Re: [Videolib] Netflix Streaming and Face-to-Face
Dear All, I’d also like to add that from a distributor’s perspective, we license “personal” streaming rights to Netflix and our contract specifically excludes educational/institutional streaming. This applies with all of our third-party streaming partners, from GaiamTV to Vudu. Hoopla, Overdrive, Kanopy and Alexander Street Press are granted specific rights for streaming to institutions. I’ll also add that any title in the Kino Lorber Edu catalog can be streamed from our Cinedu.com platform for $100 per semester or $200 per academic year with no initial set-up fees. You can license an individual title or a collection. Learn more here: www.cinedu.com. Best, Elizabeth Elizabeth Sheldon Senior Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorber.com alivemindcinema.com www.kinolorberedu.com On Jan 28, 2015, at 12:14 PM, Moshiri, Farhad mosh...@uiwtx.edu wrote: Dear Kim, Your Scholarly Communications Librarian is right. Terms of service of these streaming companies say the subscription is for PERSONAL use only. The contract law (one's subscription is a contract) trumps 110. Our faculty ask me all the time what is the difference between bringing their own personal DVD from home or borrowing it from Blockbuster (if it still exists) and show it class with accessing their online subscription to Netflix or other services in class. The answer is purchasing a DVD (or borrowing it) falls under the Sales doctrine law and accessing streaming video falls under the contract law. In streaming subscription you're not purchasing anything. You're paying for a service and you're bonded with its terms of service. Farhad Moshiri, MLS Post-Masters Advanced Study Certificate Audiovisual Librarian Subject areas: Music, Dance, Copyright issues, Middle Eastern Studies University of the Incarnate Word J.E. L.E. Mabee Library 4301 Broadway – CPO 297 San Antonio, TX 78209 (210) 829-3842 From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] On Behalf Of Threatt, Monique Louise [mthre...@indiana.edu] Sent: Wednesday, January 28, 2015 10:56 AM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Netflix Streaming and Face-to-Face Hiya Kim, This is a very good topic. I’d be interested to see where this discussion leads to, because I have concerns about what do when an instructor wants to use a film for class that is not commercially available on DVD, but only available via Amazon stream, NetFlix, or iTunes. The streaming world continues to amaze me. Best, Mo From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Stanton, Kim Sent: Wednesday, January 28, 2015 11:35 AM To: videolib@lists.berkeley.edu Subject: [Videolib] Netflix Streaming and Face-to-Face Hi all, Is there any consensus on the legality of faculty using their own person Netflix Streaming account in a face to face classroom situation. I have always assumed it was fine. Access was legally acquired and would fall under 110(1). Another support department on my campus is saying, no, it’s not legal because Netflix’s terms of service trump 110. They are coming to this conclusion based on advice from an inhouse article http://www.library.unt.edu/news/may-one-stream-netflix-video-class-use written by our Scholarly Communications Librarian. I never saw eye to eye with this librarian on media related copyright issues, his interpretations do not necessarily reflect those of the campus legal office AND he recently left the university. So I’m trying to find something else solid that addresses this issue. I flipped back through Ciara Healy’s Library Trends article, but it doesn’t seem to address the copyright issue. Can anyone point me to something? Thanks! Kim Kim Stanton Head, Media Library University of North Texas kim.stan...@unt.edu mailto:kim.stan...@unt.edu P:(940) 565-4832 This email and any files transmitted with it may be confidential or contain privileged information and are intended solely for the use of the individual or entity to which they are addressed. If you are not the intended recipient, please be advised that you have received this email in error and that any use, dissemination, forwarding, printing, or copying of this email and any attachments is strictly prohibited. If you have received this email in error, please immediately delete the email and any attachments from your system and notify the sender. Any other use of this e-mail is prohibited. Thank you for your compliance. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between
Re: [Videolib] Recommendations for videos on America and the Holocaust
A newer release from Kino Lorber is What The Allies KNew, which explores how much the US government, and the British and French governments, knew about the concentration camps. Synopsis This documentary delves into never before seen archival footage and documents to investigate how much the Allies knew about the mass murder of Europe's Jews during World War II and why they did not do more to stop it. What The Allies Knew examines the immigration policy, top secret documents, personal prejudice and government policies that resulted in the deaths of millions. You can learn more here:: http://www.kinolorberedu.com/film.php?id=1498 If you would like to place an order, please contact my colleague Jeff Tamblyn, our director of educational. This film is also available for preview prior to purchase. Best, Elizabeth Elizabeth Sheldon Senior Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Aug 7, 2014, at 9:49 AM, Uhrich, Jonathan Andrew wrote: The US Holocaust Memorial Museum's Spielberg Film and Video Archive has an amazing collection of home movies online at http://www.ushmm.org/online/film/search/simple.php, a number of which show visits by Americans to Europe before the War. Good luck with the class, Andy Uhrich Film archivist, Indiana University Libraries Moving Image Archive jauhr...@indiana.edu From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] on behalf of Jessica Rosner [maddux2...@gmail.com] Sent: Thursday, August 07, 2014 9:41 AM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Recommendations for videos on America and the Holocaust I think the subject Maureen is looking for is specifically America and the Holocaust. Kino has a title that is over 30 years old but was one the first on the topic called WHO SHALL LIVE AND WHO SHALL DIE which is directly on point though I imagine there are newer ones on the topic of the US governments failure to help and the politics within the American Jewish community. Features like THE PAWNBROKER and SOPHIE'S CHOICE would be options. In the shameless plug department I would mention NUREMBERG ITS LESSON FOR TODAY which was made by the US government and then suppressed. Among the extras are 3 other films made by the US government about the Holocaust used at the trial and 2 made after. Won Best in Show at last years NMM Jessica On Thu, Aug 7, 2014 at 9:17 AM, Maureen Tripp maureen_tr...@emerson.edu wrote: Hi Debra, I'm sure you will get many suggestions, but for feature films I would recommend: * Boy in Striped Pajamas (2008) * The Pianist (2002) * Schindler's List * Defiance (2008) * In Darkness (2011) * The Grey Zone (2001) * Three Stories of Galicia (2010) * Europa Europa (1990) * Masterpiece Theatre: Diary of Anne Frank (2009 TV mini-series) * Uprising (2001 TV movie) (Jon Avnet) * Hidden in Silence (1996 TV movie) * Downfall (2005) * Jakob the Liar (1999) Naked Among Wolves (1963) (Beyer) Kapo (Pontecorvo) (1960) The Shop on Main Street (Kadar, Klos) (1965) http://www.imdb.com/name/nm0460033/?ref_=tt_ov_dr From: videolib-boun...@lists.berkeley.edu videolib-boun...@lists.berkeley.edu on behalf of Mandel, Debra d.man...@neu.edu Sent: Thursday, August 7, 2014 8:59 AM To: videolib@lists.berkeley.edu Subject: [Videolib] Recommendations for videos on America and the Holocaust Hi- Northeastern will have a History/Jewish Studies course this fall on America and the Holocaust. Please send me your recommendations on this topic. Thanks! Debra Debra Mandel Acting Associate Dean, User Services Northeastern University Libraries 320 SL 360 Huntington Avenue. Boston, MA 02115 617.373.4902 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation
[Videolib] Kino Lorber Hires Jeff Tamblyn, Formerly of New Day Films, to Head-up Education Division
Kino Lorber Hires Jeff Tamblyn, Formerly of New Day Films, To Head-up Education Division 30 Year Veteran Filmmaker/Marketer to Spearhead Company's Growing Educational Business and Digital Expansion FOR IMMEDIATE RELEASE NEW YORK, NY – February 5, 2014 - Kino Lorber, Inc., is pleased to announce the appointment of award-winning documentary filmmaker and indie distributor Jeff Tamblyn as Director of Educational Sales and Distribution. In his new role, Jeff will be responsible for all educational outreach, working closely with filmmakers to coordinate campaigns that target non-theatrical audiences at colleges, universities, non-profits and corporations. Tamblyn’s experience includes three decades as a filmmaker and marketer to corporate and institutional clients. Most recently, for the past five years, he was head of digital marketing at New Day Films, a 30 year old filmmaker cooperative that specializes in DIY distribution to the educational market, where he contributed significantly to the company’s growth , and pioneered its streaming venture. As a filmmaker, his professional honors include the Audience Award for Best Documentary at Secret City Film Festival for his feature, KANSAS VS. DARWIN, along with over a dozen industry awards for excellence in marketing, advertising, and public relations. “Our educational customers have high expectations for Kino Lorber,” said Senior Vice President Elizabeth Sheldon to whom Jeff will report. “Jeff’s history of hands-on distribution and entrepreneurial success gives us confidence that he’ll bring exciting, new solutions for a rapidly changing technical and cultural environment, as well as representing our expanding educational catalog.“ Richard Lorber, CEO, added that “we’re delighted to have Jeff on board, which will also allow Elizabeth Sheldon to focus on expanding our educational film acquisitions in areas of social justice, human rights, and major cultural issues of the day. With Jeff’s assistance she will also manage targeted “theatrical on demand” offerings and community screenings of select titles in coordination with Kino Lorber’s main theatrical division, following the model of our most successful recent educational releases 5 Broken Cameras (2013 Oscar® nominee), Pandora’s Promise, The Anonymous People, and More Than Honey.” With a library of 800 titles, Kino Lorber Inc. has been a leader in independent art house distribution for over 30 years, releasing over 25 films per year theatrically under its Kino Lorber, Kino Classics, and Alive Mind Cinema banners, including four Academy Award® nominated films in the last six years. In addition, the company brings over 70 titles each year to the home entertainment market with DVD and Blu-ray releases under its 5 house brands, distributes a growing number of third party labels, and is a direct digital distributor to all major platforms including iTunes, Netflix, HULU, Amazon and others. Kino Lorber Edu distributes titles from Kino Lorber, Kino Classics and Alive Mind Cinema to the non-theatrical and educational market and presents over 20 new titles per year to academic and community audiences in the U.S. and internationally. Recent Kino Lorber Edu releases include Pandora’s Promise, More Than Honey and The Anonymous People. Upcoming releases include The New Public, Just Gender and Who Is Dayani Cristal? Jeff can now be reached at jtamb...@kinolorber.com. His first day in the office is February 24th. In the meantime, please contact Elizabeth Sheldon if you have any questions regarding PPR and/or DSL from Kino Lorber Edu. http://www.kinolorber.com/ http://www.kinolorberedu.com/ VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] documentary films on radical social movements
Could I suggest THE TRIALS OF MUHAMMAD ALI? Also, I am assuming the subject is limited to America? Best, Elizabeth Elizabeth Sheldon Senior Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jan 24, 2014, at 1:37 PM, Jessica Rosner wrote: I predict the longest thread of titles in videolib history. On Fri, Jan 24, 2014 at 1:35 PM, matthew.wri...@unlv.edu wrote: A professor is interested in documentaries on radical, leftist social movements (not particularly mainstream), on various topics, environmental, racial, glbt, native american, economic inequality, etc. We have the following but more film suggestions in this genre appreciated: Free Angela Davis and All Political Prisoners A Good Day to Die Nowa Cumig: The Drum will Never Stop. Thanks, Matthew Matthew Wright Head of Collection Development and Instructional Services William S. Boyd School of Law University of Nevada Las Vegas 4505 Maryland Parkway, Box 451080 Las Vegas, NV 89154-1080 (702) 895-2409; (702) 895-2410 (fax) VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] PPR question
