Based on the bestselling book by Nicholas Kristof and Sheryl WuDunn, Half the Sky will premiere as a special presentation on Independent Lens in October 2012. The project is a cornerstone of the Women and Girls Lead campaign and was on display at last week’s PBS Annual Meeting in Denver.

Just back from the PBS annual meeting in Denver and was absolutely thrilled by the response from stations to the upcoming Half the Sky series, which will air on October 1 and 2 as a special presentation of Independent Lens.

This project has been several years in the making, taking up the ambitious work of New York Times reporter Nicholas Kristof and Sheryl WuDunn who wrote Half the Sky to highlight the challenges that women and girls are facing worldwide — issues like trafficking, maternal health, female genital mutilation, and gender based violence.

It’s hard stuff, but the approach of both Nick and Sheryl — and by the incredible filmmakers who have taken this book and turned it into a transmedia project — have tapped into the message that ‘women are not the problem, they’re the solution.’

Watch Women Are Not the Problem, They Are the Solution on PBS. See more from Independent Lens.

The luncheon event to roll out Half the Sky was powerful in itself, with remarks from the CEOs of CPB (Patricia Harrison), PBS (Paula Kerger), and ITVS (Sally Jo Fifer), along with Nick and Sheryl, Meg Ryan and Olivia Wilde — two of the six celebrity advocates who traveled with this project, and two incredible women from the film, Rebecca and Jane, who live in Kenya and shared their personal stories. Plus, filmmakers Maro Chermayeff, Jamie Gordon, Mikaela Beardsley, and Mira Chang were also on hand.

If the response from the conference is any indicator, Half the Sky will have a big impact on audiences when it airs this fall. Stay tuned!

Read another ringing endorsement of Half the Sky and its impact at the PBS Annual Meeting from Current

Find out more about ITVS’s Women and Girls Lead campaign

On Thursday, May 10th, Independent Lens Senior Series Producer Lois Vossen sat on a panel for “Doc U: The Future of Docs on PBS” in Los Angeles, CA. The event was presented by the International Documentary Association.

In preparing for last night’s Doc U: The Future of Docs on PBS, each one of the panelists (and probably most of the audience) thought that they would be gearing up for some major mobilization. Up until Wednesday, May 9, the IDA and other proponents of quality independent programming like Kartemquin Films had joined together to release a public campaign against PBS’s recent decision to move its exemplary series for independent documentaries, Independent Lens and POV, from their long-established slots on Tuesday night to Thursday night, a slot reserved for local programming. But the day before this panel was set to mobilize the documentary community to support IDA and Kartemquin’s PBS Needs Indies campaign, the Public Broadcasting Station announced that both Independent Lens and POV would find a new home on Monday nights. This was an incredible victory for everyone involved. The IDA was so pleased with this announcement, hoping it will mean a renewed viewership for the programs affected by the earlier change.

So it was with an air of celebration that IDA’s Executive Director Michael Lumpkin introduced the moderator and panelists, including Gordon Quinn, Artistic Director and founding member of Kartemquin Films; Simon Kilmurry, Executive Producer of American Documentary | POV; Lyn Goldfarb, award-winning documentary director and producer; Brenda Brkusic, Executive Producer of Program Development and National Productions at PBS SoCal; and Lois Vossen, founding and Senior Series Producer of Independent Lens. Gordon Quinn would be leading the discussion, bringing one of the two filmmaker perspectives to the conversation along with Goldfarb.

On the screen behind the panel, Michael pulled up the cover of Documentary magazine from 1988 entitled Special Issue: PBS on Trial (hit the link to find the entire issue online). In this issue from 24 years ago, articles such as “P.O.V.: New hope for documentaries on PBS” and “Great Performances?: At PBS, waste and incompetence, not money, are the root of all evil” focus on changes and difficulties facing PBS and the Corporation for Public Broadcasting (CPB) during a time when the argument between film and tape was still raging in earnest. Today, with new digital technology like 3D cameras and digital technologies now commonplace, PBS is still facing uncertainty. This is especially true when it comes to funding and programming—the NEA recently announced that media projects, including several PBS-based programs, would receive $1 million less this year than they did in 2011. By posting the magazine on the IDA’s website, Lumpkin said, the organization hopes to remind everyone that independent programming on public television is an issue to which non-fiction producers, creators, and consumers should always pay attention.

