“前线”执行人制片人Raney Aronson-Rath在YouTube上，代表和叙述者Will Lyman
‘Frontline’ Exec Producer Raney Aronson-Rath on YouTube, Representation and Narrator Will Lyman
当PBS在1983年推出“前线”时，纪录片被认为是“广播纪录片的最后最佳希望”。虽然如今的长期调查 - 新闻记系列肯定不是纪录片在小屏幕上寻找房屋的唯一希望，但该计划仍然是PBS的纪录片工作的基石之一，而且是非小说类行业的基石。由WGBH波士顿制作的Netflix，Amazon和Hulu等大型货币流媒体服务的迅速转移景观已设法在过去十年中保持其在行业中的知名度。到目前为止，该计划获得了100名Emmys和两项奥斯卡提名。在过去的七年中，“ Frontline”的成功很大程度上要归功于Raney Aronson-Rath，后者于2007年以高级制作人的身份加入了“ Frontline”。她于2012年被任命为副执行制片人，然后在2015年成为执行制片人。在加入“ Frontl”之前，ABC News和《华尔街日报》的一名记者” Aronson-Rath指导并制作了该系列的纪录片，包括“新战争”，对新闻和“法律与混乱的未来”进行了四部分调查，这是卡特里娜飓风之前对警察枪击事件的调查担任她担任执行制片人阿隆森·拉斯（Aronson-Rath）的任期，扩大了“ Frontline”的戏剧纪录片足迹，并通过史蒂夫·詹姆斯（Steve James）的“算盘：足够小至监狱”获得了首个奥斯卡奖提名，并在2018年获得了第二次奥斯卡奖。 Waad al-Kateab的“ SAMA”的一年。另外，在阿隆森·拉特（Aronson Rath）的手表下，由于YouTube上的“前线”频道，“ Frontline”的覆盖范围已扩大。该网站提供130多个全长“前线”功能纪录片，拥有超过120万订户。 Aronson-Rath还大力努力使PBS系列近年来更具代表性。自从他Sta以来在1984年叙述了“前线”文档。但是，尽管他在9月在该系列第40季开始了“美国”第40季的叙述，但“ Frontline”电影现在有各种各样的叙述者或根本没有叙述。不仅为该计划进行配音的人们不仅使人多样化，因此人们制作“前线”内容。 2021年，该系列的文档中有84％（或19个独立纪录片中的15个）由妇女和/或POC电影制片人指导或共同执导或制作。自2015年以来，这是42％的增长，当时Aronson-Rath开始担任执行制片人的职责。Aronson-Rath与Variety有关Frontline的影响力，代表性和该系列在当今的新闻媒体文化中的角色。记者，艺术家或两者兼而有之？我要说他们必须永远是想练习新闻业的电影制片人。因此，他们必须愿意对问题开放，并根据自己的假设进行报告，并根据自己的证据进行报告。我们LO好的，从每个不同的角度来看，我们落在您觉得的线条上，这使您通过电影。这就是调查新闻的最高形式 - 当您进行的调查会吸引某些东西时，但是您一路了解证明是什么，事实是什么。另外，是否将这些事实带给了您报告的人，您是否问过他们需要问的棘手问题，然后听取他们不知道可能会增加细微差别的任何答案，以及故事的背景？那就是我们所追求的。因此，我对电影制片人的希望即使他们不是受过训练的调查记者，他们也想与我们一起练习新闻业。前线”电影。自1996年以来，“ Frontline”一直在网上放置成绩单，但直到2017年才Nsparency项目开始包括项目未经编辑的访谈视频。您为什么决定四年前将视频录像添加到该项目中？“我们以这个想法启动了这个项目，我们如何向人们展示而不是告诉人们信任我们？现在，他们可以看到该过程，并了解该人在漫长的采访中必须持续三个或更长时间必须说的话。我希望观众能够观看“前线”，并说：'该人没有在上下文中进行编辑。'”第40季“ Frontline”，该第40季以21个小时的原始节目为特色，于9月推出，直到2022年8月。第40季中有多少部电影，我们在接下来的几个月中可以期待什么？2月，“美国估算”即将上映。它由布拉德·利希滕斯坦（Brad Lichtenstein）和约鲁巴·里奇（Yoruba Richen）执导。 “美国估算”是“ Frontline”联合国（RE）解决的多平台计划的最新组成部分。 [该倡议调查并检查了种族主义杀戮的遗产埃米特（Emmett）直到未解决的民权犯罪法案。这是一个在春季登陆的三部分系列，由Gesbeen Mohammed，Jane McMullen，Robin Barnwell，Sara Obeidat和Dan Edge。他们在YouTube上的整体。自2020年1月以来，YouTube上的“前线”频道已获得120万订户。电影的平均观看时间为每流近23分钟，观看YouTube上“前线”内容的人中有62％的年龄在44岁以下。您对YouTube的成功有什么影响？我们实际上七年前推出了YouTube频道。当我在2015年接任时，YouTube是我的主要目标之一。我在YouTube迭代开始时的想法是，我们将为YouTube制作原始内容，并且我们做到了。我们做到了一吨短片。这是非常实验性的。我们还做了很多促销内容。然后，我很清楚地看着我们在PBS平台上的流数字，人们真的很渴望流媒体“前线”。因此，在2020年，我们在当晚在YouTube上发布了我们的原始电影，这些电影是广播的，这是我们的数字完全起飞的时候。这是非常令人鼓舞的。在2018年获得史蒂夫·詹姆斯（Steve James）的“算盘：足够小到监狱”的奥斯卡金像奖提名，以及Waad al-Kateab在2020年在2020年的“ For Sama”帮助“ Frontline”，以筹集网络资金？我认为这在筹款方面没有帮助，但我确实认为这有助于强化我认真对待“前线”的声音多样化。这就是最有帮助的是，当有人看到我支持并深切关心这样的电影时，他们会想，“好的。所以也许我可以与（Raney）一起工作。”很多人可能认为“前线”是新闻节目。 bu这从来都不是新闻节目。这一直是纪录片系列，但我认为，包括“算盘”和“ sama”（对我们的阵容）等大型电影，其他电影制片人更吸引与我们一起工作。在“前线”？这是一部关于一个坟墓，地缘政治故事的电影，使其成为“前线”，但此外，这是战争区的女人的声音（waad al-kateab），通过母亲的镜头讲述了这个故事。我想要那个。我想要她的声音在那部电影的中心。因此，如果世界上有类似的电影“前线”支持我们真正将肌肉抛在后面并深深地关心的电影，那么我认为这会传达一条信息，并导致其他想与我们合作的电影制片人。 84％的“前线”电影（19分中的15部）是由女性和/或POC电影制片人指导或共同执导或制作的。这是由于#MeToo和Black Lives重要的动作而在2020年制定的授权？好吧，这可能是我的任务。当我接管我们的生产和导演核心并积极思考谁应该讲我们的故事时，我做出了正确的决定。那是几年前。因此，为什么存在（统计），以及为什么我们拥有现在拥有的电影核心是因为已经经历了数年。我们继续这项工作，因为我们不是我想要的地方。我的希望是，在接下来的两三年中，超过50％的电影制片人是BIPOC。我还想说，我希望看到更多有色人种指导“前线”。这是我希望我们继续工作的另一个领域。我确实认为我们在性别方面做得很好。我为我们有这么多妇女为“前线”而感到自豪。除了莱曼（Lyman）叙述“前线”故事，您还依靠人们。就我个人而言，我喜欢他的声音和他的叙述，所以我不得不问：我们会再次收到他的来信吗？是的。将继续成为我们签名的讲故事的人之一。有很多次母鸡讲这个故事是适当的，然后在其他时候，导演或制片人在讲自己的故事或选择谁将讲述他们的故事。有时，不会有叙述。