Jessica, Please stop commenting on Kino Lorber's collection and our rights. Many titles have been renewed and/or renegotiated since you departed. Thank you. Best, Elizabeth Elizabeth Sheldon Senior Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jan 16, 2014, at 11:33 AM, Jessica Rosner wrote: Sarah I emailed yout this out off list because of my internet issues and the answer was Kino it is an odd split contract where Janus has DVD/TV and Kino has theatrical and non theatrical ( it is a 5 film package from an old 20s company called Nero fillms) I will give Janus a pass as they are great people and swamped by their biggest film ever ( the Oscar nominated a Great Beauty). On Thu, Jan 16, 2014 at 10:47 AM, Sarah E. McCleskey sarah.e.mccles...@hofstra.edu wrote: Hi everyone, I'm working with a professor here on a film series, and I've done pretty well but there are 2 films I'm having trouble finding rightsholder/PPR info for: M (Lang) Pandora's Box (Pabst) Both were released by Criterion but Janus doesn't hold the rights. Any clues out there? Thanks in advance! Sarah Sarah E. McCleskey Head of Access Services, Film and Media 112 Axinn Library, 123 Hofstra University Hempstead, NY 11549 sarah.e.mccles...@hofstra.edu 516-463-5076 (phone) 516-463-4309 (fax) VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] PPR question
Jessica, First, I would like to apologize for my terse reply to you. Most of the time you are a very reliable source for rights and distributors and your memory is amazing. That said, over the last five years at Kino Lorber, we have revised our basic agreement with licensors/filmmakers, expanded the rights and definitions, and we now launch all-rights campaigns, from festivals to consumer DVD + digital with a strong push to the educational market. In the case of M and Pandora's Box, we are in the process of re negotiating. So, historically speaking you are correct. As a distributor, I generally seek to stay out of the VideoLib fray unless there is a factual error about rights for a film we distribute. I'll jump in more frequently if I feel I have a strong contribution to make, i.e. opinion, that would contribute to the overall conversation of our corner of the business, which is always changing, always evolving. Best, Elizabeth Elizabeth Sheldon Senior Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jan 16, 2014, at 11:59 AM, Jessica Rosner wrote: Elizabeth I don't know if you misread what I wrote but I was saying YOU DO HAVE the rights. Are you saying you do not? These films cause much confusion in my time because Janus had video and Kino had all exhibition rights. If you know of any instance where I have given incorrect information about your films feel free to let me know but contracts do expire and new films get acquired. I try very hard to keep up to date on rights for all companies and films. On Thu, Jan 16, 2014 at 11:47 AM, Elizabeth Sheldon elizab...@kinolorber.com wrote: Jessica, Please stop commenting on Kino Lorber's collection and our rights. Many titles have been renewed and/or renegotiated since you departed. Thank you. Best, Elizabeth Elizabeth Sheldon Senior Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jan 16, 2014, at 11:33 AM, Jessica Rosner wrote: Sarah I emailed yout this out off list because of my internet issues and the answer was Kino it is an odd split contract where Janus has DVD/TV and Kino has theatrical and non theatrical ( it is a 5 film package from an old 20s company called Nero fillms) I will give Janus a pass as they are great people and swamped by their biggest film ever ( the Oscar nominated a Great Beauty). On Thu, Jan 16, 2014 at 10:47 AM, Sarah E. McCleskey sarah.e.mccles...@hofstra.edu wrote: Hi everyone, I'm working with a professor here on a film series, and I've done pretty well but there are 2 films I'm having trouble finding rightsholder/PPR info for: M (Lang) Pandora's Box (Pabst) Both were released by Criterion but Janus doesn't hold the rights. Any clues out there? Thanks in advance! Sarah Sarah E. McCleskey Head of Access Services, Film and Media 112 Axinn Library, 123 Hofstra University Hempstead, NY 11549 sarah.e.mccles...@hofstra.edu 516-463-5076 (phone) 516-463-4309 (fax) VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between
Re: [Videolib] Streaming video question
Jessica, i always appreciate reading your contributions to the listserv but sometimes am perplexed by your statements. Kino Lorber, as you know, licenses many films from foreign rights holders and in my experience they are never particularly difficult. Whether it is the Murnau Foundation or Studio Canal, generally speaking the Europeans embrace the digital exploitation of rights both to the educational as well as the consumer markets if the windows are respected and the exploitation generates revenue. The same goes for domestic rights holders. I also think the day is coming sooner rather than later when PPR and VOD will be bundled together for the higher profile feature length docs. I am sure there will be plenty more discussion around these issues in Charleston. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Oct 25, 2013, at 11:54 AM, Jessica Rosner wrote: I know what you meant but it is just never going to happen. I think major studio stuff will be on their own systems which you can access, indie companies will let you buy it and do it on your system but even if you had money and time for all that, you have tens of thousands if not hundreds of thousands of films where the rights holder either won't do it or will want too much money. The foreign rights holders are particularly difficult. If only it were like that commercial where the guy goes into the rundown motel in the desert and the clerk says their cable system carries every movie ever made. On Fri, Oct 25, 2013 at 11:27 AM, Moshiri, Farhad mosh...@uiwtx.edu wrote: Thanks Jessica. I thought so. The main point is having access to only videos the library selects. Individual memberships do not limit the access to specific videos. In addition, I'm not talking about public performance. These videos would be accessed from home or in class. But I do agree there are a lot of problems. Just a Friday thought! Farhad Moshiri, MLS, Post-Masters Advanced Study Certificate Audiovisual Music Librarian University of the Incarnate Word 4301 Broadway - CPO 297 San Antonio, TX 78209 210-829-3842 From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner [maddux2...@gmail.com] Sent: Friday, October 25, 2013 10:19 AM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Streaming video question Not bloody likely. It would literally be impossible for them to clear rights to do this, and the technology would be daunting too. Now it would be interesting if a school were to say subsidize membership for students in classes where films on these sites were going to be studied. Jessica On Fri, Oct 25, 2013 at 10:56 AM, Moshiri, Farhad mosh...@uiwtx.edu wrote: A TGIF question! Do Amazon, Netflix, Hulu, etc. have an educational institutions platform in which the video librarians can select and purchase videos and then their students and faculty can access those videos through log-in based on the institutions’ IP addresses? This would be great if it exists or if it is possible at all to replace purchasing DVDs. image001.png Farhad Moshiri, MLS Audiovisual Music Librarian University of the Incarnate Word 4301 Broadway - CPO 297 San Antonio, TX 78209 210-829-3842 This email and any files transmitted with it may be confidential or contain privileged information and are intended solely for the use of the individual or entity to which they are addressed. If you are not the intended recipient, please be advised that you have received this email in error and that any use, dissemination, forwarding, printing, or copying of this email and any attachments is strictly prohibited. If you have received this email in error, please immediately delete the email and any attachments from your system and notify the sender. Any other use of this e-mail is prohibited. Thank you for your compliance. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively
Re: [Videolib] videolib Digest, Vol 71, Issue 63
Amazon had their educational initiative that was short lived, pre VOD, whose name I can't remember. As a distributor, I am not really eager to hand over my catalog to Amazon or Hulu or Vudu or Netflix due to the economics of the business model and loss of direct contact with our educational customers. When Kino Lorber moves forward with a streaming platform, it will enable us grow our direct business, supply supplemental material and support easy student and faculty access rather than disenfranchise our business and by extension, our filmmakers. My perspective from the world of independent film distribution. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Oct 25, 2013, at 12:25 PM, Bob Norris wrote: I'd be willing to bet a buck that one of the major suppliers like Farhad mentioned has an educational initiative by the 2014 NMM. Obviously it would not have every program ever produced but there would be a critical mass of worthy content. Any takers please reply off line. On Oct 25, 2013, at 10:31 AM, videolib-requ...@lists.berkeley.edu wrote: From: Jessica Rosner maddux2...@gmail.com Date: October 25, 2013 10:19:36 AM CDT To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Streaming video question Reply-To: videolib@lists.berkeley.edu Not bloody likely. It would literally be impossible for them to clear rights to do this, and the technology would be daunting too. Now it would be interesting if a school were to say subsidize membership for students in classes where films on these sites were going to be studied. Jessica On Fri, Oct 25, 2013 at 10:56 AM, Moshiri, Farhad mosh...@uiwtx.edu wrote: A TGIF question! Do Amazon, Netflix, Hulu, etc. have an educational institutions platform in which the video librarians can select and purchase videos and then their students and faculty can access those videos through log-in based on the institutions’ IP addresses? This would be great if it exists or if it is possible at all to replace purchasing DVDs. Farhad Moshiri, MLS Audiovisual Music Librarian University of the Incarnate Word VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] (no subject)
Other titles on topic include: Breath of the Gods Meditate + Destroy Crazy Wisdom When The Iron Bird Flies Brilliant Moon Sunrise/Sunset You can find descriptions and trailers for all of these at: alivemindcinema.com and/or www.kinolorberedu.com Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorber.com On Oct 22, 2013, at 9:57 AM, Brian W Boling wrote: Another roundabout look at yoga as a cultural phenomenon would be the recent documentary The Source Family, though again this is much more focused on the dangers of submitting to a power-tripping guru. These two may be more specific than you need, but here are a couple of documentaries that discuss positive aspects of yoga programs in correctional facilities. The Dhamma Brothers and Doing Time, Doing Vipassana. Brian Boling Media Services Librarian Temple University Libraries brian.bol...@temple.edu On Tue, Oct 22, 2013 at 9:04 AM, Meghann Matwichuk mtw...@udel.edu wrote: A title that comes to mind is Kumare -- might not be an exact fit, but an interesting look at a small community's reaction to a yogi master / guru who's not what he seems: http://kumaremovie.com/ Addresses yoga as a cultural phenomenon in a roundabout way. -- Meghann Matwichuk, M.S. Associate Librarian Film and Video Collection Department Morris Library, University of Delaware 181 S. College Ave. Newark, DE 19717 (302) 831-1475 http://www.lib.udel.edu/filmandvideo On 10/22/2013 8:54 AM, Ball, James (jmb4aw) wrote: Hi All, I'm looing for videos on the subject of contemplative science, mediation, or yoga, but as a cultural phenomenon rather than a how-to. Any suggestions? Cheers, Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Looking for some PPR