Moderator Gordon Quinn (left) kicked off the panel by reiterating that in light of recent events announced just one day prior, the night was a cause for celebration. The new timeslots given to Independent Lens and POV mean that more people will be able to find the programming that they couldn’t find on their local stations before. This in turn means that viewership would eventually increase massively. He reminded everyone of the important work to which they had contributed with their tweets, shares, emails, and discussions within the documentary community.

Each panelist was then given a chance to show a brief clip, highlighting the films they had featured on their unique and important programs. Simon Kilmurry of American Documentary | POV (above, second from left) started with a clip showcasing all of the moving programming featured on POV, including films like If a Tree Falls: A Story of the Earth Liberation Front, Better This World, and Food, Inc. Lois Vossen of ITVS (third from right) showed a clip highlighting the first 10 years of ITVS, featuring DocuWeeks alums Being Elmo: A Puppeteer’s Journey, Hell and Back Again, and Waste Land. Brenda Brkusic (second from right) followed with a clip from PBS SoCaL’s digital channel PBS OC, which is seen all over Southern California and was originally created to provide Orange County content to viewers in Orange County who were used to Los Angeles-centric programming and news coverage. Today the channel welcomes content from independent producers, especially if the content is Southern California related.

Filmmaker Lyn Goldfarb then showed a clip from a four-hour documentary she participated in producing that was featured on ITVS entitled California and the American Dream. She was responsible for creating this program specifically for Independent Lens, and produced both The New Los Angeles and California’s Lost Tribes. She mentioned that due to funding cuts in recent years, it’s more difficult for independent producers to execute that which they have been hired to accomplish. This makes it difficult to maintain artistic integrity, she said, emphasizing the importance of sticking to your vision. After Goldfarb’s clips, Quinn took his turn showing a clip from The New Americans, a seven-hour series that received some of its funding from PBS.

Being the only representative from an actual PBS affiliate, Brkusic (left) what happy to explain the evolution of PBS SoCal, which had to be completely rebranded over the course of two months after a major switchover was sent down from the higher levels. Brkusic emphasized their intention of showcasing locally-produced stories about local Southern Californians, stories that were distinct from those being told to the Angelinos a few miles away.

Quinn took some time to explain exactly what had happened over the past few months that lead to the formation of this panel. In 2011, both Independent Lens and POV were moved from their regular Tuesday nights to Thursday nights, an evening usually reserved for local programming. Concerned with the effect that a Thursday night timeslot was having on the ratings for Independent Lens (viewership dropped off 42%), his organization Kartemquin Films drafted an open letter to PBS asking them to reconsider their schedule for these programs. After an overwhelming response from the documentary community and supporters of independent film everywhere, the IDA came on board and aided Kartemquin in forming a steering committee that would help organize community-wide support for independent programming.

Everyone believed that they would have to wait until PBS’s annual meeting on May 15 before any news of schedule changes would be announced; but on the morning of May 9, everyone received the good news that both programs would now be moved to Monday nights.

Kilmurry (second from left) also mentioned the importance of the encouragement that his program received from the local documentary community during the PBS Needs Indies campaign. Even though this battle has been won, he said, it’s so important to “keep the energy focused on working with our local stations.”

“It’s important that we have challenging content in a space that’s non-commercial,” he pointed out. For POV, so much of their content is chosen because it is clearly authored but also creative. That voice has to seem genuine, and not like it’s been underwritten by a major corporation. Kilmurry’s view is clearly in line with Goldfarb’s, who earlier made a point of emphasizing the importance of artistic candor and sincerity.

So many people in the audience that night were independent producers, creators, and writers who cared so much about the recent changes at PBS. Independent Lens‘s Lois Vossen reminded all of them that even though it’s so important to continue to produce original content, it’s also important to tune in and support one’s peers. “We have a responsibility to also be the audience,” Vossen said, “not just the makers.”

