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span, and very few produce for the national television networks that can reach mass audiences. “Here, house productions last very few years,” acknowl- edged an executive producer of Laberinto Producciones in Colombia.26 While his production company is twenty years old, his assertion underscores the rarity of its position. In a similar statement, an executive producer from Argos Commu- nication, Mexico, states that most transnational companies looking to produce a telenovela would have to select from only a few production houses: “Anybody who pretends to have

Levinson; director John Longenecker; producers Karen Spiegel and Christopher T. Olsen; the late screenwriter Dick Cusack; and our executive at HBO, Kary Antholis. Their heroic efforts in three different attempts involved many thousands of hours of labor. Making a film about workers is not an easy task against the headwinds of what is seen as commercial in Hollywood, and we cannot thank them enough, even though the attempts were in vain. The latest team is the independent company Either/ Or Films. We thank executive producer Buzz McLaughlin and director Aaron

multiple sites. However, to engage with media with any theoretical depth is to see the implications of at least more than one, if not many, of these spaces that a given work or genre traverses. This chapter builds on an ethnography of the production unit that cre- ated the seven-hour educational series Childhood, which aired nationally on public television in the fall of 1991, in England in 1992, and in several other countries subsequently, and then entered educational distribution in several formats. Geoff Haines-Stiles, the executive producer of Childhood, collabo

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

), 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

, we all agree on the importance of the site. “we’re all part of the same heritage” Janet Davies is the host and executive producer of 190 North, an enter- tainment and lifestyle program on ABC TV Chicago. It is a top- rated 178 | Chapter 11 program in its time slot, and Davies has been nominated for forty- nine regional Emmys and has won a Silver Dome Award from the Illinois Broadcasters Association. Davies visited us at the Illinois State Museum as we were pro cessing artifacts at the end of the second field season. The crew recorded several hours of interviews

utilizing a splashy initial release and short run at expensive cinema houses,18 the vast majority of profits in Nolly- wood come from physical direct-to-consumer sales. Most Nollywood movies are financed and distributed by one group of people, known as “marketers.” Despite the name, they serve multiple roles for each movie: executive producers, market- ers, and distributors. Essentially small-scale entrepreneurs with experience in the gray- and black-market electronics trade, marketers leverage their knowledge of Nigeria’s informal, undocumented marketplaces and open

.  .  . . According to the most recent stats from the Writers Guild of America, about 30.5 percent of TV staff writers are women, and about 15.6 percent of TV writers are people of color; both numbers represent modest gains from the past. San Diego State University’s Center for the Study of Women in Television and Film, which uses a different calculation method, puts the percentage of female TV writers for the 2012–13 season at 34 percent.  .  . . Yet according to SDSU’s most recent study, 27 percent of women bear the title executive producer, and 24 percent are a ‘creator

S T O PA G E S 1 9 3 – 1 9 4 / 2 9 5 4. This is true of Pokémon in its cartoon iteration, where Pikachu is Satoshi’s main monster. In the game version, however, Pikachu is only one of 151 poké- mon, and a player’s attention is far more decentralized away from any particu- lar pokémon. I address the issue of Pikachu at greater length later in the chap- ter. 5. Of course, the names do sound Japanese, though none is an actual place in Japan. 6. This figure was given me by Kubo Masakazu, executive producer in the character business planning section of Shōgakukan

furious. Father Michael Place, president of the CHA, complained to 60 Minutes executive producer Don Hewitt about the pro- gram’s reliance on CFFC’s analysis and studies, charging it had “allowed opponents, rather than ministry leaders, to describe Catholic health care and Church teaching.” Place was extensively quoted in the story and given ample opportunity to argue that it was a matter of religious freedom and conscience to allow Catholic hospitals to refuse to provide services. Once m a t t e r s o f c o n s c i e n c e 189 again the argument came down to