When PBS launched “Frontline” in 1983, the docuseries was considered the "the last best hope for broadcast documentaries." While these days the longform investigative-journalism series is certainly not the only hope for docus looking for a home on the small screen, the program remains one of the cornerstones of not only PBS’ documentary efforts, but also of the nonfiction industry.
Despite a rapidly shifting landscape that introduced big money streaming services like Netflix, Amazon and Hulu, “Frontline,” produced by WGBH Boston, has managed to maintain its prominence in the industry over the last decade. Thus far, the program has garnered 100 Emmys and two Oscar nominations. “Frontline’s” success over the last seven years is due in large part to Raney Aronson-Rath, who joined "Frontline" in 2007 as a senior producer. She was named deputy executive producer in 2012, and then became executive producer in 2015. A journalist at ABC News and the Wall Street Journal before joining “Frontline,” Aronson-Rath directed and produced documentaries for the series including “New War,” a four-part investigation into the future of news and “Law & Disorder,” an investigation into police shootings in the wake of Hurricane Katrina, prior to moving into her management role.
During her tenure as executive producer Aronson-Rath has expanded “Frontline’s” theatrical documentary footprint and earned its first Academy Award nomination via Steve James’ “Abacus: Small Enough to Jail” in 2018 and a second Oscar nom last year for Waad al-Kateab’s “For Sama.” Also, under Aronson Rath’s watch, “Frontline’s” reach has grown due to the "Frontline" channel on YouTube. The site, which offers more than 130 full-length “Frontline” feature documentaries, has more than 1.2 million subscribers. Aronson-Rath has also worked vigorously to make the PBS series more representative in recent years. Voiceover actor Will Lyman has largely been considered the voice of the series since he started narrating “Frontline” docs in 1984. But while he narrated “America After 9/11” – the docu that launched Season 40 of the series in September, "Frontline" films now feature a variety of narrators or no narration at all. Not only have the people doing voiceover for the program diversified, so have the people making “Frontline” content. In 2021, 84% of the series’ docs (or 15 out of 19 the standalone documentaries) were directed by or co-directed or produced by women and/or POC filmmakers. That’s up by 42% since 2015, when Aronson-Rath began her duties as executive producer.
Aronson-Rath spoke to Variety about Frontline’s reach, representation, and the series’ role in today’s news media culture.
Are documentarians who make “Frontline” films journalists, artists, or both?