After the lively discussion and lots of valuable audience questions, the panelists and audience members headed outside to ask more questions and mingle with fellow members of the documentary community. Below, panelist Simon Kilmurry speaks candidly to a few Doc U attendees. An advocate for long form storytelling, he made the point during the panel to not forget about the importance of feature-length films and serials. He also hinted at the future of digital distribution for POV, namely dipping into the archives to find quality programs to feature on online streaming.

The Cinefamily’s back patio is always a nice place to hang after these events. Especially when there’s free wine and treats! Some younger members of the documentary film community continue the conversation from the panel that ended moments ago.

Even after the panel had ended, Gordon Quinn could probably have talked well into the night. This man is filled with so much experience and knowledge—he doesn’t have to try hard to inspire people to effect change. One of the best takeaways from the panel was definitely Quinn’s answer to an audience member’s question. When asked what kind programming Independent Lens and POV was looking for, Quinn answered that this was the wrong question to be asking. “Make the film YOU want to make,” he emphasized. “And if it’s really good, they will take it.”

Doc U is the International Documentary Association’s series of educational seminars and workshops for aspiring and experienced documentary filmmakers. Taught by artists and industry experts, participants receive vital training and insight on various topics including: fundraising, distribution, licensing, marketing, and business tactics.

Find exclusive video clips from this and past Doc U events on the Documentary.org YouTube channel.

Originally posted on Documentary.org.

Independent Lens and POV have continually provided a broadcast slot of independent documentary films on PBS. In May 2011, due to schedule changes in PBS’s prime-time schedule, both programs were moved to Thursday evening – a time traditionally reserved for stations’ local and syndicated programming. The inconsistent time slot has been problematic for Independent Lens, with a significant drop in viewership since the schedule change.

Since then, both shows have been the topic of much debate and the documentary community has rallied in support, resulting in PBS’s public announcement to reconsider another schedule shift and together with a newly formed Independent Strategy Task Force, work together in order to rectify the issue. Paired with the significant cuts to PBS’ nonfiction programming from the National Endowment for the Arts, the future remains unclear as to what is in store for independent documentary films and public broadcasting.

On Thursday, May 10th, Independent Lens Senior Series Producer Lois Vossen will be speaking at the panel “Doc U: The Future of Docs on PBS” in Los Angeles, CA. The panel, sponsored by the International Documentary Association, will address these issues, allowing the panelists to discuss the changing outlook and opportunities for growth in independent documentary programming at PBS. Click here to register to attend.

Other panelists will include Simon Kilmurry, Executive Director of POV; Lyn Goldfarb, award-winning documentary director and producer; Gordon Quinn, Artistic Director and founding member of Kartemquin Films; Brenda Brkusic, Executive Producer of Program Development and National Productions at PBS SoCaL.

The evening’s on-stage conversation will be followed by an audience Q&A and a reception on the Cinefamily’s backyard Spanish patio.

For more information on IDA’s Doc U: visit documentary.org/doc-u

Nationwide, Latino students face an increased risk of dropping out of school. 41 percent of Latinos ages 20 and older do not have a high school diploma, compared to 23 percent of blacks and 14 percent of whites. To address the growing high school dropout crisis among Latinos, the largest and youngest minority group in the U.S., Independent Television Service (ITVS) – the leading funder of U.S. independent public television productions – is launching American Graduate Latino as part of the national public media initiative, American Graduate: Let’s Make It Happen, made possible by the Corporation for Public Broadcasting (CPB).

Launching in November 2012 with a series of shorts, American Graduate Latino will provide the core American Graduate initiative with broadcasts and online programming in both Spanish and English to engage viewers, teachers, and community leaders in identifying and implementing solutions to the high school dropout crisis.

Statistics on the U.S. Latino dropout crisis as reported by Pew Resource Center, 2010. Courtesy of ITVS.

