Search Results

You are looking at 1 - 6 of 6 items :

  • "executive producers" x
  • Social Structures, Social Interaction, Population, Social Anthropology x
Clear All

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

, 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

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

and resources; (2) national governments that pro- vide the ideology, the cast of auxiliary actors, and the system of rewards and sanctions as well as the legal and Wnancial structure that supports and excuses atrocity; and (3) bystander communities, both in the perpe- trators’ society and in the broader world, who watch the play unfold in silence. It is as if the international level were the executive producer; the na- tional level, the director and playwright; and the bystander community, CONCLUSION 261 the audiences that sees, hears, and applauds or remains silent