their argument boils down to whether these acts are to be allowed to stand on their own or is their value to be qualified by the circumstances surrounding them. It is a question not resolved by the film.
The film is left open ended. There is a continuing search for resolution which implies an optimism characteristic of Rainer's films.
^rom a lecture by Yvonne Rainer quoted by Caroline Hall Otis, "Yvonne Rainer: Minimal Moves to Minimal Movies," Min- nesota Daily, Arts and Entertainment section, December 1979, pagel. \7
WORKING TITLE: JOURNEYS FROM BERLIN/1971 - A film by Yvonne Rainer
2" Working Title: Journeys from Berlin/1971 a film by Yvonne Rainer," October 9, published by The MIT Press for The In- stitute for Architecture and Urban Studies, summer 1979, page 83.
3lbid., page 89.
'Interview with Yvonne Rainer by Lucy Lippard in "Yvonne Rainer on Feminism and her Film," The Feminist Art Journal, volume 4, number 2, summer 1975, page 11.
5Yvonne Rainer, "A Likely Story," unpublished paper delivered on September 3, 1976 at the Edinburgh Film Festival.
6Op. Cit., Lippard, page 9.
'Interview tih Yvonne Rainer by the Camera Obscura Collec- tive, "Yvonne Rainer: Interview," Camera Obscura 1, Fall 1976, page 95.
8Op. Cit., "Working Title: Journeys from Berlin/1971 a film by Yvonne Rainer," pages 81-82, sentences deleted from this ver- sion of the filmscript which appear in the film are inserted here.
9lbid., page 82.
10Op. Cit., Camera Obscura Collective, page 10.
"Op. Cit., "Working Title: Journeys from Berlin/1971 a film by Yvonne Rainer," page 95.
12lbid., page 95.
13lbid, page 95.
"Ibid., page 95.
,5lbid., pages 94-95, words in parenthesis are elided from sound track, changes made from October 9 filmscript.
16lbid., page 93.
17lbid., page 93.
'"Ibid., page 94.
19lbid., page 92.
"Ibid., page 92.
21 Ibid., page 94.
22lbid., page 93.
"Ibid., pages 101-102.
24lbid., page 99.
"Ibid., page 90.
18
NOTICES
COURSES/CONFERENCES/ SEMINARS
10th PTV AND THE INDEPENDENT Film Seminar, June 1-6 in Harriman NY, will focus on works of ethnic minorities. Theme: the advantages of disparity. To submit completed work, write for list of program co-directors to Jaime Barrios, 777 UN Plaza, 8th floor, NY NY 10017.
EXPERIMENTAL FILM/VIDEO program development will be the topic of a series of workshops to be held at ten locations in non-metropolitan Minnesota. To sub- mit work for exhibition, send bio to Marion Angelica, Minnesota State Arts Board, 2500 Park Ave., Minneapolis MN 55404, (612) 341-7170.
26th ROBERT FLAHERTY Film Seminar, August 16-23, will examine the filmmak- ing process through the development of a number of artists. Preview submission deadline July 1. Contact John S. Katz, Dept. of Film, York University, 4700 Keele St., Downsview, Ontario M3J 1P3 CANADA.
HOW TO GET FEDERAL GRANTS is a seminar to be held March 24-25 in New York City, March 27-28 in Atlanta, and April 17-18 in Houston. Contact the Divi- sion of Continuing Education, University of Detroit, 4001 W. McNichols Rd., Detroit Ml 48221, (313) 927-1025.
WORLD COMMUNICATIONS: Decisions for the 80's is an international invita- tional conference to be held May 12-14. Fee $300, some grants available. Write World Communications Conference, Annenberg School of Communications, University of Pennsylvania, Philadelphia PA 19104.
YOUNG FILMAKERS/VIDEO ARTS APRIL WORKSHOPS:
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PUBLIC AFFAIRS PRODUCTION FOR RADIO WORKSHOP: April 19-20, Satur- day and Sunday, 10am-6 pm. Documen- tary production with emphasis on ac- tuality gathering, organization of material, editing and mixing. Ends with in-studio production for broadcast. $200 until April 4, $215 thereafter. To register for any of these 3 courses, or for more
info., contact Young Filmakers/Video Arts, 4 Rivington St., NY NY 10002, (212) 673-9361.