ITVS joins other public media producers and more than 65 public radio and television stations around the country that are working to bring together parents, teachers, business leaders, and community organizations to highlight the issue and create solutions to the dropout crisis.

“Public broadcasting’s commitment to telling complex, in-depth stories is more essential to our democracy than ever,” said Sally Jo Fifer, ITVS president and CEO. “Through American Graduate Latino, CPB, ITVS, and independent producers have come together to help unravel a problem deeply affecting the Latino community – and the future of America.”

At the heart of American Graduate Latino are two documentaries executive produced by award-winning director Bernardo Ruiz (American Experience: Roberto Clemente) slated to air in 2013 on the award-winning PBS series Independent Lens. The documentaries, produced in association with Latino Public Broadcasting, explore why Latino students are dropping out in such large numbers, tell the stories behind the statistics, and grant viewers unique, first-hand access into the lives of students, teachers, and education reformers. Created by a fully bilingual team, the documentaries will be produced and distributed both in English and Spanish.

“We are extremely pleased to be working with ITVS on this critical issue and hope that the documentaries will build awareness and encourage educators, parents, and community leaders to explore innovative solutions to engage young children in education at an early age, and empower them with the knowledge that will allow them to succeed,” said Sandie Viquez Pedlow, executive director of Latino Public Broadcasting.

“My team and I are very excited to be a part of this innovative public media initiative,” said Ruiz. “The educational outcomes of Latino students matter, not just to the Latino community but to the country as a whole. Our two programs, each with a Spanish-language version, will examine in an honest way what prevents many Latino students from graduating and what can be done to create successful educational outcomes for Latino students.”

American Graduate Latino will also feature five short-form documentary films executive produced by ITVS to target Latino audiences through multiplatform distribution including broadcast on PBS, V-Me, and commercial cable outlets and digital platforms like YouTube, SnagFilms, jaman, and pictv in both English and Spanish. The shorts, made by a select group of veteran and emerging filmmakers – including Betty Bastidas, Madeleine Bair, Xochitl Dorsey, Heather Ross, Jim Mendiola, Raymond Telles, and Angela Reginato) – will highlight the dropout crisis, focusing on risk factors and innovative solutions through the lens of Latino youth.

Click here to learn more about American Graduate: Let’s Make it Happen.

The National Endowment for the Arts has selected two ITVS interactive projects to receive funding through its Arts in Media Grants.

This week, the National Endowment for the Arts announced projects selected for funding through its Arts in Media Grants Program. We’re proud to announce that two interactive projects, funded through ITVS’s Project 360 Initiative, have garnered NEA support.

Power Poetry, inspired by the film To Be Heard by Roland Leigardi-Laura, the world’s first mobile poetry community for youth, encourages youth to write poems and take action through text and micropoems. Our Mother Tongues, inspired by the film We Still Live Here by Anne Makepeace, provides an interactive journey through Native American languages and the burgeoning movement among American Indians to save them.

We’re thrilled that these innovative projects and the talented, independent makers responsible for them will receive additional support from the NEA. We also congratulate many of our colleagues in the field. See the full list of grantees here.

Civil rights are taken for granted in the United States. However, for a diverse population of more than 54 million Americans — those with disabilities — it is an ongoing struggle. Lives Worth Living is television’s most comprehensive history of the disability rights movement. It opens a window into the world of citizens with an unwavering determination to live their lives like everyone else. It is also a journey through the past when millions of people lived without access to schools, work, public transportation, and housing. Charismatic leaders of the movement narrate the story of this long, hard, and successful drive for civil rights that brought together a once fragmented population into a powerful coalition that created some of the most far reaching civil rights legislation in our nation’s history … and around the world.

The panel discussion will be moderated by Robert David Hall (CSI: Crime Scene Investigation, National Chair SAG-AFTRA-AEA, PWD Committee) and includes panelists Eric Neudel (Director, Lives Worth Living), Alison Gilkey (Producer, Lives Worth Living), Lois Vossen (Independent Lens Series Producer & Vice President of ITVS), James LeBrecht (Sound Designer and Mixer, Lives Worth Living), and Lawrence Carter-Long (Founder and Curator of disTHIS! Film Series). The event will be held at the Television Academy Conference Center (5210 Lankershim Blvd, North Hollywood, CA) on Tuesday, April 24, 2012 from 7:00pm – 9:00pm.

