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The first television broadcast in China was transmitted in 1958. The first time that Ling Ling Sun watched a television program was 20 years later, when she was 18. Now she is engineering manager for television broadcast services at WOSU in Columbus, Ohio, and was recently appointed vice chair of the PBS Engineering Technology Advisory Committee.
Moyers & Company has become the first American Public Television-distributed program to be presented on the PBS COVE online video player and PBS mobile apps. The weekly public affairs show, hosted by veteran public TV journalist and independent producer Bill Moyers, has been offered on COVE on a test basis for several weeks, according to spokesperson Joel Schwartzberg. With today’s announcement, PBS and APT signaled their intention to collaborate to bring more APT titles to PBS’s online video player. The arrangement helps to make Moyers & Company more easily accessible for public TV viewers. The series, which launched in August 2010, is the first from Moyers to be distributed by APT.
The National Endowment of the Arts announced $4.68 million in funding to 76 media-arts projects April 23, including new grantees such as the Online Video Engagement Experience (OVEE) developed with CPB funding, a new initiative from the Association of Independents in Radio called Spectrum America and Sonic Trace, a multimedia production at KCRW in Santa Monica, Calif., that was created through AIR’s recently concluded Localore project. For a second year, the NEA will continue to support projects that use digital technologies to go beyond traditional broadcasting platforms. In its announcement, the endowment highlighted a $100,000 grant to OVEE, a digital platform that allows web users to interact while watching PBS and local station content. The Independent Television Service developed the technology with support from CPB. AIR also received $100,000 for Spectrum America, a project that will pair media artists with public stations as they experiment with “new approaches to storytelling.”
Sonic Trace, a co-production at KCRW initiated through AIR’s 2012–2013 Localore initiative, received a direct NEA grant of $75,000 to continue exploring the experience of Latino immigrants. NEA also backed digital media projects at NPR, providing $100,000 for music programming and multimedia content.
The Ready to Learn program backing educational media and outreach for children ages 2 to 8 is making digital learning through community engagement a priority, a change that will affect which stations participate in the program.
PBS’s year-to-date financial results show a net income of $22 million instead of the estimated $100,000 net loss anticipated in its fiscal year 2013 budget, the PBS Board of Directors heard at their meeting April 9 at headquarters in Arlington, Va. “I may never get to say this again, but that’s pretty impressive,” said Molly Corbett Broad, finance committee chair. Thanks to the influx, PBS’s FY14 budget contains an increase of $11 million for National Program Service content without a hike in dues for member stations. The draft budget, unanimously approved by the finance committee and full board, will arrive at public television stations in the coming weeks for comment. Total member assessment is $185.5 million, the same as FY13.
The mass shootings last year in Colorado, Wisconsin and Connecticut reawakened Americans to recurring tragedies of gun violence and rekindled a national debate about gun control — one that public radio and television have chronicled and analyzed through ongoing programs and the package of special broadcasts that aired on PBS last month.
In a bid to attract younger viewers who don’t tune in to broadcast TV, PBS Digital Studios has cultivated a slate of online shows at a fraction of over-the-air production costs. The network promises its push into web video will help member stations, as well.
Judges in the 72nd annual Peabody competition selected winners as “the best in electronic media for the year 2012,” including PBS programs presented on Independent Lens, NPR’s coverage of the Syrian conflict and a ProPublica investigation produced with This American Life.
After a season of bad press following PBS’s much-maligned 2012 decision to move its flagship independent documentary program POV from Tuesday nights to Thursdays, the show will move to Mondays for its 26th season, which premieres June 24. POV announced the lineup for its new season today. The program is also building off another recent round of good news: a $1 million grant from the MacArthur Foundation on Feb. 28. Its premiere episode will be Homegoings, a documentary about Harlem undertakers that was selected as part of the New York Museum of Modern Art’s 2013 Documentary Fortnight. The lineup, with 15 national broadcast premieres and two encore presentations, will also include the Oscar-nominated Palestinian film 5 Broken Cameras on Aug.
