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Documentary Filmmaking and US Public TV's Independent Television Service, 1989–2017

Documentary Filmmaking and US Public TV's Independent Television Service, 1989–2017 Documentary Filmmaking and US Public TV’s Independent Television Service, 1989–2017 patricia aufderheide public tele vision ha s pl ayed a crucial the greatest number of Americans. Finally, rol e in shaping opportunities for documen­ understanding ITVS’s often­hidden contribution tary. Since 1989, one of public TV’s units, the demonstrates the importance of focusing on Independent Television Service (ITVS), has cultural production in understanding genre. played an important but largely unsung role in a generation of social­issue, point ­of ­ view docu­ Cultural Production, Public Media, mentaries in the United States. It was an un­ and the Public Sphere likely creation, the product of activist efforts by documentarians who often found themselves This discussion of the relationship between US excluded in post­1967 public broadcasting. It public broadcasting, particularly ITVS, and the has been an even more unlikely success, as evolution of documentary is grounded in two an organization largely funded with tax dollars theoretical frameworks: cultural production by the entity that documentarians protested analysis and public sphere theories about pub­ against in its creation—the Corporation for Pub­ lic media. The cultural production approach, ar­ lic Broadcasting. In its thirty years, ITVS has co­ ticulated in the work of Pierre Bourdieu, argues http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Documentary Filmmaking and US Public TV's Independent Television Service, 1989–2017

Aufderheide, Patricia
Journal of Film and Video , Volume 71 (4) – Dec 4, 2019
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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Documentary Filmmaking and US Public TV’s Independent Television Service, 1989–2017 patricia aufderheide public tele vision ha s pl ayed a crucial the greatest number of Americans. Finally, rol e in shaping opportunities for documen­ understanding ITVS’s often­hidden contribution tary. Since 1989, one of public TV’s units, the demonstrates the importance of focusing on Independent Television Service (ITVS), has cultural production in understanding genre. played an important but largely unsung role in a generation of social­issue, point ­of ­ view docu­ Cultural Production, Public Media, mentaries in the United States. It was an un­ and the Public Sphere likely creation, the product of activist efforts by documentarians who often found themselves This discussion of the relationship between US excluded in post­1967 public broadcasting. It public broadcasting, particularly ITVS, and the has been an even more unlikely success, as evolution of documentary is grounded in two an organization largely funded with tax dollars theoretical frameworks: cultural production by the entity that documentarians protested analysis and public sphere theories about pub­ against in its creation—the Corporation for Pub­ lic media. The cultural production approach, ar­ lic Broadcasting. In its thirty years, ITVS has co­ ticulated in the work of Pierre Bourdieu, argues

Journal

Journal of Film and Video – University of Illinois Press

Published: Dec 4, 2019

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