Executive Producer Research Articles

Review: Crip Camp, Nicole Newnham and James LeBrecht, Director; President Barack Obama, Michelle Obama, Tonia Davis, Priya Swaminathan, and Howard Gertler, Executive Producers; Rusted Spoke, Higher Ground, and Netflix Production

Review: <i>Crip Camp</i>, Nicole Newnham and James LeBrecht, Director; President Barack Obama, Michelle Obama, Tonia Davis, Priya Swaminathan, and Howard Gertler, Executive Producers; Rusted Spoke, Higher Ground, and Netflix Production

Review: Asian Americans. Jeff Bieber, Sally Jo Fifer, Stephen Gong, Jean Tsien, and Donald Young, Executive Producers; Renee Tajima-Peña, Series Producer; S. Leo Chiang, Geeta Gandbhir, and Grace Lee, Episode Producers. Produced by WETA Washington, DC and the Center for Asian American Media

Review: <i>Asian Americans</i>. Jeff Bieber, Sally Jo Fifer, Stephen Gong, Jean Tsien, and Donald Young, Executive Producers; Renee Tajima-Peña, Series Producer; S. Leo Chiang, Geeta Gandbhir, and Grace Lee, Episode Producers. Produced by WETA Washington, DC and the Center for Asian American Media

The Canberra Bubble

The Canberra Bubble

URGNT AND ESSENTIAL

Mark Marczyk's (Executive Producer, URGNT) contribution to the special issue, "Improvisation, Musical Communities, and the COVID-19 Pandemic."

Aiwan Obinyan, director/producer. Adriaan van Klinken and David Ochar, executive producers. Kenyan, Christian, Queer. 2020. 20:38 minutes. English and Kiswahili. AiAi Studios, London. http://kcqfilm.com/. Price: for institutional one-time use: £50, indefinite use: £100; for churches and community groups, one-time use: £30, indefinite use: £60.

Aiwan Obinyan, director/producer. Adriaan van Klinken and David Ochar, executive producers. Kenyan, Christian, Queer. 2020. 20:38 minutes. English and Kiswahili. AiAi Studios, London. http://kcqfilm.com/. Price: for institutional one-time use: £50, indefinite use: £100; for churches and community groups, one-time use: £30, indefinite use: £60.

Invention: The Art of Liberal Arts

Invention: The Art of Liberal Arts

Contributors’ Notes

Contributors’ Notes

Producing local content in international waters: the case of Netflix’s Tidelands

ABSTRACT Netflix’s supernatural crime series Tidelands (2019) was the subscription video service’s first commissioned original series to be produced in Australia. Shot in tropical Queensland with a diverse cast of local and international stars, Tidelands exemplifies the complex challenges involved in Netflix’s attempts to be a global producer creating content for national markets. This article builds on a tradition of research into international television production to locate Tidelands within its industrial and cultural contexts. Combining textual and industry analysis, and drawing on an interview with executive producer Nathan Mayfield, we show how Tidelands negotiates a strategic dual orientationin its use of locations, casting and genre, addressing both Australian and international audiences simultaneously. We conclude that internationally oriented Australian subscription video-on-demand originals such as Tidelands rehearse but also reformulate longstanding tensions regarding the interaction between the national and the global in screen culture.

Ellison visits greenwood, 1921

POETRY ellison visits greenwood, 1921 by Quraysh Ali Lansana oklahoma sun an oppressive neighbor in august 1920. churchgoers settle after-dinner stomachs. deep deuce a murmuring disquiet: raid at the chandler’s. moonshine & melanin the news on the street. daddy chandler & one officer dead & young claude jailed with alleged murder on his shirt. the christian sabbath a buzzing lynching bee three white men freed claude from his cage one thousand armed black men on 2nd street mayor & police allow one of three cars of now unarmed black men to find claude to return the next sweltering midday without him, his body rotting meat ten miles from okc beaten & shot. miss ida had had enough. her lewis gone years now, she frets when ralph delivers the dispatch & herbert still too young to spell KKK. maybe indiana. maybe gary, where brother works steel. a stop in greenwood to visit family on way north. hundreds of shops businesses, elegant houses, hospitals. vibrant black life in the face of jim crow, so unlike the deuce. closer to the harlem ralph would know. gary was not negro paradise. ida jobless, the boys eating garbage from trash cans. okc was hateful but at least familiar. dry heat stings black skin irritable but somehow bearable with family. highway leads them back to tulsa before 2nd street. greenwood was gone. black wall street now invisible. The author of twenty books of poetry, nonfiction, and children’s literature, Quraysh Ali Lansana is currently a Tulsa Artist Fellow as well as writer in residence, adjunct professor, and acting director of the Center for Truth, Racial Healing & Transformation at Oklahoma State University– Tulsa. He is executive producer of KOSU radio’s Focus: Black Oklahoma, and his forthcoming titles include Those Who Stayed: Life in 1921 Tulsa after the Massacre. He is a member of TriCity Collective. GORDON PARKS, UNTITLED, HARLEM, NEW YORK, 1952, COURTESY OF AND © THE GORDON PARKS FOUNDATION WORLDLIT.ORG 51 ...