I would say they have to always be filmmakers who want to practice journalism. So, they have to be willing to be open to questions and report against their own assumptions and report against their own evidence. We look at every single issue from every different angle before we land on the line that you feel is bringing you through the film. That is what investigative journalism is in its highest form -- when you have an investigation that lands something, but you understand along the way what the proof is and what the facts are. Also, have those facts been brought to the person you're reporting on, and did you ask them the tough questions they need to be asked, and then listen to their response for anything that you didn't know that might add nuance, texture, and context to the story? That's what we're after. So, my hope for filmmakers is even if they're not a trained investigative reporter, they want to practice journalism with us.”
The Frontline Transparency Project gives people access to hours of original reporting and source material that go into the making of each “Frontline” film. “Frontline” has been putting transcripts online since 1996, but it wasn’t until 2017 that the Transparency Project began to include video of unedited interviews from projects. Why did you decide to add video footage to the project four years ago?
“We launched this project with this idea of, how can we show people instead of tell people to trust us? Now they can see the process and understand what the person really had to say in that long interview that sometimes can last three or more hours. I want audiences to be able to watch a “Frontline” and say, ‘That person was not edited out of context.’”
Season 40 of “Frontline,” which features 21 hours of original programming, launched in September and runs until August 2022. How many total films are in Season 40 and what can we expect in upcoming months?
In February “American Reckoning” is coming out. It’s directed by Brad Lichtenstein and Yoruba Richen. “American Reckoning” is the latest component of “Frontline’s” Un(re)solved multi-platform initiative. [The initiative investigates and examines the legacy of racist killings through the Emmett Till Unsolved Civil Rights Crime Act.] We also have big series on climate change that focuses on the 40 year history of how we got here with an investigative lens. That’s a three- part series that lands in the spring and is directed and produced by Gesbeen Mohammed, Jane McMullen, Robin Barnwell, Sara Obeidat and Dan Edge.
In addition to streaming on the network’s website, 130 “Frontline” programs can be found in their entirety on YouTube. Since January 2020, the “Frontline” channel on YouTube has garnered 1.2 million subscribers. The average watch time of the films is nearly 23 minutes per stream and sixty-two percent of those watching “Frontline” content on YouTube are younger than 44 years old. What do you make of this YouTube success?
We actually launched the YouTube channel seven years ago. When I took over in 2015, YouTube was one of my primary goals. My thinking in the beginning of our YouTube iteration was that we would do original content for YouTube, and we did. We did a ton of short films. It was very experimental. We also did a lot of promotional content. Then it became clear to me looking at our streaming numbers on PBS platforms that people were really hungry to stream “Frontline.” So, in 2020 we started releasing our original films on YouTube the same night that they were broadcast and that's when our numbers totally took off. It’s been very encouraging.
Did receiving an Academy Award nomination for Steve James’ “Abacus: Small Enough to Jail” in 2018 and for Waad al-Kateab’s “For Sama” in 2020 help “Frontline” in terms of raising funds for the network?
I don't think it helped on the fundraising side, but I do think it helped in fortifying that I was serious about diversifying the voices of “Frontline.” That was what was most helpful is that when somebody sees that I've supported and cared deeply about a film like “For Sama,” they would think, “Okay. So maybe I could work with (Raney).” A lot of people might think “Frontline” is a news show. But it's never been a news show. It's always been a documentary series, but I think by including big films like “Abacus” and “For Sama” (to our lineup) other filmmakers are more attracted to work with us.
How is “For Sama” an example of you diversifying voice at “Frontline”?
It’s a film about a grave, geopolitical story, which makes it a “Frontline,” but in addition it’s a woman's voice (Waad al-Kateab) from a war zone telling the story through the lens of a mother. I wanted that. I wanted her voice at the center of that film. So, if there are films like that out in the world that “Frontline” supported that we really put our muscle behind and cared deeply about, then I think that sends a message and leads to other filmmakers wanting to work with us.
In 2021, 84% of “Frontline” films (15 out of 19) were directed by or co-directed or produced by women and/or POC filmmakers. Was this a mandate made in 2020 due to movements like #MeToo and Black Lives Matter?
Well, it might be my mandate. I made the decision right when I took over to diversify our producing and directing core and to think aggressively about who should be telling our stories. That started years ago. So why that (stat) exists, and why we have the film core that we have now is because it's been years in the making. And we're continuing that work because we're not where I want to be. My hope is that in the next two or three years, over 50% of our filmmakers are BIPOC. I also want to say that I’d like to see more men of color directing for “Frontline.” That's another area that I want us to work on. I do think that we’ve done great work on the gender side. I'm really proud that we have so many women producing for “Frontline.”
You are also relying on people besides Will Lyman to narrate “Frontline” stories. Personally, I adore his voice and his narration so I have to ask: Will we be hearing from him again?
Yes. Will will continue to be one of our signature storytellers. There’s a lot of times when it will be appropriate for him to tell the story and then there's other times where the director(s) or producer(s) are telling their own stories or choosing who will tell their stories. And sometimes, there will be no narration.
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发表于 2022-7-5 03:53:34
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