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, History on Film/Film on History (Harlow, UK: Pearson, 2006); Lynn Spigel, “From the Dark Ages to the Golden Age: Women’s Memories and Tele vi sion Reruns,” Screen 36, no.1 (Spring 1995): 16– 33. 10. “ ‘Pi lot’ Commentary with Executive Producer Dick Clark and Creator and Executive Producer Jonathan Prince,” in American Dreams, dir. Jonathan Prince (Universal Studios, 2004) (DVD, 7 discs), disc 1. 11. Quoted in Mark O’Donnell et. al., Hairspray: The Roots (New York: Faber and Faber, 2003), 92. 12. Caryn James, “For Fall, TV Looks Back, and Back,” New York Times

soprano in opera and stage musical comedy in the early 1910s. In 1913, she met and married George Middleton, a member of the San Francisco elite whose wealth derived from interests in the railroad and the motor car industries. Middleton was also executive producer of the California Motion Picture Corporation, an independent studio based in San Francisco with studios in Marin County (years before the movie industry became concentrated in Hollywood).15[fig.7] Michelena’s career in cinema was launched with Middleton’s produc- tion of Bret Harte’s best-selling novel, Salomy

Can. “I would take that article as gospel truth,” Jack Boucher said.62 John Boucher was gruff and tough, but he also acted as an informal adviser to young reporters at the Press. Among them was Jon Katz, who in 1968 was at the outset of a career that took him to the Philadelphia Inquirer and Boston Globe, and to the CBS Morning News as executive producer. After leaving daily journalism, Katz became a media critic and commentator on digital media, as well as a prolifi c writer of mys- teries and nonfi ction. Katz’s fi rst reporting job was at the Atlantic City

popular.122 The CSI team invariably solves the baffl ing and horrifi c crime within the program’s hour-long time slot. “People had an idea about what forensic science was, although they were a little confused at the O.J. trial,” Anthony Zuicker, the creative and executive producer of CSI: Crime Scene Investigation, has said. “We found a way to make it sexy and educational and fun. And people now know what DNA and blood splatter are.”123 The challenges Simpson’s lawyers posed to forensic evidence collec- tion in the 1995 case clearly inspired a CSI episode that

in 1995

One of the reasons the southern civil rights movement resonated so pow- erfully through television and photojournalism was that it presented a stark distinction between good and evil. Virtuous black demonstrators withstood verbal harassment and physical violence from nasty white segregationists.41 Images of confrontations in Little Rock, Birmingham, and Selma framed racism in stark detail. Wallace Westfeldt, a Nashville newspaper reporter who went on to work as an executive producer of NBC’s Huntley-Brinkley Report, said, “Even without any commentary, a shot

‘An ABC fi lm crew wrapped up Savannah shooting.’ All three of those statements are simply not true. The name of WOLPER should have been inserted for ABC.” Wolper continued, “In the future, I expect the ABC executives, and the ABC Press and Public Relations Departments to make a more-than-routine eff ort, in all releases and in all conversations regarding ROOTS, to see that ‘DAVID L WOLPER, EXECUTIVE PRODUCER’ or ‘A DAVID L. WOLPER PRODUCTION’ is mentioned.”75 Wolper’s demand for due credit is a useful reminder that in addition to being a history

American con- sumption. And in treating Foley of the Arizona Border Recon as a vigilante agent of “imperial benevolence,” the fi lm sustains an argument for the inter- ventionism inherent in the GWOT. It is no surprise, then, that Kathryn Bigelow, the director of the jingoistic American fi lms Zero Dark Th irty and Th e Hurt Locker (2008), was Cartel Land ’s executive producer.20 What is most missing from these cultural artifacts is that they rarely indict Americans or American policies in the drug wars; the drug wars are simply the raw ingredients to whet the

organizations are “out there” reporting what seems to be an important element of a disaster- related story, pressures intensify to match those reports.84 As a result, thinly documented accounts can gain wide circulation. Av Westin, a former vice president and executive producer for ABC News, invoked the out-there syndrome in Thevenot’s “Myth-Making in New Orleans” critique. The out-there syndrome, Westin said, helps explain why fl awed reporting circulated so widely in Katrina’s after- math. “With 24/7 news,” he said, “the deadline is always now, you go with whatever

on Serra was, in fact, one of several Cath- olic-themed fi lms that appeared in the 1940s and 1950s, including one, Th e Flowers of Saint Francis (1950), on the life of the founder of the order to which Serra belonged.71 It diff ered, however, in its focus on Serra and its purported ties to the story of by then the long-enshrined Franciscan. Challenged to fi nd a suitable loca- tion that would suggest the rugged deserts through which Serra traveled as well as the pristine California coast he encountered, executive producer Darryl F. Zan- nuck and director

and Clark became co- executive producers of American Dreams, although Prince led the day- to- day se- ries production. American Dreams also featured contemporary musical artists portraying historical per for mances on American Bandstand (e.g., Usher as Marvin Gaye, Vanessa Carlton as Dusty Springfi eld, and Kelly Rowland as Martha Reeves). Through historical footage and re created per for mances, American Dreams established the importance of American Bandstand, and tele vi- sion more broadly, to the social life of the 1960s. Tele vi sion, moreover, is central