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inactive (in part because of its success), although it managed to reconstitute itself for the documentary. Still, WMA was hav- ing difficulty meeting the broadcast deadlines. Eventually Rachel Perkins, a Sydney-based Aboriginal filmmaker (whose work I discuss below) and executive producer of the series, called in Pat Fiske, an experienced and sympathetic white documentary filmmaker, to help WMA complete the piece on schedule, in only three weeks and on a small budget. The working style required by such constraints was a source of fric- tion; what in the dominant culture

” studios, 19, 38, 166, 211, 257 Eilers, Sally, 135 Electrical Department, 262– 63 Electrical Research Products, 13. See A. T. & T. Ellison, James, 202 Enchanted April, 110 Enzinger, George, 177 Equity Pictures, 18 Ermolieff, Joseph, 216 Errol, Leon, 5 Espy, Reeves, 247 Estabrook, Howard, 33, 47, 57, 67, 260 The Ex- Mrs. Bradford, 127, 136 Executive producer for B fi lms, 259 Exhibition, 22, 24, 146, 223, 238– 39, 258 Exhibitors Herald and Motion Picture World, 17– 18, 20, 25 Exploitation fi lms, 157 Fadiman, William, 205 Fairbanks, Douglas, 10 Fairbanks, Jr

), Daniel Frisch (production manager, head of a production-service firm, Prague/Los Angeles), Thomas Hammel (producer, executive producer, Los Angeles); Michael Hausman (executive producer, first assistant director, New York); Tom Karnowski (production manager, producer, Los Angeles), Aleš Komárek (production manager, a head of a production-service firm, Prague); Tomáš Krejčí (head of a production-service firm, Prague/Los Angeles); Cathy Meils (former Variety correspondent in Prague); David Minkowski (production manager, head of a production-service firm, Prague

, and to develop and market the products of its creative genius pro- vided an economic base that allowed it to become a largely self- supporting institution. Joan Cooney likes to say luck played an important part in the Workshop's ultimate success. But luck was a marginal factor in her choice of David D. Connell for the critical role of the project's executive producer. Earlier, Cooney received an offer of help from Michael Dann, at the time the programming chief of CBS- TV. "You'll need an executive producer," he told her. "Let me help you find one." Dann

metaphors—dialed into New York, we appointed him gen- eral manager of Channel 13. He immediately placed Jack Willis, The Great American Dream Machine's co-executive producer, in charge of public-affairs programming, and Robert Kotlowitz, the recently resigned managing editor of Harper's, in charge of cul- tural programming. With a team in place, and Ford's $2 million in hand, the way was open to turn our collective vision into visual reality. The new team benefited from an early start that Christopher (Kit) Lucas had made before he was replaced as program director

, having served as Charles Koerner’s assistant, starting in 1944. Following Koerner’s death, Dozier worked for Peter Rathvon for a few months in 1946, then moved to Universal-International, where he was associate head of production. After his stint at Universal he joined Samuel Goldwyn for a time before accepting the position of executive producer of dramatic programs and later director of network programs for CBS Television. Tom O’Neil must have been impressed that CBS veterans O’Shea and Dozier understood the brave new 192 / An Untoward Turn of Events 24

. New York: New York University Press, 2005. Chapman, Gary, and Tony Rankin. A Student’s Guide to the Five Love Lan- guages: True Love Waits. Nashville, Tenn.: LifeWay Press, 2003. Chevapravatdumrong, Cherry. “Prick Up Your Ears,” television episode of The Family Guy directed by James Purdom. New York: Twentieth Century Fox, November 19, 2006. Cole, Sean. “With This Ring: Pledging Abstinence.” Radio broadcast on Inside Out, Anna Bensted, executive producer. Boston: WBUR, 2004. www .insideout.org/documentaries/withthisring/. Condit, Celeste. Decoding Abortion

Media Arts West; 40 minutes, color Lawrence and Anna Halprin: Inner Landscapes, 1991 documentary directed by Joan Saªa; produced by KQED-TV, San Francisco; 60 minutes, color Positive Motion: Challenging AIDS through Dance and Ritual, 1991 documentary directed and produced by Andy Abrahams Wilson; 37 minutes, black-and-white Embracing Earth: Dances with Nature, 1995 directed and produced by Andy Abrahams Wilson; creator and executive producer: Anna Halprin; art director: Eeo Stubblefield; music: Norman Rutherford; 23 minutes, color C H R O N O L O G Y O F W O R K S

. "The Sentiment of Honour in Kabyle Society." In Honour and Shame: The Values of Mediterranean Society, edited by Jean G. Peristiany, 19 1 -242 . Chicago: University of Chicago Press, 1966. Bragg, Melvyn, editor and presenter. "Lean and Bolt." The South Bank Show. London Weekend Television. Production. David Thomas, producer and di- rector. Nigel Wattis, executive producer, 1990. . "Peter O'Toole." The South Bank Show. London Weekend Television Production. Frances Dickenson, producer and director. Nigel Wattis, execu- tive producer, 1992. Brownlow, Kevin. David

approach. Then the show you invested so much of your time and creative energy into doesn’t get the joy of a real online commu- nity, especially across social media. Since 2007 I think that’s been the big- gest change in the digital space. Today it’s not just about creating digital content, which is still important, but also about building an online com- munity around your content brand. How do you cultivate an online community for content? An executive producer [EP] needs to own the brand and be able to leverage it to promote the show and build community. The EPs