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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

), 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

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

Following Dallas and a few years ahead of Sex and the City, an inno- vative business model and free-to- air transmission placed Baywatch at the cutting edge of America’s de facto twenty-first-century cultural diplomacy. (Photo © CORBIS/SYGMA. Fee: $265.) per episode—appeared sufficient to allow a slenderized Baywatch to re- sume production. Operating on a tight production budget and retaining its star, David Hasselhoff (who took a pay cut and became co–executive producer), Baywatch emerged from its one-year stint on NBC with a busi- ness model and a global distribution

lead-up to its orig- inally scheduled fall 1962 premiere, executive producer and Sextant founder Robert Graff explained to Variety readers that “Sextant must do something of another quality of range,” and although series on controversial public fi gures were formerly unacceptable in an industry that traditionally “avoided anything that isn’t abso- lutely safe,” such productions were now embraced by ABC and had already “landed a winner” with Sextant’s Churchill.22 Advertisements for Sextant’s fall 1962 lineup CORWIN ON TELEVISION    133 similarly stressed its