THE INDEPENDENT PRODUCER discussion series continues on Tues- day, March 18, 7:30 pm with The In- dependent Producer and Cable TV. Panel members are Sheila Shayon from HBO, Janet Foster from TelePrompTer and Ann Beck from Manhattan Cable. Tuesday, March 25: Producing for Televi- sion; guest to be announced. $3.50 per event. For more info, contact Young Filmakers/Video Arts, 4 Rivington St., NY NY 10002, (212) 673-9361.
INTERNATIONAL TELEVISION ASSO- CIATION Conference will be held April 16-19 in Las Vegas. Contact Bobbette Kandle, ITVA, 26 South St., New Prov- idence NJ 07974, (201) 464-6747.
FILM AND CULTURE is the theme of a conference to be held April 30-May 4. Contact Ohio Univ. Film Conference, Box 388, Athens OH 45701, (614) 594-6888.
FINANCIAL MANAGEMENT AND BOOKKEEPING IN THE ARTS workshop will be presented by the New England Cooperative Training Institute on Satur- day and Sunday, March 22-23, 10 am-4 pm. Contact Arts Council of Greater New Haven, 110 Audubon St., New Haven CT 06511, (203) 772-2788.
CONFERENCE OF THE SOCIETY FOR CINEMA STUDIES will be held March 20-23. Contact Owen Shapiro, College of Visual and Performing Arts, Syracuse University, Syracuse NY 13210.
FILMS WANTED
KCET is planning an independent series. Send inquiries and descriptive informa- tion (no tapes yet) to Diane Tracey, KCET, 4401 Sunset Blvd., Los Angeles CA 90027.
WXXI's SECOND SIGHT series will pay $30/minute for films and tapes, from 2-60 minutes in length. Contact Pat Faust, Director of Programming, WXXI- TV, PO Box 21, Rochester NY 14601, (716) 325-7500.
LONG BEACH CHANNEL 8, the U.S. arts cable TV station, seeks dance videotapes up to one hour in length. Contact Kathryn Lapiga, 11826 Kiowa Ave. #106, Los Angeles CA 90049.
LOCAL TAPES SOUGHT for Northern Il- linois Cable. Contact Ms. K.C. Laing, Rockford Cablevision, 303 N. Main St., Rockford I L 61101, (815) 965-5700.
IMAGE UNION, WTTW's weekly in- dependent showcase, continually seeks
film and tapes. Contact Tom Weinberg or Ken Solarz, WTTW Channel 11, 5400 N. St. Louis, Chicago IL 60626, (312) 583-5000.
REGIONALLY PRODUCED FILMS/ TAPES wanted for weekly documentary series on WMVS. Send inquiries and program materials to Don Burgess, Pro- gramming Department, Channel 10/36, 1015 North 6th St., Milwaukee Wl 53203, (414) 271-1036.
WOMEN MAKE MOVIES seeks new films and tapes made by women for distribution. Submit written description to Andrea Weiss, WMM, 257 West 19th St., New York, NY 10011, (212) 929-6477.
VIDEO EXCHANGE NETWORK open to anyone willing to pay postage to send tapes along to next person. Any and all subject matter. To receive or contribute tapes, write for application form to John E. Heino, 110 2nd St., Proctor MN 55810.
BAY AREA INDIES are urged to submit films for possible screenings at Noe Valley Cinema and Intersection. Contact Steve Michaels, (415) 585-2687, or Karl Cohen, (415) 386-1004.
MINORITY PROGRAMMING sought by WETA: color, b/w, 16mm, 2" or % ". Con- tact Patrice Lindsey Smith, Asst. Pro- gram Manager, WETA-TV, PO Box 2626, Washington, D.C. 20013, (202) 998-2809.
NEW HAMPSHIRE MEDIA FOUNDA- TION looking to purchase regional documentary f ims under 60 minutes, for magazine-format PTV series on rural/ land use/natural resources topics. Con- tact Lovering Hayward, NHMF, Phoenix Hall, 40 N. Main St., Concord NH 03301.