Jessica is correct! The Kino Lorber team will follow-up directly with James. If anybody else is interested in this critically acclaimed film, please let me or Serena know. My e-mail is below and Serena's is: sk...@kinolorber.com. Synopsis ACADEMY AWARD NOMINEE - BEST DOCUMENTARY FEATURE An extraordinary work of both cinematic and political activism, 5 Broken Cameras is a deeply personal, first-hand account of non-violent resistance in Bil'in, a West Bank village threatened by encroaching Israeli settlements. Shot almost entirely by Palestinian farmer Emad Burnat, who bought his first camera in 2005 to record the birth of his youngest son, the footage was later turned into a galvanizing cinematic experience by co-directors Guy Davidi and Burnat. Structured around the violent destruction of a succession of Burnat's video cameras, the filmmakers' collaboration follows one family's evolution over five years of village turmoil. Burnat watches from behind the lens as olive trees are bulldozed, protests intensify, and lives are lost. I feel like the camera protects me, he says, but it's an illusion. Critical Acclaim [A] rigorous and moving work of art. - A. O. Scott, New York Times Uniquely powerful, putting faces and human consequences to a political dispute that will seemingly never end. - The Hollywood Reporter. An essential work both on filmmaking and political activism. - Slant Magazine. The trailer is available for preview here: http://kinolorberedu.com/film.php?id=1276 Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Sep 23, 2013, at 10:28 AM, Jessica Rosner wrote: Five Broken Cameras is Kino Lorber On Mon, Sep 23, 2013 at 9:41 AM, Ball, James (jmb4aw) jmb...@eservices.virginia.edu wrote: Hi All, I'm looking for PPR for the following titles. Can anyone direct me to the appropriate licensing folks? Journey from the Fall Five Broken Cameras Welcome to Shelbyville Lost Boys of Sudan Many thanks, Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Looking for some PPR
I am off to a slow start today after completing my first triathlon yesterday -- quite the milestone for me but thank you for pointing James in the right direction. Who wants to join me on a morning run in Charleston at NMM? You can reply offline as I think this is rather off topic ; ) Best, Elizabeth On Sep 23, 2013, at 11:43 AM, Jessica Rosner wrote: I figured you were just having your morning coffee Elizabeth and would beat you to it. On Mon, Sep 23, 2013 at 10:47 AM, Elizabeth Sheldon elizab...@kinolorber.com wrote: Jessica is correct! The Kino Lorber team will follow-up directly with James. If anybody else is interested in this critically acclaimed film, please let me or Serena know. My e-mail is below and Serena's is: sk...@kinolorber.com. Synopsis ACADEMY AWARD NOMINEE - BEST DOCUMENTARY FEATURE An extraordinary work of both cinematic and political activism, 5 Broken Cameras is a deeply personal, first-hand account of non-violent resistance in Bil'in, a West Bank village threatened by encroaching Israeli settlements. Shot almost entirely by Palestinian farmer Emad Burnat, who bought his first camera in 2005 to record the birth of his youngest son, the footage was later turned into a galvanizing cinematic experience by co-directors Guy Davidi and Burnat. Structured around the violent destruction of a succession of Burnat's video cameras, the filmmakers' collaboration follows one family's evolution over five years of village turmoil. Burnat watches from behind the lens as olive trees are bulldozed, protests intensify, and lives are lost. I feel like the camera protects me, he says, but it's an illusion. Critical Acclaim [A] rigorous and moving work of art. - A. O. Scott, New York Times Uniquely powerful, putting faces and human consequences to a political dispute that will seemingly never end. - The Hollywood Reporter. An essential work both on filmmaking and political activism. - Slant Magazine. The trailer is available for preview here: http://kinolorberedu.com/film.php?id=1276 Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Sep 23, 2013, at 10:28 AM, Jessica Rosner wrote: Five Broken Cameras is Kino Lorber On Mon, Sep 23, 2013 at 9:41 AM, Ball, James (jmb4aw) jmb...@eservices.virginia.edu wrote: Hi All, I'm looking for PPR for the following titles. Can anyone direct me to the appropriate licensing folks? Journey from the Fall Five Broken Cameras Welcome to Shelbyville Lost Boys of Sudan Many thanks, Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation
Re: [Videolib] Mother Courage and Her Children
Kino Lorber Edu has a dramatization starring Meryl Streep: Synopsis Filmmaker John Walter artfully captures Meryl Streep groping for – and then seizing – the character in her unforgettable portrayal of Mother Courage in Tony Kushner’s adaptation of the Bertolt Brecht masterpiece Mother Courage and Her Children, which was presented by The Public Theater/NY Shakespeare Festival in Central Park in the summer of 2006. As Manohla Dargis in the Times observed, “filmmaker John Walter jumps from art to history and politics and back again, from the theater of the streets to the theater of the stage, without pause. That makes the movie… tough to summarize, which is part of its appeal. Though this film could easily have been crafted into a star vehicle for Streep and Kevin Kline, Walter instead digs deeply into Brecht’s motives and politics, unearthing the playwright’s famed and famously clever testimony before the House Un-American Activities Committee – the day after which he fled from the United States. THEATER OF WAR is about theater and war, capitalism and Marxism, the postwar anti-Communist hysteria of the 1950s, and one literary genius’s ability to make art from them all. Educational Reviews An interesting meditation on theater as social protest, as well as the necessity and (often) futility of art, this is recommended. - Video Librarian Critical Acclaim Meryl Streep was a stunning Mother Courage on stage. - Time Out New York A must-see documentary for theater lovers. - Variety A captivating documentary, as entertaining as it is edifying. - The Times-Picayune https://www.kinolorberedu.com/film.php?id=1069 If you would like to purchase a copy, please contact sk...@kinolorber.com Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Apr 16, 2013, at 2:42 PM, Elliott, Curleen wrote: Hi, Does anyone know where I can find an English or English subtitled video production of “Mother Courage and Her Children” based on the play by Bertolt Brecht. Thanks, Curleen Elliott Library Associate Serials, Acquisitions and Student Worker Supervisor Norwalk Community College Baker Library Norwalk, CT (ph) 203-857-7215 (fx) 203-857-7380 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Mother Courage and Her Children
Good point -- there are excerpts of the play interspersed with commentary as it is a doc about Brecht, the play and Meryl Streep's performance of Mother Courage and not a dramatization. Best, Elizabeth On Apr 16, 2013, at 3:40 PM, Jessica Rosner wrote: Does this actually contain the entire play? It sounds like it is very good but a documentary about a production as opposed to a complete version of the play. On Tue, Apr 16, 2013 at 2:57 PM, Elizabeth Sheldon elizab...@kinolorber.com wrote: Kino Lorber Edu has a dramatization starring Meryl Streep: Synopsis Filmmaker John Walter artfully captures Meryl Streep groping for – and then seizing – the character in her unforgettable portrayal of Mother Courage in Tony Kushner’s adaptation of the Bertolt Brecht masterpiece Mother Courage and Her Children, which was presented by The Public Theater/NY Shakespeare Festival in Central Park in the summer of 2006. As Manohla Dargis in the Times observed, “filmmaker John Walter jumps from art to history and politics and back again, from the theater of the streets to the theater of the stage, without pause. That makes the movie… tough to summarize, which is part of its appeal. Though this film could easily have been crafted into a star vehicle for Streep and Kevin Kline, Walter instead digs deeply into Brecht’s motives and politics, unearthing the playwright’s famed and famously clever testimony before the House Un-American Activities Committee – the day after which he fled from the United States. THEATER OF WAR is about theater and war, capitalism and Marxism, the postwar anti-Communist hysteria of the 1950s, and one literary genius’s ability to make art from them all. Educational Reviews An interesting meditation on theater as social protest, as well as the necessity and (often) futility of art, this is recommended. - Video Librarian Critical Acclaim Meryl Streep was a stunning Mother Courage on stage. - Time Out New York A must-see documentary for theater lovers. - Variety A captivating documentary, as entertaining as it is edifying. - The Times-Picayune https://www.kinolorberedu.com/film.php?id=1069 If you would like to purchase a copy, please contact sk...@kinolorber.com Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Apr 16, 2013, at 2:42 PM, Elliott, Curleen wrote: Hi, Does anyone know where I can find an English or English subtitled video production of “Mother Courage and Her Children” based on the play by Bertolt Brecht. Thanks, Curleen Elliott Library Associate Serials, Acquisitions and Student Worker Supervisor Norwalk Community College Baker Library Norwalk, CT (ph) 203-857-7215 (fx) 203-857-7380 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] [Fwd: Cranberrry/ginger] chutney
A little late but just wanted to share that I made Gary's cranberry chutney, which was delicious, and then made it again (due to popular demand) with the following changes: --replace the onion with a shallot --replace the raisins with dried cherries Thank you for sharing. I am only sad that you can't find cranberries after the New Year. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Dec 23, 2012, at 12:23 PM, Randal Baier wrote: Thanks Gisele! On Dec 23, 2012, at 12:34 AM, Gisele Tanasse nerdpo...@gmail.com wrote: I find myself the keeper of many wonderful things Gary, not the least of which is his chutney recipe. Happy holidays one and all! Gisele Gisele Tanasse Media Resources Center 150 Moffitt Library #6000 University of California Berkeley, CA 94720-6000 PH: 510-642-8197 -- Forwarded message -- From: ghand...@library.berkeley.edu Date: Wed, Nov 23, 2011 at 1:12 PM Subject: [Videolib] [Fwd: Cranberrry/ginger] To: videolib@lists.berkeley.edu by popular demand 4 cu cranberries 2.5 cu sugar (we use a bit less...but then again we're not sweets folk) 6 whole cloves 2 cinnamon sticks 1 teasp salt 1 1/4 cu water 2 granny smith apples peeled and cored 2 firm pears peeled and cored 1 small yellow onion 1 cu golden raisins 1/3 (or more) cup crystallized ginger diced (we're ginger folk, so we tend to add a bit more) 1/2 cu whole hazelnuts toasted, skins removed, halved In deep 6-quart pot combine first 6 ingredients. Bring to boil over med heat, stirring frequently to dissolve sugar. Cook until cranberries begin to pop open--10-12 min. Lower heat to simmer. Stir in rest of stuff (apples, pears, raisins, ginger, onion), except nuts. Continue to cook12-15 minutes until quite thick. Remove from heat and stir in hazelnuts. Discard cinnamon stix and cloves, if you can find them. Refrigerate. Tastes better at room temp. Enjoy gary It's true - EMRO is great! But, what I want to know is: what's your recipe for cranberry-ginger chutney? Sounds delish! --Linda Linda Frederiksen Head of Access Services Washington State University Vancouver 14204 NE Salmon Creek Avenue Vancouver, WA 98686 Email: lfrederik...@vancouver.wsu.edu Phone: 360.546.9683 Fax: 360.546.9039 -Original Message- From: Educational Media Reviews Online News [mailto:emro-l...@listserv.buffalo.edu] On Behalf Of Gary Handman Sent: Wednesday, November 23, 2011 7:50 AM To: emro-l...@listserv.buffalo.edu Subject: Re: EMRO in Choice Congrats, Lori. I don't think the review really does justice to this valuable resource. What it SHOULD have mentioned is the serious dearth of reviews of indie produced and distributed videos, and the important role played by EMRO in filling this gap. We all owe you big time for developing and maintaining this valuable working tool! Gary Handman (who is about to make cranberry-ginger chutney) Thanks to reviewer Mary Northrup for spotting the review of EMRO in the November issue of Choice! We were given a �highly recommended� rating! Thank you, everyone for all your hard work and wonderful contributions to the database. As I�ve mentioned before, EMRO is a group project and it wouldn�t exist without all of you. You�ve given me one more thing to be thankful for this Thursday. I�ve attached a pdf of the article. Have an extra helping of your favorite Thanksgiving treat to celebrate! Best, Lori Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection
