Public Access Television
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Rick H: “I really think its pointless. Its just a personal observation, but a
lot of the shows on this channel are pointless except for the vicarious
experience of the individuals who produced them ...” (276-77)
For the most part, story performers are process-oriented producers expressing
utihtarian reasons in their access programs. Those reasons may be practical or
personal. For example, for several years, the number one-watched show on Channel
10 was a program called “Totally Sarah,” an eclectic mishmash in which a young
teenager performed a 30 minute monologue by reading poetry, singing to pre
recorded music, and pontificating on various unrelated subjects. During her
performances, Sarah’s mother served as her camera operator using extreme closeups and other nontraditional camera angles.
Some story performers create programs about community events or situations
to which their audience can relate. These producers use local stories and folklore
as material for their humorous messages. Eric H. is a screenwriter who produced
two shows for access, “Fort Wayne Landmarks,” a news show parody based on the
syndicated program Hard Copy and, “Rude Boy,” a pseudo- investigative journalism
spoof using Geraldo Rivera-style presentation techniques.
Eric H: “[It’s kind of] ...a parody...And for different segments of the
show you might call upon influences, kind of pattern it off something.
Like, the opening of it is edited hke a James Bond fight almost, in the
early days. It’s real fast and goes with the flow of the motion. Kind of like
a John Woo thing. And, then an interview thing, you ju st spoof
it...Throughout the show, he’s [the host] trying to get to the bottom of
these various (Ft. Wayne) landmarks. Why they were built, why they aren’t
being used now, why they aren’t being used for what they were originally
made for...” (312)
Eric H.’s programs demonstrate how story/entertainment providers write tales
by combining factual accounts with several variants — parody, satire, etc.— to
make better storytelhng for their audiences (Degh 82). Generally, there are no
dehberate advocacy or special interest messages used by these producers as with
message/issue practitioners.
Other story/entertainment providers use access television for personal
gratification. Mark G. is an assembly hne worker at a local truck manufacturing
plant and serves as producer for the program “Raiders of Access,” a live call-in
comedy show where four cast members don photocopied masks of celebrities and
do interactive improvisations based on audience questions and comments.