PRODUCERS INC. needs short films to distribute as fillers to PBS affiliates. Contact Jim McQuinn, 2700 Cypress St., Columbia SC 29205, (803) 799-3449.
THE NICKELODEON THEATRE pro- grams documentary and avant-garde films. Write Carl Davis, Program Direc- tor, Columbia Film Society, Main St., Columbia SC 29205.
REEL RESEARCH seeks independent titles for Film Programmer's Guide to 16mm Rentals. Contact Kathleen Weaver, P.O.. Box 6037, Albany CA 94706, (415) 549-0923.
TIMBUKTU BOOKSTORE seeks to screen and distribute political films rele- vant to Blacks. Contact Mary Emma Graham, Manager, Timbuktu, 2530 S. Michigan Ave., Chicago IL 60680, (312) 842-8242.
AMATEUR AND NON-THEATRICAL films wanted by March 15. Write: Movies
19
NOTICES — —
on a Shoestring Inc., Box 3360, Rochester NY 14614.
QUALIFIED VIDEOTAPE PRODUCERS LIST is used by all U.S. government ex- ecutive departments and agencies in soliciting videotape production pro- posals from the private sector. Any pro- ducer interested in doing video produc- tion for the government must be on the QVPL. Write for application forms to DOD Directorate for AV Management Policy, 1117 North 19 St., Room 601, Arlington VA 22209.
COMPUTER GENERATED PROGRAM- MING WANTED: Entertaining graphic, real or surreal, unique and creative video images for broadcast on cable/micro- wave. Contact Richard Deutsch, 231 Milwaukee St., #201, Denver CO 80206, (303) 399-1543.
ARTHUR MOKIN PRODUCTIONS IS SEEKING 16MM EDUCATIONAL SHORTS. We are producers and distrib- utors of 16mm films for the educational and television market. Contact Bill Mokin at (212) 757-4868 or write: Arthur Mokin Productions, Inc., 17 W. 60 St., NYC 10023.
WRITERS AWARD
WRITERS GUILD OF AMERICA, EAST, Foundation, Inc. announces it will award Screen and Television Writing Fellow- ships. There are eight Fellowships, each with a stipend of $3,500.
The initial funding for the Fellowships has come from the National Endowment for the Arts and from the New York State Council on the Arts.
The Fellowships will be available to all writers and not limited to members of the Writers Guild of America. Applicants are required to submit a completed script or screenplay, whether or not pro- duced, and a detailed outline of the script to be written under the Fellow- ship.
Details of the Fellowships and requests for applications may be obtained from the Foundation of the Writers Guild of America, East, Inc. at 555 West 57th Street, 12th Floor, New York, New York 10019. Questions may be refered to Craig B. Fisher, Executive Director, or Corrine Notkin, Administrative Director.
Deadline for completed applications is May 1, 1980.
PUBLICATIONS
YOUNG VIEWERS MAGAZINE/FILM REVIEW: a quarterly publication of reviews, interviews and reports on children's non-print media, is available for $15/year from the Media Center for Children, Inc., 3 West 29 St., NY NY 10001. 20
THE VIDEO SOURCE BOOK contains 15;000 listings of prerecorded tapes and discs — descriptions, producers, casts and awards, distributor names and ad- dresses — indexed by subject and title. $19.95 from National Video Clear- inghouse, Inc., PO Box 3, Syosset NY 11791.
THE VIDEO HANDBOOK, 3rd edition, is a guide to preproduction, production, postproduction, distribution, and reference materials. $12.75 plus $2.00 postage from United Business Publica- tions, Inc., 475 Park Ave. South, NY NY' 10016.
HANDBOOK OF'SUPER-8 PRODUC- TION, 2nd edition, by Mark Mikolas and Gunther Hoos, details how to select and use S8 equipment. $14.95 from United Business Publications, Inc., 475 Park Ave. South, NY NY 10016.
THE PUBLIC BROADCASTING REPORT details grants, trends, new projects and personnel, and other info, about public TV and radio. For sample contact PBR, 1836 Jefferson Place, NW, Washington DC 20036.