Re: [Videolib] Question regarding streaming rights or access to Eisenstein's Battleship Potemkin
Yes, Alexander Street Press's Silent Film Collection almost exclusively consists of Kino Lorber titles, which as Jessica points out are frequently not PD. If you would like to stream the film without subscribing to the ASP entire collection, please let me know. We also offer DSL if you prefer to host on your server. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorbereduc.om On Jan 7, 2013, at 11:26 PM, Jessica Rosner wrote: they licensed a lot of titles from Kino so probably. Maybe Elizabeth will check in and confirm. On Mon, Jan 7, 2013 at 6:59 PM, Nellie J Chenault njche...@vcu.edu wrote: It is also available from the Silent Film Online Database. Nell Chenault VCU Libraries On Mon, Jan 7, 2013 at 6:47 PM, Borden, Lisa M. lmbor...@utep.edu wrote: Jessica: Many thanks for this information – I am getting in touch with Kino as I write this. I appreciate your help! Lisa M. Borden Serials Electronic Resources Librarian, Section Head UTEP Library - Acquisitions PH: (915) 747-6709 E-Mail: lmbor...@utep.edu From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner Sent: Monday, January 07, 2013 4:23 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Question regarding streaming rights or access to Eisenstein's Battleship Potemkin This version belongs exclusively to Kino Lorber and is not PD. I am sure you could check with them on fees. In general there is some confusion that films which may be otherwise PD have versions or specific copies which in fact are under copyright. The term used by the Library of Congress is Special Contents Copyright and as a practical matter in the case of silent films it almost always refers to the music score though there are some cases were there is in fact some copyrighted content. Short version is that BATTLESHIP POTEMKIN is PD but the version your prof wants and for which a great deal of money was spent restoring is under copyright and licensed by Kino On Mon, Jan 7, 2013 at 6:16 PM, Borden, Lisa M. lmbor...@utep.edu wrote: Happy New Year to All! I received this question from one of our Music faculty: “In 2007, a restored version of Eisenstein’s Battleship Potemkin was released on DVD with the original Edmund Meisel musical score, which had been lost for decades and was not included on many earlier prints of the film. It would be great if the UTEP Library could obtain a copy, as this film is covered in the historical component of my class (which I might teach again in the summer).” We are looking into getting a DVD version in the near future. QUESTION: Does anyone have any info regarding streaming rights for this title – or a vendor-based commercial streaming source (e.g.: online database)? I was able to find this title on the Internet Archive at http://archive.org/details/PhantasmagoriaTheater-BattleshipPotemkin1925396 posted under a CreativeCommons License as being “public domain” – but just want to double double-check before suggesting this to our faculty member for classroom/teaching purposes. I haven’t checked the film for streaming quality yet – but I remember this title being discussed on this list a little while back as being PD. Many thanks for any advice/suggestions both on/off list! Lisa M. Borden Serials Electronic Resources Librarian, Section Head UTEP Library - Acquisitions PH: (915) 747-6709 E-Mail: lmbor...@utep.edu VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB
Re: [Videolib] Found footage DVD
David, Kino Lorber distributes the Found Footage FIlm Festivals and we are up to vol. 6. If you are interested in purchasing with PPR, please let us know but otherwise, they should be available wherever fine DVDs are sold. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Sep 25, 2012, at 5:51 PM, Folmar David wrote: Sorry about the repeat post, but did someone post to this list about DVD's from Found foootage Film festivals, read it last week on my iphone and now I can't find the email, I belong to tooo many film lists . -- All these sweet old ladies and this carpet from the 80's, what more could a librarian need? Swampy from Phineas and Ferb David Folmar VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Just curious - National Media Market
You'll find me on the zipline see you there Meredith! Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Aug 21, 2012, at 11:13 AM, Jessica Rosner wrote: If I were to make I would rather have bamboo shoved under my fingernails or do Karaoke before I would zipline. I was in Costa Rica last year and the hanging bridges terrified me. On Tue, Aug 21, 2012 at 11:09 AM, Danette Pachtner danett...@duke.edu wrote: Woo hoo--me too! Danette@Duke University Libraries -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Meredith Miller Sent: Tuesday, August 21, 2012 10:40 AM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Just curious - National Media Market Ziplining - me, me! Meredith Miller Icarus Films 32 Court St, 21st Floor Brooklyn, NY 11201 P: 1.718.488.8900 F: 1.718.488.8642 E: mered...@icarusfilms.com www.icarusfilms.com homevideo.icarusfilms.com -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Susan Albrecht Sent: Tuesday, August 21, 2012 8:22 AM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Just curious - National Media Market Deg asked: Just curious here Who is planning to attend the National Media Market this year. (September 30-October 4)? I'll be there again. And trying out the one day for NMM attendees at CCUMC as well. Looking forward to it! Who's in for ziplining this year? :) Susan VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Battleship Potemkin on 16mm
Dave, Jessica is right and I have passed your question on to my colleague Gary Palmucci, who oversees print rentals at Kino Lorber. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kino.com www.kinolorberedu.com On Apr 18, 2012, at 11:18 AM, Jessica Rosner wrote: There are a lot of the famously cut prints around but I would try Kino and see if they still have a 16mm. They did and it was good but you would have to pay a rental On Wed, Apr 18, 2012 at 11:12 AM, Dave Dvorchak ddvorc...@provcomlib.org wrote: I am hoping that someone on this list can help. I want to do a May Day screening of Potemkin on 16mm at our library. I own two prints, one being the 1950 Mosfilm version, which looks nice and has narration and a score but is a butcher job of the film by most accounts, and another silent print which is of unknown origin and less visually appealing. Is there an opinion on the most authentic or true version available on 16mm? How is the Blackhawk version (I have not seen it)? If you have a good print available to rent or loan, I am all ears. I can pay to ship and pay a rental fee, if necessary. Thanks, Dave -- David Dvorchak Office Manager Providence Community Library ddvorc...@provcomlib.org (401) 467-2700 x2 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Lifetime Streaming Rights
Ben, If you are 'buying exploitation rights for profit' it implies that you are in the business of generating revenue for your filmmakers, which means offering licenses that the customers not only want but will be requiring; how can a librarian catalog a stream which they do not have a permanent copy of? Perhaps a library prefers to archive a digital file on their server rather than the DVD on a shelf. It is our business as distributors to the educational market to offer our customers these choices. And digital formats change all the time. 3 years ago Flash was the universal standard for streaming. Now it is becoming HTML5 for ios compatibility. That is a recent change in digital format in this nascent market. There will be more to come. I liked Bob's analogy that a digital site license is not analogous to broadcast, but, as I originally suggested, a download. If Zeitgeist is selling films on iTunes, you are selling digital copies for the life of the file. Have a great weekend everybody. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Mar 16, 2012, at 5:26 PM, Benjamin Crossley-Marra wrote: Bob, The likelihood of schools desiring new digital formats after the stream has been sold is still matter of conjecture at this point. They sure don't seem to be too interested in Blu Ray. Due to the nature of (our contracts) at least I do feel obligated to set a termination date on a digital file which can potentially be preserved forever. I also don't particularly agree with the philosophy of just because there's nothing in the contract that says you can't do it than it's all right. We are buying exploitation rights for profit and those rights have an end date. Just because a producer or entity may be receiving more money from a sale you're making doesn't mean that they are OK with you doing it. If they are comfortable with a distributor selling lifetime rights than there's no reason not to have that in the contract. This is especially tenuous issue with major foreign sales agents whose films are released theatrically here. We're talking about millions of dollars floating around these films of which distributors are accountable for reporting honestly and accurately. Ben Benjamin Crossley-Marra Zeitgeist Films Ltd. 247 Centre St, 2nd fl New York, NY 10013 P: 212-274-1989 F: 212-274-1644 http://www.zeitgeistfilms.com On Mar 16, 2012, at 5:03 PM, Bob Norris wrote: I'm going to have to disagree. Selling streaming rights for the life of the digital file to a university is not comparable to a broadcast sale in perpetuity. In the former case you are selling to a single entity. Using Facets as an example, the school could pay $20 for in classroom face to face use of a DVD. But if they want to stream the school pays $500. So the producer is the beneficiary of a higher royalty. And if Facet's license expires and a new distributor picks up the title they can sell a new digital format to that school. (Believe me, formats will change.) Plus they can sell to all the other schools that never purchased the title. If a distributor sold broadcast rights in perpetuity that would lock up the whole broadcast market in that territory forever. That would not be right. The difference is you are selling a right, not a thing. iTunes does not place a time limitation on my music downloads of major recording artists. I don't think video distributors are required to set an arbitrary termination date on the use of a particular digital file either. Of course if the producer's agreement prohibits lifetime sales then Film Ideas would not grant them. Respectfully, Bob Robert A. Norris Managing Director Film Ideas, Inc. Phone: (847) 419-0255 Email: b...@filmideas.com Web: www.filmideas.com On Mar 16, 2012, at 2:54 PM, videolib-requ...@lists.berkeley.edu wrote: 1. Re: Facets launches EDU site with streaming rights (Jessica Rosner) From: Jessica Rosner jessicapros...@gmail.com Date: March 16, 2012 2:52:35 PM CDT To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Facets launches EDU site with streaming rights Reply-To: videolib@lists.berkeley.edu Elizabeth I know we have disagreed on this and I have run this by many companies that distribute foreign film in particular and all I have spoken do not believe their contracts permit the sale of lifetime streaming if they for instance have the right to sell downloads to individuals for the fixed period on the contract. I believe the closer comparison is to a TV sale. Most contracts don't permit a distributor to make a sale for a cable, Internet or other broadcast form to that would permit the companies broadcast or download the film forever. The rights are limited by the term of the contract. More
Re: [Videolib] Metropolis (1927): Need PPR/rights
Hi Philip, Dave is correct, the rights are with Kino and we offer the film both with PPR, without PPR and with DSL. Give us a shout if you have any questions. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Feb 16, 2012, at 1:25 PM, Dave Dvorchak wrote: Kino. On Thursday, February 16, 2012, Bahr, Philip pb...@fairfield.edu wrote: Does anyone know who owns the rights for Metropolis? Swank doesn’t. Thanks, Philip Philip Bahr Reference Media Librarian Fairfield University pb...@fairfield.edu -- David Dvorchak Office Manager Providence Community Library ddvorc...@provcomlib.org (401) 467-2700 x2 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Friday fun question, early...