To learn more and RSVP to this event, please click here.

ITVS Senior Staff Writer Eric Martin, filed this report from the 2012 Full Frame Film Festival, which ran April 12-April 15 in Durham, N.C..

The Waiting Room held its world premiere at the Full Frame Documentary Film Festival

The Full Frame Film Festival turned 15 years old this year in Durham, N.C., where I happen to live right now, and it’s no surprise that the well-attended, four-day, 100+ documentary extravaganza, which ended Sunday, included a meaty slate of ITVS and Independent Lens projects packed with something for everyone.

Eating Alabama, funded through ITVS’s station-focused LINCS program, delighted the farm-to-table crowd in this food-crazed city of 220,000 that’s home to a bevy The New York Times-featured restaurants and reportedly 80-some food trucks.   The House I Live In, Putin’s Kiss, Detropia, The Invisible War, and Love Free Or Die all brought with them the buzz they’d started building at Sundance back in January.  Bernardo Ruiz zipped down from New York for the U.S. premiere of his film Reportero, which will air on P.O.V.’s upcoming season.  Stanley Nelson was everywhere, discussing work at the many screenings of his career retrospective, which included A Place of Our Own, which first aired on Independent Lens in 2004.

And then there was the world premiere of the Peter Nicks-directed The Waiting Room, which is slated to air on the 2012-2013 season of Independent Lens.  It started the weekend as one of the most talked about ITVS-funded films at the festival and left with the Charles E. Guggenheim Emerging Artist Award, a juried prize honoring a first-time documentary feature director.

Full Frame has a reputation as a venue where documentary filmmakers come to hang out, see each other’s work, and talk shop, somewhat free from the shadow of actors, celebrity media, and deal-making that some festivals are known for.  At Full Frame’s many, well-attended social events, producers shared tips on the cheapest place to rent Mark IV equipment in Nairobi and directors divulged how interviews snuck into their once purely-observational documentary.  The films and panels were well attended, and my sampling caught some of the following highlights:

• A long sold-out screening of the Ai WeiWei: Never Sorry was interrupted for 20 minutes by paramedics attending to a viewer (successfully), and then ended with filmmaker Alison Klayman unable to speak because she’d lost her voice (the kind of strange things that almost seemed appropriate for the boundary-busting artist profiled on screen).

• A standing room only distribution panel with Steve Nemeth (Rhino Films), James Ackerman (Documentary Channel), Andrew Catauro (POV), Jason Janego (Radius TWC of the The Weinstein Company) and Molly Thompson (A&E) riddled with interesting questions like “If there was a feature-length version of KONY 2012 for sale, would it have sold?” and “Are we all going to be watching movies on Facebook in five years?”

• A window into the vibrant regional filmmaking scene at the Southern Documentary Fund screening of three “in-the-works” projects, including the intriguing Can’t Stop the Water with its collision of the Louisiana Bayou, global warming, and Cajun/Native American identity.

Most of all, however, I walked away with the feeling of awe and respect for documentary filmmakers, ITVS-funded or not, whose passion for storytelling shone through everything I heard and saw.

Learn more about When the Drum is Beating on the Independent Lens website.

Watch Meet the Man Behind Elmo on PBS. See more from Independent Lens.

When Kevin Clash was a boy, he built his own puppets and staged shows for the neighborhood. Today, he is living his ultimate dream as the big man behind the little, furry Muppet Elmo on Sesame Street. Being Elmo premieres April 5 (and can be seen again on April 9) on PBS. Check local listings.

Ever wonder what is Elmo’s favorite food? Elmo himself answers after the jump!

Kevin Clash, Elmo puppeteer and star of the documentary Being Elmo, answers the question: what’s the most unusual time you’ve done Elmo’s voice outside of Sesame Street?