COPYRIGHT PRIMER FOR FILM AND VIDEO, 2nd edition, by Joseph B. Sparkman of Volunteer Lawyers for the Arts, interprets the new Copyright Act of 1978 section by section, including registration procedure, terms and exten- sions, protection of unpublished work, and monetary recovery for infringement. $3.00 from Northwest Media Project, PO Box 4093, Portland OR 97208.
UPDATE features an analysis of Third World cinema aesthetics by Clyde Taylor, and reports on the Alternative Cinema Conference and the Ouaga- dougou Film Festival. Write African Film Society, PO Box 31469, San Francisco CA 94131.
AGENT'S MARKETPLACE is a com- mercially-oriented bimonthly newsletter for writers, featuring marketing tips on book deals by film producers. Contact Peggy D'lsidoro, 27812 Forbes Road #3, Laguna Niguel CA 92677.
MINORITIES AND WOMEN IN THE ARTS is a free report from NEA, 2401 E Street, NW, Washington DC 20506.
DIRECTORY OF MINORITY MEDIA is available free from the Superintendent of Documents, US Government Printing Office, Washington DC 20402.
THE TAX RELIEVER: A GUIDE FOR THE ARTIST by Richard Helleloid is a down- to-earth, jargonless guide through the IRS maze for self-employed .artists. $4.95 from Drum Books, PO Box 16251, St. Paul MN 55116.
LEGISLATIVE GUIDE TO THE ARTS in- cludes arts legislation non-profit in-
terests, Capitol Hill directory, resource guide for lawyers, etc. Free from Washington Project for the Arts, 1226 G St. NW, Washington DC 20005.
DIRECTORY OF UNITED STATES FILM FESTIVALS lists contact persons, dates, entrance requirements, awards and other info, on over 70 festivals. $5 from Learning Resources Services, Southern Illinois University, Carbondale I L 62901.
BUY/RENT/SELL
WANTED: USED EDITING EQUIPMENT. Trim bins, hot splicers, etc. Contact Susan Woll or Ron Blau at Central Studios, (617) 492-0088, 678 Mass. Ave. # 403, Cambridge MA 02139.
EDITING FACILITIES AVAILABLE: Fully equipped rooms, 24-hour access in security building. 6-plate Steenbeck, 6-plat Moviola flatbed, sound transfers from Va " to 16mm mag, narration recording, sound effects library, in- terlock screening room available. Cinetudes Film Productions, 377 Broad- way, NY NY 10013, (212) 966-4600.
FOR SALE: Nizo S800 camera with S8S Xtal camera control, both in mint condi- tion. $550. Contact Frank Eastes, Jr. c/o Fresh Water Productions, 729 Otis Blvd., Spartanburg, SC 29302.
FOR SALE: Uher CR-210 recorder, with S8S Xtal sync generator. Recorder needs new head. $300. Write Frank Eastes, Jr. c/o Fresh Water Productions, 729 Otis Boulevard, Spartanburg, SC 29302.
FACILITIES AVAILABLE: for artists, arts organizations, community groups and other non-commercial producers at low cost. One of these is the transfer and mix system which yields prof, quality sound transfers and mixes from 3 tracks of 16mm mag film. Contact Young Filmakers/Video Arts, 4 Rivington St., NY NY 10002 or call (212) 673-9361.
FOR SALE: 1 Beaulieu 20008 ZM II with Schneider lens, 6-66mm filters, splicer, and a rewind device. $700. Call Missy at (201) 792-5915 evenings.
WANTED: Moviola Upright 16mm sound head. Call (212) 486-9020.
FOR SALE: Moviola rewinds, Zeiss Moviscop 16mm viewer, Bolex 10mm Switar lens. Call (212) 486-9020.
FOR RENT: 3A inch and Beta postpro- duction facility. Editing with time base correction, character generator, graphics camera, 4-track audio equip- ment, and dubbing in 3A ", Beta, and VHS formats with technician. For per- sonal projects by independent artist/ producers, $20/hour. For all others, $40/ hour. Contact: Electronic Arts Intermix,
NOTICES
Inc., 84 Fifth Avenue, NY NY 10011, (212) 989-2316.