Nor EL BULLI. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Nov 4, 2011, at 5:30 PM, Jonathan Miller wrote: Well, don’t forget OUR DAILY BREAD! JM From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf OfJo Ann Reynolds Sent: Friday, November 04, 2011 5:00 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Friday fun question, early... Now, come on, the real “meat and potatoes” food films are: Food, Inc. Forks over Knives Eating Alaska Fresh Poisoned Waters What’s on your plate? Good Food King Corn Unnatural Causes The Future of Food Fridays at the Farm Farming the Seas Supersize Me The Real Dirt on Farmer John Chickens in the City River of Renewal American Fisheries: a cautionary tale You may never want to eat again after viewing some of them. Jo Ann Jo Ann Reynolds Reserve Services Coordinator University of Connecticut Libraries 369 Fairfield Road, Unit 2005RR Storrs, CT 06269-2005 jo_ann.reyno...@uconn.edu 860-486-1406 860-486-5636 (fax) http://classguides.lib.uconn.edu/mediaresources From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf OfNellie J Chenault/FS/VCU Sent: Friday, November 04, 2011 4:22 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Friday fun question, early... Most Les Blank films I like In heaven there is no beer?, Garlic is as good as ten mothers, Yum, Yum Yum Some more: Alice's Restaurant Pieces of April (Thanksgiving disaster!) Bread and chocolate (a fav) The Perfect Holiday No Reservations Moonstruck My Big Fat Greek Wedding Tortilla Soup Wedding Banquet Joy Luck Club Fried Green Tomatoes Goodfellas Lady and the Tramp Ratatouille Cloudy and a chance of meatballs Getting hungry! Nell Nell Chenault Research Librarian for Film and Music VCU Libraries (804) 828-2070 From:Ball, James (jmb4aw) jmb...@eservices.virginia.edu To:videolib@lists.berkeley.edu videolib@lists.berkeley.edu Date:11/03/2011 03:00 PM Subject:[Videolib] Friday fun question, early... Sent by:videolib-boun...@lists.berkeley.edu Here I go again… For November we like to feature videos that have something to do with food, eating, gathering, etc. A few example are Babette’s Feast, Eat Drink Man Woman, Home for the Holidays, and What’s Cooking?. What are your favorites? Cheers, Matt __ Matt Ball Media Services Librarian University of Virginia mattb...@virginia.edu 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Friday fun question, early...
The Ring and Blair Witch are high on my list as well. Did anybody else enjoy 28 Days and even better, the sequel 28 Days Later? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Oct 14, 2011, at 1:49 PM, Logan, Michael wrote: The first time I saw Eraserhead, I stayed up WAY too late watching it on home video. The next morning, when I thought back about the movie, I thought I must have fallen asleep and dreamt parts of it, it was so strange. And creepy. And unsettling. The second time I saw it, I realized I hadn't dreamt any of it, which made it all the more disturbing... I can't honestly call it a favorite--too nightmarish for me to want to revisit it. Ever. Michael Logan Acquisitions and Technical Services Humboldt County Library (707) 269-1962 From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] on behalf of Elizabeth Sheldon [elizab...@kinolorber.com] Sent: Thursday, October 13, 2011 2:51 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Friday fun question, early... My older (devilish) brother sent me off to see a double bill of ERASER HEAD and the original NIGHT OF THE LIVING DEAD at the UC Berkeley Theater on Shattuck Avenue when I was about 13. I think I was more scared by ERASERHEAD. Elizabeth VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Friday fun question, early...
My older (devilish) brother sent me off to see a double bill of ERASER HEAD and the original NIGHT OF THE LIVING DEAD at the UC Berkeley Theater on Shattuck Avenue when I was about 13. I think I was more scared by ERASERHEAD. Elizabeth On Oct 13, 2011, at 5:35 PM, Randy Pitman wrote: I still think that Alien is a horror masterpiece. I made the mistake of sitting in the third row of a theater with the sound cranked up to 11 on the opening weekend and had to leave before the end of the first hour. I returned later that night with friends for reinforcement and sat way in the back. Best, Randy Randy Pitman Publisher/Editor Video Librarian 8705 Honeycomb Ct. NW Seabeck, WA 98380 Tel: (800) 692-2270; Fax: (360) 830-9346 Email: vid...@videolibrarian.com Web: www.videolibrarian.com - Original Message - From: Williams, Alex O. To: videolib@lists.berkeley.edu Sent: Thursday, October 13, 2011 2:25 PM Subject: Re: [Videolib] Friday fun question, early... My favorite older ones: The Haunting (1963) Carnival of Souls (1962) Night of the Hunter (1955) Rosemary's Baby (1968) The Tenant (1976) some good newer ones: The Descent (2005) Paranormal Activity (2007) (I saw it alone.) Alex _ Alex O. Williams Festival Booking Institutional Sales AFD / Typecast Films Seattle, WA . USA ph: 206.322.0882 x.202 | fx: 206.322.4586 arabfilm.com | typecastfilms.com On Thu, Oct 13, 2011 at 1:13 PM, Ball, James (jmb4aw) jmb...@eservices.virginia.edu wrote: Hi All, Here’s a Friday fun question (but with a bit of a head start): what are your favorite scary movies? Gary, you probably have a videography, don’t you? Broken down by genre, country of origin, director… J Cheers, Matt __ Matt Ball Media Services Librarian University of Virginia mattb...@virginia.edu 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] HELP: Best response re libraries and PPR
Morning, I like to think that all distributors realize that they have an obligation to their filmmakers to promote the films that they acquire to the benefit of the filmmaker. I joke that here at Kino Lorber Edu and Alive Mind Cinema we are running the equivalent of an orphanage for docs: the filmmakers call me, tell me about their beloved and gifted child, and want to know if I am willing to nurture it through its adolescent years and supply quarterly updates regarding its progress. Juno help us all if it brings home less than an A! Then I get the dreaded parent-teacher conference call. Needless to say, it makes a distributor selective when acquiring films. Distribution at its best is a partnership with a filmmaker that expands the audience and increases revenue. The distributor should, in addition to an extensive network and established pipeline, advise their filmmakers regarding the best path and use of resources for a film's release. I spend an inordinate amount of time discouraging filmmakers from a 'Theatrical' releases, i.e. a week in NYC, which frequently cost more than it generates, both in terms of revenue or critical buzz. I advise my filmmakers to consider alternate paths to reach their audience, and this usually entails a Community Screening campaign with targeted outreach to their organic audience. This can include screenings at venues such as The Rubin Museum in NYC, the Yerba Buena Center for the Arts in SF, MoMA, and frequently, the local library. On behalf of our filmmakers, who in the spirit of a partnership, receive half of all proceeds, we ask for a Public Performance Rights license for any public exhibition, whether or not admission is charged. Without the support of the organizations such as those I named above and local libraries across America, many indie films would sink to the bottom of the proverbial sea, never to be seen or discussed. I believe that most established distributors, I am thinking here about WMM, First Run, Cinema Guild, see their role in today's world where DIY is an alternative as a partner who brings more to the table in regards to resources and knowledge than we take away. That means advising our filmmakers regarding the best release path to reach their audience and generate revenue. To generate revenue, we must ask for fees on behalf of our filmmakers, if we don't, not only will many long-standing and reputable distributors go out of business, but filmmakers will suffer as well. Because, if a filmmaker makes a film but nobody knows about it, is it not like the proverbial tree that falls in the forest that nobody hears? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com www.alivemindcinema.com On Sep 16, 2011, at 9:11 AM, Dennis Doros wrote: Just a quick reply to Joyce's email, which is mostly correct and appreciated. But a little defense of distributors -- and in my world, it's a 50% cut of nontheatrical sales. (The retail world is where filmmakers make very little -- $29.95 retail, 60% discount to the major buyers, then 20% of that.) In this way, good distributors are really like lawyers or paid consultants. It seems outrageous to be paying somebody $600 an hour to make some phone calls. But what you're actually paying for (hopefully) is their knowledge and connections accumulated over years of hard work. I'll use an outdated story because I don't want to damage current relationships, but Vincent Canby used to have lunch with New Yorker's Dan Talbot at least once a month for years. It's because they liked each other and shared a common love for good cinema. However, I would bet that upcoming releases were discussed and enthusiasms shared. It probably didn't influence Canby's reviews, but it probably helped New Yorker get Canby to cover a film rather than the second-tier reviewer. And from my own experience, as a distributor who rarely leaves his basement office and is party-phobic, I always am surprised how many journalists and exhibitors and television buyers I can call my good friends. Joyce is correct, however, when a film fails -- sometimes a distributor picks up the film and then loses enthusiasm or sometimes there's just bad luck -- overhead and marketing (newspaper ads are incredibly expensive) can eat up any profit a filmmaker will ever see in their lifetime. And filmmakers can (and definitely have been) screwed over by bad distributors with false-bookkeeping and late or never paid royalties. And I actually think that self-distribution may be the wave of the future. Distributors are having very tough times these past few years and profits are slimming down drastically. It's very possible that we can't sustain the percentages filmmaker's need to make a living. It would be a shame on both sides. There are incredible people in distribution who have devoted
Re: [Videolib] HELP: Best response re libraries and PPR