The 90-minute feature was produced and directed by Joe Brewster and Michèle Stephenson, a married couple who traced the education of two African-American boys — their own son and his best friend — at a private school in Manhattan from 1999 through 2012. “All American families want to give their children the opportunity to succeed. But the truth is, opportunity is just the first step, particularly for families raising black boys,” said Stephenson. “We hope American Promise shines a light on these issues.”
The film had its world premiere at the 2013 Sundance Film Festival in Park City, Utah, Jan. 21 and received the award Jan.
During a March 10 appearance at the South by Southwest Interactive conference, PBS President Paula Kerger talked the talk of digital innovation, pointing to the network’s recent successes with web-original videos, social media messaging and the unparalleled popularity of online content tied to PBS Kids.
During a conference at the U.S. Institute of Peace Feb. 28, the makers of human rights documentaries discussed the techniques and challenges of using modern technology to gain a following for a cause.
Kind-Hearted Woman, David Sutherland’s latest documentary series for Frontline is a five-hour story of abuse and triumph for a Native American woman. His meticulous techniques for gathering and mixing sound added six months to the post-production process, yet the filmmaker says they’re a key part of his process of creating intimate documentary portraits.
The Nielsen Co., the stalwart television-ratings tracker, announced Feb. 20 that it plans to track viewing on additional devices beginning in September. The news was reported by the Hollywood Reporter. Among the media Nielsen will include are Xboxes and over-the-top devices that stream programming from services such as Amazon, according to the Reporter. In January, PBS signed a deal to bring some of its local and national programming to Xbox and over-the-top device Roku.
Palestinian documentary filmmaker Emad Burnat, whose Oscar-nominated film 5 Broken Cameras received funding from PBS’s POV, was detained Feb. 20 at Los Angeles International Airport after arriving in the country for Sunday’s Academy Awards ceremony. The news that Burnat had been held for one and a half hours was first tweeted by friend and fellow documentary filmmaker Michael Moore. Burnat later released a statement confirming that he and his family had been detained and threatened with deportation and that they had been forced to provide proof that he had been nominated for an Oscar. “Although this was an unpleasant experience, this is a daily occurrence for Palestinians, every single day, throughout the West Bank,” Burnat said.
More than five months after subpoenaing notes and outtakes from The Central Park Five, a crime documentary about the 1989 arrest and conviction of five innocent young men over the rape and assault of a jogger in Central Park, lawyers for New York City were rebuffed in their attempts to gain hold of the film’s unused footage for evidence in an ongoing federal lawsuit. The decision came on the evening of Feb. 19, as reported by the New York Times. Co-directed by Ken Burns, his daughter Sarah and longtime Burns producer David McMahon, based on extensive research from Sarah, the film was released in theaters in fall 2012 to critical acclaim and will air on PBS in April. The city had accused the filmmakers of biased reporting when it filed the Sept.
The third-season finale of Downton Abbey drew 8.2 million viewers for its Feb. 17 PBS broadcast, the network and WGBH announced Feb. 19. The numbers come from Nielsen and gave the episode a 5.2 household rating. The episode came in with 50 percent more viewers than the season two finale in 2012 and also drew 300,000 more fans than this year’s season premiere.
Wendy Levy, the director of arts consultancy group New Arts AXIS, called for documentary filmmakers to embrace big data tools as a permanent part of their storytelling process during the keynote address at the Media That Matters Conference, held Feb. 15 in Washington, D.C.
Amazon announced today it has struck a deal with PBS to make its online video streaming service, Prime Instant Video, the exclusive subscription streaming outlet for Downton Abbey. Beginning June 18, Prime Instant Video will be the only subscription streaming service where viewers will be able to watch Season 3 of the smash Masterpiece Classic program. The first and second seasons of the show are currently available on Amazon as well as on rival subscription streaming services like Netflix and Hulu Plus, but will migrate exclusively to Prime on an unspecified date “later this year,” according to a press release from Amazon. Prime will also be the only paid streaming service to offer Season 4 and, if produced, Season 5 of the series. Downton Abbey is already the most popular TV series among Amazon Prime customers, according to Brad Beale, Amazon director of digital video content acquisition.
PBS is jumping into the “over-the-top” video-streaming space with a pair of deals to distribute public TV programs through apps on Roku boxes and Xbox Live.