Ellison visits greenwood, 1921

POETRY ellison visits greenwood, 1921 by Quraysh Ali Lansana oklahoma sun an oppressive neighbor in august 1920. churchgoers settle after-dinner stomachs. deep deuce a murmuring disquiet: raid at the chandler’s. moonshine & melanin the news on the street. daddy chandler & one officer dead & young claude jailed with alleged murder on his shirt. the christian sabbath a buzzing lynching bee three white men freed claude from his cage one thousand armed black men on 2nd street mayor & police allow one of three cars of now unarmed black men to find claude to return the next sweltering midday without him, his body rotting meat ten miles from okc beaten & shot. miss ida had had enough. her lewis gone years now, she frets when ralph delivers the dispatch & herbert still too young to spell KKK. maybe indiana. maybe gary, where brother works steel. a stop in greenwood to visit family on way north. hundreds of shops businesses, elegant houses, hospitals. vibrant black life in the face of jim crow, so unlike the deuce. closer to the harlem ralph would know. gary was not negro paradise. ida jobless, the boys eating garbage from trash cans. okc was hateful but at least familiar. dry heat stings black skin irritable but somehow bearable with family. highway leads them back to tulsa before 2nd street. greenwood was gone. black wall street now invisible. The author of twenty books of poetry, nonfiction, and children’s literature, Quraysh Ali Lansana is currently a Tulsa Artist Fellow as well as writer in residence, adjunct professor, and acting director of the Center for Truth, Racial Healing & Transformation at Oklahoma State University– Tulsa. He is executive producer of KOSU radio’s Focus: Black Oklahoma, and his forthcoming titles include Those Who Stayed: Life in 1921 Tulsa after the Massacre. He is a member of TriCity Collective. GORDON PARKS, UNTITLED, HARLEM, NEW YORK, 1952, COURTESY OF AND © THE GORDON PARKS FOUNDATION WORLDLIT.ORG 51 ...

Upgrading &lt;em&gt;The L Word: Generation Q&lt;/em&gt;

Upgrading &lt;em&gt;The L Word: Generation Q&lt;/em&gt;

Review: Mrs. America. Dahvi Waller, Creator, Writer, and Executive Producer; Cate Blanchett, Anna Boden, Ryan Fleck, Coco Francini, and Stacey Sher, Executive Producers

Review: Mrs. America. Dahvi Waller, Creator, Writer, and Executive Producer; Cate Blanchett, Anna Boden, Ryan Fleck, Coco Francini, and Stacey Sher, Executive Producers

Review: Self-Made: Inspired by the Life of Madam C.J. Walker. Nicole Jefferson Asher, Writer; Elle Johnson, Janine Sherman Barrois, Writers and Executive Producers

Review: Self-Made: Inspired by the Life of Madam C.J. Walker. Nicole Jefferson Asher, Writer; Elle Johnson, Janine Sherman Barrois, Writers and Executive Producers

Review: Hillary. Nanette Burstein, Director; Ben Silverman, Howard T. Owens, and Nanette Burstein, Executive Producers

Review: Hillary. Nanette Burstein, Director; Ben Silverman, Howard T. Owens, and Nanette Burstein, Executive Producers

History before and behind the Camera: An Interview with Renee Tajima-Peña

On the occasion of the highly anticipated PBS/WETA documentary, Asian Americans, Denise Khor offers a comprehensive career overview of Renee Tajima-Peña, executive producer of the landmark series. Tajima-Peña is best known for her work as a director on films including Who Killed Vincent Chin? (1987, with Christine Choy) and My America… or Honk if you Love Buddha (1997), but her behind-the-scenes, institutional achievements are also significant. As the co-founder of NAATA/CAAM (Center for Asian American Media) and the first paid director of Asian CineVision, Tajima-Peña developed some of the most important organizational infrastructures to support independent Asian American filmmaking. Khor's interview with the filmmaker looks back at the radical history of independent filmmaking by Asian Americans and the sorts of filmmaking practices and collaborations shaping Tajima-Peña's past and present documentary work.