Forgot to include Icarus and Zeitgeist, two of my fave competitors! On Sep 16, 2011, at 10:41 AM, Elizabeth Sheldon wrote: Morning, I like to think that all distributors realize that they have an obligation to their filmmakers to promote the films that they acquire to the benefit of the filmmaker. I joke that here at Kino Lorber Edu and Alive Mind Cinema we are running the equivalent of an orphanage for docs: the filmmakers call me, tell me about their beloved and gifted child, and want to know if I am willing to nurture it through its adolescent years and supply quarterly updates regarding its progress. Juno help us all if it brings home less than an A! Then I get the dreaded parent-teacher conference call. Needless to say, it makes a distributor selective when acquiring films. Distribution at its best is a partnership with a filmmaker that expands the audience and increases revenue. The distributor should, in addition to an extensive network and established pipeline, advise their filmmakers regarding the best path and use of resources for a film's release. I spend an inordinate amount of time discouraging filmmakers from a 'Theatrical' releases, i.e. a week in NYC, which frequently cost more than it generates, both in terms of revenue or critical buzz. I advise my filmmakers to consider alternate paths to reach their audience, and this usually entails a Community Screening campaign with targeted outreach to their organic audience. This can include screenings at venues such as The Rubin Museum in NYC, the Yerba Buena Center for the Arts in SF, MoMA, and frequently, the local library. On behalf of our filmmakers, who in the spirit of a partnership, receive half of all proceeds, we ask for a Public Performance Rights license for any public exhibition, whether or not admission is charged. Without the support of the organizations such as those I named above and local libraries across America, many indie films would sink to the bottom of the proverbial sea, never to be seen or discussed. I believe that most established distributors, I am thinking here about WMM, First Run, Cinema Guild, see their role in today's world where DIY is an alternative as a partner who brings more to the table in regards to resources and knowledge than we take away. That means advising our filmmakers regarding the best release path to reach their audience and generate revenue. To generate revenue, we must ask for fees on behalf of our filmmakers, if we don't, not only will many long-standing and reputable distributors go out of business, but filmmakers will suffer as well. Because, if a filmmaker makes a film but nobody knows about it, is it not like the proverbial tree that falls in the forest that nobody hears? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com www.alivemindcinema.com On Sep 16, 2011, at 9:11 AM, Dennis Doros wrote: Just a quick reply to Joyce's email, which is mostly correct and appreciated. But a little defense of distributors -- and in my world, it's a 50% cut of nontheatrical sales. (The retail world is where filmmakers make very little -- $29.95 retail, 60% discount to the major buyers, then 20% of that.) In this way, good distributors are really like lawyers or paid consultants. It seems outrageous to be paying somebody $600 an hour to make some phone calls. But what you're actually paying for (hopefully) is their knowledge and connections accumulated over years of hard work. I'll use an outdated story because I don't want to damage current relationships, but Vincent Canby used to have lunch with New Yorker's Dan Talbot at least once a month for years. It's because they liked each other and shared a common love for good cinema. However, I would bet that upcoming releases were discussed and enthusiasms shared. It probably didn't influence Canby's reviews, but it probably helped New Yorker get Canby to cover a film rather than the second-tier reviewer. And from my own experience, as a distributor who rarely leaves his basement office and is party-phobic, I always am surprised how many journalists and exhibitors and television buyers I can call my good friends. Joyce is correct, however, when a film fails -- sometimes a distributor picks up the film and then loses enthusiasm or sometimes there's just bad luck -- overhead and marketing (newspaper ads are incredibly expensive) can eat up any profit a filmmaker will ever see in their lifetime. And filmmakers can (and definitely have been) screwed over by bad distributors with false-bookkeeping and late or never paid royalties. And I actually think that self-distribution may be the wave of the future. Distributors are having very tough times these past few years and profits are slimming down drastically. It's
[Videolib] New Initiatives from Kino Lorber Edu
Dear Video Librarians, Even though it is July, Kino Lorber Edu is launching several new initiatives in anticipation of the fall. Many of you perhaps have noticed that we are now offering our new PPR releases day-and-date with our theatrical premiers. Films such as FILM SOCIALISM, CITY OF LIFE AND DEATH, and RAW FAITH were released with PPR on the same date that they theatrically premiered. Today, our latest release, EL BULLI: COOKING IN PROGRESS premiers at Film Forum and at select theaters across the United States and is also available for purchase with PPR. Learn more about El Bulli here: http://kinolorberedu.com/film.php?id=1209. We are also proud to announce that we have revised our digital site licensing terms. We are now offering perpetual digital site licenses for most of our films as follows: A Digital Site License allows colleges, universities or libraries to encode, locally host and stream to their community on a closed system for the term of the license. Prices are as follows: - PPR $249 or $189 - PPR w/perpetual DSL $599 - perpetual DSL $499 In addition, we are offering all of our films for Community Screenings. Community Screenings allow universities, colleges, libraries and non-profits the opportunity to exhibit our films to non-admission paying audiences. Many times the filmmakers, or film subjects, are available for QA upon request. Let us know what your needs are and we will work with you to bring our films to your community. We highly recommend ARMADILLO, BEING IN THE WORLD and A GOOD DAY TO DIE. Also, if you would like to preview any film before ordering, let us know and we will provide you with a password to access an online screening room. We will also provide 10 white label DVDs with any PPR purchase limited to a single site for an additional $50. Stay cool and stay tuned for additional announcements. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Nollywood film distributors?
Terri, Kino Lorber Edu offers Nollywood Babylon, which provides a general overview of Nollywood films. You can read more about the documentary here: http://kinolorberedu.com/film.php?id=1059 It is available with and without PPR. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jul 5, 2011, at 3:16 PM, Ledbetter, Terri wrote: Hello, all. I’ve had many requests for Nigerian films lately, and I’m wondering if any of you have recommendations for sources. A customer directed me to this website: www.africanmoviesmall.com, but I am not sure how legitimate it is ($3.00 per DVD?). Any leads you can give me would be great. Thanks very much, Terri Beth Ledbetter Hartford Public Library 500 Main Street Hartford, CT 06103 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
[Videolib] Heads Up: All Non PPR Films from Kino Lorber Edu Now $89
In response to the dialog last week regarding pricing of non PPR films to the library/educational market, Kino Lorber Edu is offering all non PPR titles for $89* now through August 31st. As part of our Kino Lorber Edu Summer Sale, all films currently priced at $129 without PPR are now reduced to $89. Films include award-winning documentaries such as The Woodmans, Armadillo, NoBody's Perfect, In the Land of the Deaf, Taqwacore, Griefwalker and our most popular Film Studies titles like Great Directors, Swastika, American Grindhouse, and Reel Injun. To learn more about Public Performance Rights, Digital Site Licenses and Community Screenings contact us at e...@kinolorber.com. To bargain with us for orders over $400, give us a shout. We're flexible and we want you to buy our films for your collection. *excludes new releases, such as Film Socialisme, A Good Day to Die, Dirty Diaries, Mutantes, Raw Faith, Being in the World, City of Life and Death and United Ready Army Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] How do you know when you’ve become an artist?]
Matt, James and Gary, This discussion is very timely as we are currently reviewing our pricing structure, both for PPR, non PPR to institutions and digital site licensing. We are aware that budgets for PPR are diminishing and that many institutions do not require the license since the DVDs are circulated only to individuals and not shown to non-admission paying groups. Last year we introduced non PPR pricing for many of our docs which, while not $30, sought to address the needs and budgets of the institutional community. As a distributor of many critically-acclaimed theatrically-released films and documentaries, such as City of Life and Death, United Red Army, Film Socialisme and Raw Faith (of which you will be hearing more about next week), we consider the institutional market a primary audience for our films. Starting next week, we will be offering our films day-and-date with the theatrical release for purchase with PPR and for one-time Community Screenings. Once the film is no longer actively being promoted to the the theatrical market, we will then offer the films without PPR for a substantially lower price. Currently, our PPR licenses are $249 and our non PPR institutional and library sales are $149. Eventually, many of the titles will be released into home video, at which time they are available at $30 to all without PPR. James, I would be happy to send you a list of all of our films available without PPR for $30. PPR licenses will remain at $249. For those looking to place larger orders with us (five or more films) without PPR, we are always happy to offer discounts. Our goal as a distributor is, to quote Matt, to be the primary source of ...amazing content at a cost that aligns with a pricing model that's supportable under the constraints of my institution's collection development strategies and budget priorities. As Gary says though, the needs of the institutional market are changing and the demand for digital site licenses increasing as budget dollars are re directed from DVD to digital. We are currently revising our digital site licensing prices. While we will continue to offer substantially less expensive short term digital site licenses for those teachers who need a film for one semester, the majority of our films will be available with perpetual digital site licenses on an a la carte and collection basis. Stay tuned. And happy Fourth of July. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jul 1, 2011, at 11:27 AM, ghand...@library.berkeley.edu wrote: It has become increasingly clear to me (particular over the past three years) that the existing pricing model for indie docs is simply not viable. The $250-$450 gambit for indie docs will, I'm afraid, not continue to fly, even for moderately large and stable budgets such as mine (the large and stable being more and more relative every day). I've been around long enough to understand and support the need for higher pricing in the indie doc sector, but the ground rules for collecting in both public and private institutions are changing and will continue to change in the face of economic hard times. I find myself increasingly pulling my punches when it comes to shelling out for indie docs. Where, at one time, I used to think nothing of shelling out $300 based on anticipated use (i.e. just-in-case use), now I'm more than a bit gun shy to pay such prices for stuff that may not get used in the short-haul. I think $30 per shot is not really reasonable...but neither is $300. Somehow the model has to change--both for physical media such as DVDs and online delivery. gary A lot of the collecting I do is based on faculty requests but they're requesting Glee and Twilight. An equally large chunk of the collecting I do, though, is based on what I think we *should* have to support broader curricular needs, and a lot of that comes from distributors like Bullfrog, Icarus, Women Make Movies, etc. But those titles are so expensive that I can only afford to buy a few per year. However, if independent documentary filmmakers sold their films for $30.00 each I would increase my total purchases from them times ten, probably more. I'm not kidding. Nothing would make me happier than flipping through catalogs with a shiny red marker circling all of the titles I would love to have. For me, I would be getting amazing content at a cost that aligns with a pricing model that's supportable under the constraints of my institution's collection development strategies and budget priorities. For the filmmakers and distributors it means that I would be buying more titles, possibly multiple copies, of videos that I wouldn't have even considered before, and if I'm willing to do that then I bet there are at least four other media librarians who'd do the same. There, the filmmakers
Re: [Videolib] How do you know when you¹ve become an artist?]