OPPORTUNITIES/GIGS/ APPRENTICESHIPS
ENTERTAINMENT EQUITIES, LTD., a recently formed film and production financing company, is interested in developing new writers, directors and producers. We are currently accepting commercially viable screenplays and properties. Resumes and/or scripts should be sent to ATT. of: David Van Vort, Jr., President, Entertainment Equities, Ltd., 799 Broadway #507, NY, NY 10003.
ASSISTANT DIRECTOR: in PBS's Cur- rent Affairs/Programming Office. Posi- tion requires B.A. or equivalent in jour- nalism or communications and four yrs. experience in journalism, news/current affairs/science TV production. Submit resume, references (3) and salary re- quirement to: Carole Dickert-Scherr, Director of Personnel, PBS, 475 L' Enfant Plaza, SW, Washington, DC 20024.
AD SELLER WANTED: MINNESOTA Association of Independent Film and Videomakers Media Arts Newsletter wants someone to work on commission to sell a couple of ads each month. Pro- ceeds are designed to commission a freelance story a month for MAN. Call (612) 376-3333 in St. Paul, MN.
VIDEO TECHNICIAN: Resp. for repair and maintenance of Sony helical scan videotape equipment. Knowledge of TV electronics and test equip, essential. Permanent position (20 hrs./week) w/benefits. Send resume to: NYU, Graduate Film and Television-Video Dept., 40 East 7th Street, NY, NY 10003. ATTN: Vito Brunetti.
TEACHERS WANTED: Film in the Cities seeks teachers experienced teaching economically disadvantaged youths for a yr.-long film course. Knowledge of per- sonal filmmaking, Super-8 technology, sound recording, film history and aesthetics desired. Send resume to Dianne Peterson, Assoc. Director, Film in the Cities, 2388 University Ave., St. Paul, MN 55114.
VIDEO ENGINEER WANTED: NY tape facility seeks experienced maintenance/ production engineer to run %" studio. Knowledge of color cameras essential. Duties include equipment setup and maintenance production work, and editing. Call VIDEO WORKS, (212) 921-9866.
CHICAGO EDITING CENTER is looking for new technical assistant. Duties: Design and maintenance and instruction in the use of Vz" and %" editing and
portable systems. Requirements: Ap- titude in basic electronics, experience in % " video production and post- production, and ability to work well w/people and teach video skills. Salary contingent on qualifications. Contact Cindy Neal, (312) 565-1787.
ASSOCIATE MANAGER/16mm SOUND MIX TECHNICIAN: Requires ability to carry out 16mm mixes; mix experience preferred, or strong related backround (music mixing; professional sound editing & recording); familiarity w/ equalizers, limiters, mag recorders, Nagras, & related equip. Knowledge of basic video systems operation; ability to relate well to public; strong organiza- tional skills; previous supervisory exp. preferred; Bilingual Eng./Spanish helpful but not req. Contact David Sasser at Young Filmakers/Video Arts in NYC (212)673-9361.
CLERK/TYPIST/RECEPTIONIST: Not-for- profit media equipment center seeking reliable person to work in equipment loan/postproduction dept. Requires good typing skills, previous public con- tact/telephone/clerical experience: some film/video experience preferable. Bi- lingual Eng./Spanish preferred. Contact David Sasser at YF/VA in NYC at (212) 673-9361.
FILM RESEARCHER AVAILABLE: Prior experience in NY working for indepen- dent producers. Call evenings after 5 pm for more information — Suzanne Hrichak(415) 431-3831.
FILM PRODUCTION EXPERIENCE SOUGHT: by film student. No previous film work but would be willing to volunteer time in return for the ex- perience and knowledge gained. Con- tact Kathy at (415) 621-4424 between 9 and 5 or 648-2908 after 6 pm.
FILMMAKER NEEDS ASSISTANCE in research/script development of historical/humanities project. Work would be on spec, includes some pro- duction work in film and photography. Contact Jay Miracle at (415) 564-5113.
EUROPEAN PRODUCER/DIRECTOR newly arrived in San Francisco with own complete feature-film shooting facilities seeks contact with ambitious profes- sional filmmakers, writers and per- formers interested in forming a filmmak- ing cooperative. Please call or write Reynir Oddson, 84 Norwood Avenue, Kensington (Berkeley) CA 94707, (415) 524-1274.