Interview

Carrie Sutton is a freelance directors’ representative working with independent creatives as well as music video directors signed to Biscuit Filmworks, Blindeye Films, Good Co., Kode Media, Rankin and The Graft. In her role as Music Video Commissioner, she has commissioned videos for Blur, Tina Turner, Pet Shop Boys, Snow Patrol and Robbie Williams amongst many others, with artists picking up 3 Brit Awards for Best Video, an MTV Award and a D&amp;AD Yellow Pencil Nomination. In 2018, she was awarded the ‘Outstanding Achievement’ award at the UK Music Video Awards in recognition of her career as a Creative Commissioner, Directors’ Rep., Executive Producer and Producer

Interview

Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.

The Mirror’s Edge: Creating a Dynamic Games Course That Reflects Industry Practices and Manages Student Expectations

Industry simulation is an essential part of an undergraduate games student’s education. It has been outlined by The Association for UK Interactive Entertainment (UKIE) as essential to developing graduate skills for the workplace. This paper highlights the importance of simulating industry practices within a games degree program, bringing attention to the need for cross-course collaboration and to provide a dynamic environment that reflects industry practice. This paper presents a case-study highlighting methods for maintaining student engagement and enhancing project management skills, as well as showcasing techniques for managing student expectations and preconceptions of their individual responsibilities. The study focused on providing small-scale projects, where students worked in cross-course multidisciplinary teams of between eight and twelve students. Academic staff have acted as executive producers for each student team, reinforcing the professional context of the project. The module has used a live-brief provided by a games industry professional or an external competition, which allowed for creative interpretation by students and challenging them from a game design perspective. The conclusion of this study shows that including cross-course collaboration between students and providing a structure mirroring industry practices has been essential in preparing students for a games industry career.

Digital processes: enabling the teaching of Shakespeare(s): an interview with, and response to, Tom Bird (former executive producer of Shakespeare’s Globe)

ABSTRACT This interview and response explore Tom Bird’s reflections on how digital processes functioned within an educational context in relation to Shakespeare’s Globe’s large scale, international work delivered between 2012 and 2016 – specifically in relation to the 2012 Globe to Globe Festival and the 2014–2016 World Hamlet tour. The response contextualises the key points raised by Bird within the wider perspective of Rex Gibson’s concept of teaching Shakespeare(s), applying this critical reading to current teaching practice, UK GCSE English Literature exam materials and educational resources created by Shakespeare’s Globe and the Royal Shakespeare Company.

Making Caccia Tragica: Giorgio Agliani, Giuseppe De Santis and the Italian Resistance

Giorgio Agliani is almost unknown as an Italian film producer. A former commander in the Resistance, he was placed, soon after the war, in charge of cinema affairs within ANPI, the Italian national association of partisans. Agliani strongly believed that cinema was the perfect medium to build the collective memory of the Resistance. As the executive producer of Caccia Tragica (Tragic Hunt, 1947), directed by Giuseppe De Santis, he oversaw the making of a film which explored the tensions between men and women who had taken different sides in the recent conflict. The film won the prize for the best Italian movie at the Eighth Venice Film Festival in 1947. The article explores the tensions and difficulties that accompanied this attempt to make a film outside of conventional industry channels. The production was complicated because of the need to balance political concerns, organizational issues and artistic aspirations. Given the sensitive topic of Caccia Tragica, the Italian Communist Party put great pressure on ANPI leaders to ensure the story was told in a certain way. This impacted on Agliani, who was in charge of coordination, as well as financial and organizational matters, and also on De Santis, who demanded respect for his artistic decisions. Agliani’s personal archive is drawn on to reconstruct the entire story of the making of Caccia Tragica and to disentangle the various issues involved in the production. The article highlights the way political, cultural and economic issues were intertwined as well and sheds light on a ‘mode of production’ that was far from being a capitalistic one.