Dear All, As I said in my earlier note, many of our films are available without PPR for $30. For new releases, many of which we will be announcing over the coming weeks as they open in theaters, we will be asking $149 without PPR but if you want to place an order of more than five films from Kino Lorber Edu, I am willing to offer discounts based on number of titles and meet you somewhere around halfway. Just drop me a note and I will get back to you. Matt, you are definitely one of our top customers and we have room for more (lots of room for many more). In fact, I up the ante and whichever library doubles their purchase on a dollar basis from last year with the fiscal year ending December 31, 2010, there will be a prize. And whoever spends the most in total dollars at Kino Lorber Edu, there will be another prize. How is that for suspense? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jul 1, 2011, at 12:32 PM, Ball, James (jmb4aw) wrote: If the library community wants to figure out a way to assure distributors they will literally sell 10 times the number of copies if they sell titles at $30 a pop, I guarantee you distributors would jump at the chance. It's not up to the library community to make assurances for the distributors, but together we can figure out a pricing model that's mutually beneficial. It is interesting that you mention Kino because they are one of the few distributors I know of that do follow my suggested pricing model, around $30.00 with no PPR, and I can tell you that I bought a lot more from them last year than I did from the other distributors. As for the 10 times guarantee, I just made that very promise. And I'm even flexible on the price. How about $60.00 with no PPR? Erika's offer looks pretty interesting too. Anybody want to take a test drive? Matt __ Matt Ball Media and Collections Librarian University of Virginia mattb...@virginia.edu 434-924-3812 On Jul 1, 2011, at 11:33 AM, Jessica Rosner jessicapros...@gmail.com wrote: Trust me, educational distributors would be thrilled if they could sell copies at $30 and basically make the same sum at selling it at $300, but it will never happen. I don't doubt you and James will buy a copy of films you would not otherwise, but many educational titles deal with very specialized subjects and they are not going to sell 2.000 copies. Keep in mind that it would also require a lot more time money from a company and the real kicker is they would still have to only do direct sales, nearly all to institutions. In order for a film to be really retail they would have to sell 20 times as many copies since wholesalers would take up to 50% of the price. Years ago I did a little experiment at Kino to see if there could be a middle ground. I curated a 3 title collection of silent films directed by women. I believe it was something $50 for institutions and $25 for individuals per title with a discount for the set. Sold about 200 at $50 each( or less as a set) did come close to covering the costs and a few dozen to individuals. Luckily there had been a TV sale which allowed me to fund the project. I thought $50 and $125 seemed like a nice middle ground but in truth had I sold them two or three times that, they would have made more money. Most of the institutions would still have purchased them and more than made up for some that would not have. If the library community wants to figure out a way to assure distributors they will literally sell 10 times the number of copies if they sell titles at $30 a pop, I guarantee you distributors would jump at the chance. Filmmakers would be especially happy because there films would be seen by more people. Sadly it is just not realistic for the vast majority of educational films and small distributors are not going to cherry pick one mildly popular title try to sell it for a lot less. On Fri, Jul 1, 2011 at 10:36 AM, Peterson, Erika Day - petersed peter...@jmu.edu wrote: Hear, Hear. Jessica is correct in saying that there's a limited market for the films independent distributor's deal with. We, the librarians, know that better than anyone because there's limited viewership for those titles once they're in our collection. It's impossible for me to justify purchasing a film for my collection that costs $200, $300, $400 or more just because *I* think it looks like a worthy title. It has to be for a direct and immediate academic need. Then there's the added temptation once we do have it, to lock-it up like it's the Hope Diamond, because we paid a small fortune for it. Thus, even further reducing the film's exposure to a broader audience. If I could purchase films for $30, no PPR, I would buy a lot more titles
Re: [Videolib] How do you know when you've become an artist?
I once turned down a French film on Mollusks of the North Atlantic that was subtitled in English. I told them, If only it had voice-over Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Jul 1, 2011, at 2:47 PM, Jessica Rosner wrote: Hey Erika are you sure it was Lesbians Who Save Frogs in Third World Countries and not my oft mentioned The Basket Weaving Lesbian Co-Operatives of Boliva? Again great minds think alike for mock educational titles. One repsonse to your example though, how many libraries would buy Lesbians Who Save Frogs in Third World Countries If it were $30 sans PPR? That I am afraid is the problem. On Fri, Jul 1, 2011 at 2:39 PM, Peterson, Erika Day - petersed peter...@jmu.edu wrote: Larry, I'm sorry, but some of your assumptions about how films are being used in the academic curriculum are not correct. Twilight is widely used. Wall-E is widely used. Do you know what is never NOT on reserve? The Simpsons. I'm not just talking about film and television studies courses either. Religion, Philosophy, History, English, Women Studies, etc. etc. Also, the most popular independent documentary in our collection MIGHT circulate 300 times. For the vast majority what we're talking about is single digit circulation. We buy: Lesbians Who Save Frogs in Third World Countries in 1995 on VHS for $350 (with PPR that we don't need). Professor Sanchez puts it on reserve for her seminar class and it circulates 5 times. Then she doesn't teach that seminar ever again and it never circulates again. Ten years later Professor Sanchez's former grad student, Roger, wants to show it to his ENWR class, but his room doesn't have a VHS player, so we buy it on DVD ($350) put it on reserve he shows it to his class, that's 1 circulation. 2011, Roger decides to teach this class again to his distance ed class, has to have it streaming, now we have to pay again? So $700 for 6 circulations? $116 per use for the same title. How does that make any sense at all for us? So I can shell out another chunk of money for something that's STILL not going to get used, or I can just say, Nope, sorry Roger, too expensive, you'll have to find some other video to teach with. You may think this is an exaggeration. But this is a more common scenario than not. Erika * * * * * * Erika Peterson Director of Media Resources Carrier Library, James Madison University (540) 568-6770 http://www.lib.jmu.edu/media On 7/1/11 2:13 PM, Lawrence Daressa l...@newsreel.org wrote: Dear Matt, As a non-profit organization, Newsreel feels our first commitment is get our films seen by as many people as possible, so we would prefer you to buy ten films at $30 dollars, than one at $300. But, at the same time, we think it's important to pay the producers of a film a royalty which reflects its use and value in education; in that way they can make more films, so you'll have more than Twilight to buy. So, your post raises a few idle questions in my mind. 1. I trust Twilight is not widely used in the curriculum of the University of Virginia. Students traditionally have not read or seen what they wanted but what they were assigned. This may have changed and, if so, you should have no trouble finding appropriate instruction media for $19.95 a DVD. But it would seem unnecessary for the University to buy that title since it's been demonstrated those students will pay $10 to see it anyhow at commercial theatres or pay $19.95 for a DVD or $2.00 for an i-Tunes. 2. Filmmakers always ask us if students can afford to pay those amounts (to say nothing of $50 or $100 for a rock concert), why they, their parents or the taxpayers will only pay pennies for them to see a serious educational documentary. If over the life of a DVD or digital license 300 people saw a film at the University of Virginia, the effective price at $30 would be $.10. I suspect if a title were used at all widely in the curriculum that would be possible. Similarly, if five students use a $150 textbook (resold four times) the effective price is $30 or 300 time more. Aren't we really talking about an issue of values rather than economics? Entertainment vs. education; print vs. moving images? 3, If a title is bought for reference use, like a scholarly monograph, (in Gary's distinction, if it's in the collection just in case someone needs to consult it), I agree $30 would be a reasonable price. In that case, would you be willing to limits its use to 30 people, $1 per screening, less than an article from J-Stor? I find it hard to believe that in the digital age its use couldn't be metered. It seems fair to pay a low royalty to the producer of a film which is rarely used but unfair to pay the same royalty to a producer whose film is seen
Re: [Videolib] Foreign language materials
I have begged our local library to buy foreign audio books for refreshing my nascent French, German and Russian comprehension skills but my pleas have fallen on deaf ears. Is it not possible in the U.S. to order from Amazon in France or Germany and have these resources available to patrons? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kiolorber.edu On Jun 3, 2011, at 1:39 PM, Stanton, Kim wrote: We circulate foreign language learning CDs and Playaways (self-contained, portable MP3 devices). We’ve purchased Pimsleur, Colloquial Series and Henry Ramond’s Learn In Your Car series. The Pimsleur language learning Playaways are our highest circing audiobook materials. CDs are circ’d as a full set, along with their print guides. We use to barcode each piece, but recently changed our processing to one barcode with a note that pops up in our ILS noting how many discs are in the set. Playaways are circulated with the MP3 device and the battery - we removed the headphone that came with the set. Our audiobook circ rules (loan period, fines, lendable to “courtesy card” holders) are the same rules used for books, rather than other forms of media. Though, like other media materials, audiobooks are still kept in the media center in closed stacks. Kim Stanton Head, Media Library University of North Texas kim.stan...@unt.edu P: (940) 565-4832 F: (940) 369-7396 From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Ball, James (jmb4aw) Sent: Friday, June 03, 2011 11:54 AM To: videolib@lists.berkeley.edu Subject: [Videolib] Foreign language materials Hi All, Is anyone collecting foreign language CDs, and if so what do you collect and how do you circulate them? I get requests for things like Barron’s Mastering French which comes with 12 CDs. First of all, do you even collect material like that, and if so how would you manage and circulate it. Would you check it out as a set? One disc at a time? Is there a different loan period? Are they recallable? Just trying to wrap my head around how to easily and effectively do this. Cheers, Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Foreign language materials