PRODUCER WANTED for 2-hour video- tape of national music contest for PBS. Send letter of interest and resume to Professor Donald Scherer, Department of Philosophy, Bowling Green State University, Bowling Green, OH 43403.
FUNDS/RESOURCES
NEA'S DESIGN ARTS AND MEDIA ARTS departments are requesting proposals for a PBS series on Architecture and Design. Independent production com- panies eligible if non-profit, tax-exempt. Deadline June 1, 1980. For guidelines and application contact Julia Moore, Programming in the Arts, Media Arts Dept., National Endowment for the Arts, Washington DC 20506, (202) 634-6300 by March 15.
THE NEW YORK STATE
LEGISLATURE'S 1980 budget has cut appropriations for the New York State Council on the Arts by 1/3, with devastating effects expected for media and other arts organizations and sup- port services. For info, on what you can do, contact Concerned Citizens for the Arts of New York State, PO Box 755, An- sonia Station, NY NY 10023, (212) 246-4962.
THE FOUNDATION CENTER has receiv- ed a $16,000 grant from the McDonald's Corporation to sponsor seminars in 30 cities on fundraising and proposal writing. For info, contact Carol M. Kur- zig, Director, Public Services, The Foun- dation Center, 888 Seventh Ave., NY NY 10019 or call toll-free (800) 424-9836.
ARTISTS' FELLOWSHIPS provide funds for artists in financial distress due to age or disability. Write Artists' Fellowships Inc., 47 Fifth Ave., NY NY 10003.
PUBLIC RELATIONS REFERENCE LIBRARY to help promote your opening is provided by The Public Relations Society of America, 845 Third Ave., NY NY 10022, (212) 826-1776.
SUPPORT SERVICES ALLIANCE pro- vides services, seminars, information and health insurance for self-employed people. Contact Ralph James, SSA, Crossroads Building, 2 Times Square, NY NY 10036, (212) 398-7800.
NEA INFORMATION and applications in New York area available fast from regional representative John Wessel, 110 West 15 St., NY NY 10011, (212) 989-6347.
GRANTS IN EMERGENCY SITUATIONS: fire, eviction, unpaid medical bills, utility shutoff, etc. Contact Change, Inc., PO Box 705, Cooper Station, NY NY 10003, (212) 473-3742.
EXCHANGE STUDIO/LIVING SPACE through International Visual Artists Ex- change Program. Contact Deborah Gard- ner, Organization of Independent Ar- tists, Box 146, 201 Varick St., NY NY 10014. 21
NOTICES __
TRIMS AND GLITCHES
WOMEN MAKE MOVIES is asking its friends to chip in $5.00 each towards the purchase of a new 16mm sound projec- tor. Please send check or M.O. to WMM, 257 West 19 St., NY NY 10011, ATT: Janet Benn, or call (212) 929-6477.
FILM ARTS FOUNDATION has office space to sublet for a minimum of 3 months @ $150. Located at 490 Second St. #308, San Francisco CA 94107. For appointment call (415) 495-7949.
WHAT JOBS have you taken to support your film and video production work? Send descriptions (to be used in a film) with address and phone # to Mike Fleishman, c/o FRAME/LINES, Athens Center for Film and Video, Ohio Univer- sity Dept. of Film, Lindley Hall, Athens OH 45701.
FESTIVALS
NEW ENGLAND FILM FESTIVAL, May 9-11 in Amherst, MA now accepting S8 and 16mm entries. Cash for best nar- rative, documentary, animated and ex- perimental. Write NEFF, Arts Extension Service, Hasbrouck Lab, U. Mass., Amherst MA 01003.
10th Annual MARIN COUNTY FAIR NA- TIONAL FILM COMPETITION, July 2-6 in San Rafael, CA. Open to amateur, stu- dent and independent filmmakers, 16mm, op. sound, maximum length 30 minutes. Entry fee $10; deadline May 30. Write Marin County Fairgrounds, San Rafael CA 94903.
