Black Omnibus和早期的地区性节目将他们的节目视为一个机会,既可以呈现黑人观众感兴趣的主题,也可以将黑人作家,制片人和记者推向重要位置。正如媒体研究教授Devorah Heitner在她的着作Black Power TV中所写的那样,人们越来越感觉“代表权是一种权利,而不是特权。”Black Omnibus将琼斯描述为作家,除了导演和制片人之外在展会上工作的所有船员都是黑人。 “我们从一开始就按照这种方式进行了计划,”琼斯在1973年3月对Jet说道。当年晚些时候,Jet宣布该节目将在第二季回归,这次是20集。它仍然是将观众介绍给没有名气的表演者和思想家,但它也会出现像Nina Simone,Aretha Franklin和Hank Aaron这样的大名鼎鼎的人物,尽管“比通常的钱要少得多。”但事实并非如此。黑色综合,还有灵魂!另一个名为Black Arts的公共事务计划,到1973年都已停播。“这些节目令人感到不安,”Wald解释道。 “他们总是处于围困状态,不得不从一开始就为自己辩护。”

加拿大布鲁克大学Essay代写:Black Omnibus

Black Omnibus, and the earlier regional shows, saw their programs as an opportunity to both present topics that were of interest to black viewers and move black writers, producers, and journalists into prominent positions. As media studies professor Devorah Heitner writes in her book Black Power TV, there was a growing sense that “representation was a right, not a privilege.” Black Omnibus featured Jones as a writer, and, with the exception of the director and the producer, all crew members working on the show were black. “We planned it that way from the beginning,” Jones told Jet in March 1973. Later that year, Jet announced that the show would be returning for a second season, this time with 20 episodes. It would still be about introducing audiences to unheralded performers and thinkers, but it would also feature big names like Nina Simone, Aretha Franklin, and Hank Aaron, although “for much less than usual money.” But it wasn’t to be. Black Omnibus, along with Soul! and another public affairs program called Black Arts, all had gone off the air by 1973. “There was discomfort [with these shows],” explains Wald. “They were always under siege, and having to justify themselves from the very beginning.”

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