DALLAS' 10th ANNIVERSARY FILM FESTIVAL, March 21-30. Contact USA Film Festival, Box 3105, S.M.U., Dallas TX 75275, (214) 692-2979.
HUMBOLDT FILM FESTIVAL (dates to be announced) now accepting 16mm en- tries under one hour. Contact HFF, Theatre Arts Dept., Humboldt State
Univ., Areata Ca 95521, (707) 826-3566.
2nd Annual SAN FRANCISCO ART IN- STITUTE FILM FESTIVAL, April 24-26, accepting 16mm or S8, optical or magnetic sound, or silent films. Deadline April 1; $10 entry fee. Write SFAI/FF, 800 Chestnut St., San Fran- cisco CA 94113, (415) 771-7020.
1980 CINDY COMPETITION, September 24-27, now accepting entries in film, video, audio, slides, filmstrips and multi- media. Entry fee varies; deadline May 1. Contact IFPA National Office, ATT: Cindy Competition, 750 East Colorado Blvd., Pasadena CA 91101, (213) 795-7866.
JOHN MUIR MEDICAL FILM FESTIVAL, June 21-22, accepting entries on health subjects. Write Mike Maver, Coor- dinator, JMMFF, 1601 Ygnacio Valley Road, Walnut Creek CA 94598, (415) 939-3000 ext. 20384.
OTTAWA INTERNATIONAL ANIMATION FESTIVAL, August 25-30. Write Ottawa '80, Canadian Film Institute, 1105-75 Albert St., Ottawa, Ontario K1P 5E7, CANADA.
NEW YORK FEMINIST FEDERAL CREDIT UNION helps women with sav- ings, loans and credit advice. Contact NYFFCU, 44 Carmine St., NY NY 10014, (212) 255-4664.
SCRIPTWRITERS' ASSOCIATION IN- TERNATIONAL is a professional society providing publications, seminars and workshops for writers of all levels of ex- perience. For information and applica- tions write Jane Ware Davenport, SAI, PO Box 7598, Dallas TX 75209.
FILMMAKERS' ACCESS CENTER pro- vides Super-8 and 16mm production and postproduction equipment to members ($150/year) for non-commercial projects. Contact Dianne Peterson, Film in the Cities, 2388 University Ave., St. Paul MN 55114, (612)646-6104.
CHICAGO EDITING CENTER has added a basic %" editing system to its low- priced services to members. Contact CEC, 11 E. Hubbard, Chicago IL 60611, (312) 565-1787.
GRANTS UP TO 50% OF COSTS of materials, lab work, equipment, facilities and consulting available for S8 projects, on basis of need and quality of pro- posal. Contact R.G. Photographic, Inc.. 1511 Jericho Turnpike, New Hyde Park NY 11040.
REVISED GRANT GUIDELINES for Ohio Arts Council are now available. Deadline June 1 for Mini Grants up to $500. Con- tact OAC, 50 West Broad, Columbus OH 43215, (614) 466-2613.
COMPUTERIZED VIDEO PRODUCERS REGISTRY can help you secure free- lance production work. Registration fee and sample tape required. Applications available from The Registry, Multi Media Productions, PO Box 1041, Virginia Beach VA 23451.
INTERNATIONAL FESTIVAL OF NEW SUPER-8 CINEMA (dates to be announc- ed) — contact Julio Neri, Latin Touch, Au Rio de Janeiro, Edificio Lorenal B, Apt. 52, Chuao, Caracas, VENEZUELA.
LOS ANGELES FILM EXPOSITION now accepting entries, will include S8 showcase. No entry fee. Write FILMEX, 2020 Ave. of the Stars, #630, Los Angeles CA 90067.
INTERNATIONAL FILMFESTIVAL LOCARNO, August 1980, is sending 2 members of its selection committee to New York to screen independent feature-length fiction films. Theres Scherer and Bernhard Giger will stay at the Hotel Edison, 47th and Broadway, (212) 246-5000 from April 15-29. Contact Ms. Scherer at Kramgasse 26, 3011 Berne, SWITZERLAND, (031) 22.39.27.
RENEW!
22
JOE AND MAXI — A film by Maxi Cohen and Joel