Ursula, I have all of the books to read but I want to hear the language spoken as I read along let me know if you find any source for audio books online. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Jun 3, 2011, at 2:07 PM, Ursula Schwarz wrote: Elizabeth, Check this out. You can read these great German authors online. It’s not audio books, but there’s a huge selection and it’s free. I picked Kafka as an example. http://www.zeno.org/Literatur/M/Kafka,+Franz Ursula National Media Market P.O. Box 87410 Tucson, AZ 85754-7410 (520) 743-7735 http://www.nmm.net/ From: Elizabeth Sheldon elizab...@kinolorber.com Reply-To: videolib@lists.berkeley.edu Date: Fri, 3 Jun 2011 13:46:32 -0400 To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Foreign language materials I have begged our local library to buy foreign audio books for refreshing my nascent French, German and Russian comprehension skills but my pleas have fallen on deaf ears. Is it not possible in the U.S. to order from Amazon in France or Germany and have these resources available to patrons? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kiolorber.edu On Jun 3, 2011, at 1:39 PM, Stanton, Kim wrote: We circulate foreign language learning CDs and Playaways (self-contained, portable MP3 devices). We’ve purchased Pimsleur, Colloquial Series and Henry Ramond’s Learn In Your Car series. The Pimsleur language learning Playaways are our highest circing audiobook materials. CDs are circ’d as a full set, along with their print guides. We use to barcode each piece, but recently changed our processing to one barcode with a note that pops up in our ILS noting how many discs are in the set. Playaways are circulated with the MP3 device and the battery - we removed the headphone that came with the set. Our audiobook circ rules (loan period, fines, lendable to “courtesy card” holders) are the same rules used for books, rather than other forms of media. Though, like other media materials, audiobooks are still kept in the media center in closed stacks. Kim Stanton Head, Media Library University of North Texas kim.stan...@unt.edu P: (940) 565-4832 F: (940) 369-7396 From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Ball, James (jmb4aw) Sent: Friday, June 03, 2011 11:54 AM To: videolib@lists.berkeley.edu Subject: [Videolib] Foreign language materials Hi All, Is anyone collecting foreign language CDs, and if so what do you collect and how do you circulate them? I get requests for things like Barron’s Mastering French which comes with 12 CDs. First of all, do you even collect material like that, and if so how would you manage and circulate it. Would you check it out as a set? One disc at a time? Is there a different loan period? Are they recallable? Just trying to wrap my head around how to easily and effectively do this. Cheers, Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition
Re: [Videolib] UCLA Case
I would like to add to Jessica's note that this is the equivalent of a local PBS station buying DVDs from Amazon and broadcasting them in their community without paying a license to the copyright holder. Jessica is correct that many of the films that ULCA has encoded and streamed were purchased at retail prices and were sold for home use before the emergence of new technologies. Some of the distributors did not require that institutions purchase PPR as they understood the copyright law and the exemptions but that does not mean that a de facto right to stream the films was included with the purchase of the DVD from Amazon or any other retail outlet, or even if purchased with PPR. Coming from the world of television broadcast, I can reassure you that Netflix or any other provider that offers films for streaming acquired the rights to do so and paid specifically for them and did not say, Oh, we distribute the DVD therefore we have the right to stream it... for no additional licensing fee to the copyright holder. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On May 26, 2011, at 3:20 PM, Jessica Rosner wrote: I am well aware of the issues and details Roger. Perhaps you would tell me if it is UCLA's position that the virtual classroom also permits the library to scan and post copyrighted books that students are assigned in classes so that they need not buy them, watch them in class or check them out of the library? I am dead serious about wanting to know because legally that is what UCLA is doing in digitizing full lengh feature films and streaming them to a students computer wherever they may be. Of course in the end this case actually solved nothing since UCLA appears to be getting off on technicalities and not if such a practice is legal. The overwhelming majority of titles streamed by UCLA did NOT come with Public Performance Rights. UCLA is taking $25 or less retail DVDs and old VHS copies and streaming them by the thousands. On Thu, May 26, 2011 at 1:16 PM, Brown, Roger rbr...@oid.ucla.edu wrote: Hi, As a (relatively new) member of the UCLA community dealing with the ramifications of this issue daily, I'd like to point out that not all the facts expressed here on this listserv are correct in re UCLA's policies. The real issue is in getting clarification on what is allowable in a virtual classroom environment and what that is exactly. And if digital streaming of a legally acquired copies, with or without certain rights stated or implied, can be part of (all of) our missions. The rules, policies, and interpretations are changing almost daily on this issue. Best, Roger Brown Manager UCLA Instructional Media Collections Services 46 Powell Library Los Angeles, CA 90095-1517 office: 310-206-1248 fax: 310-206-5392 rbr...@oid.ucla.edu -- Message: 2 Date: Thu, 26 May 2011 16:09:51 + From: Susan Albrecht albre...@wabash.edu Subject: Re: [Videolib] UCLA Case To: videolib@lists.berkeley.edu videolib@lists.berkeley.edu Message-ID: eb1e4106a574f649aeed38d97d0273bc6668f...@ex2010mailstore.wabash.main Content-Type: text/plain; charset=us-ascii Thank you for the text, Peter. One further question. Is anyone in a position to know whether, for *each* film UCLA streamed, it truly had paid for PPR? I know that still doesn't address, for a lot of us, the issue of format change, but I'm curious whether UCLA really thought ahead enough to limit its streamed offerings to those for which it had obtained PPR, and never streamed, for instance, a feature film Susan -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Peter Hartogs Sent: Thursday, May 26, 2011 12:00 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] UCLA Case Law360, New York (May 2, 2011) -- A federal judge in California indicated Monday she would dismiss a breach of contract suit alleging the University of California, Los Angeles, violated the copyrights of educational video makers when it implemented a system for streaming videos online to students and faculty. The tentative ruling, if entered, would bring clarity to the rights of colleges and universities that argue the public performance rights they purchased with educational films give them the legal authority to bring videos into the virtual classroom space. The court's tentative would be to grant the motion to dismiss, U.S. District Judge Consuelo B. Marshall told attorneys in the case Monday. The big issue is whether plaintiffs' counsel will seek leave to amend. The judge indicated that granting leave to amend in the case was not a foregone conclusion. Attorneys for the Association for Information Media and Equipment, a national trade
Re: [Videolib] UCLA Case
Matt, Perhaps my Netflix analogy was the best but I look forward to comtinuing the conversation in Vegas. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On May 26, 2011, at 5:42 PM, Ball, James (jmb4aw) wrote: Elizabeth, based on our conversation a few months ago I'm sure you won't be surprised to see that I still don't agree with your analogy, especially now that you're talking about a for-profit cable company with paying subscribers. But alas, we agreed to continue that conversation over a tasty beverage at the Market in the fall, which I am looking forward to. :-) Cheers, Matt __ Matt Ball Media and Collections Librarian University of Virginia mattb...@virginia.edu 434-924-3812 On May 26, 2011, at 5:14 PM, Elizabeth Sheldon elizab...@kinolorber.com wrote: Perhaps I should change my PBS analogy: it is like a cable channel, which is only accessible to paid subscribers, going to Walmart, buying a DVD, and broadcasting it on their cable VOD platform without paying for the rights. PBS is considered a non-profit institution and has a mandate to provide 'educational' programming. When I license programs to PBS they often retain the off-air taping rights so as that teachers can tape programs off air and show them in their classroom. It is a specific right that they ask for and that I grant, not one that they assume as an extension of the broadcast license. So my overall point is that in the commercial media world, rights are negotiated, granted and paid for. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On May 26, 2011, at 4:55 PM, Ball, James (jmb4aw) wrote: I would be surprised if UCLA is transmitting videos to individual computers, I’m pretty sure that students are accessing them through a course management system, which limits access to specific students who are registered for a specific class. If that’s the case then I’m not sure Elizabeth’s PBS analogy holds up. I also don’t think that PBS is considered a non-profit educational institution. Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner Sent: Thursday, May 26, 2011 4:42 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] UCLA Case Oh heck no. They are streaming to the students computers and I am pretty sure much of that is even off campus. Basically if a professor asks for a film to be streamed to a student they stream it. If it was to the class rooms I don't think companies would be upset. On Thu, May 26, 2011 at 4:27 PM, Ball, James (jmb4aw) jmb...@eservices.virginia.edu wrote: Isn't UCLA streaming to specific classes through a password-protected course management system? Matt Matt Ball Media and Collections Librarian University of Virginia Charlottesville, VA 22904 mattb...@virginia.edu | 434-924-3812 -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Elizabeth Sheldon Sent: Thursday, May 26, 2011 3:55 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] UCLA Case I would like to add to Jessica's note that this is the equivalent of a local PBS station buying DVDs from Amazon and broadcasting them in their community without paying a license to the copyright holder. Jessica is correct that many of the films that ULCA has encoded and streamed were purchased at retail prices and were sold for home use before the emergence of new technologies. Some of the distributors did not require that institutions purchase PPR as they understood the copyright law and the exemptions but that does not mean that a de facto right to stream the films was included with the purchase of the DVD from Amazon or any other retail outlet, or even if purchased with PPR. Coming from the world of television broadcast, I can reassure you that Netflix or any other provider that offers films for streaming acquired the rights to do so and paid specifically for them and did not say, Oh, we distribute the DVD therefore we have the right to stream it... for no additional lic ensing fee to the copyright holder. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On May 26, 2011, at 3:20 PM, Jessica Rosner wrote: I am well aware of the issues and details Roger. Perhaps you would tell me if it is UCLA's position
[Videolib] Donald Krim (1945 - 2011)
Having trouble viewing this email? Click here Donald Krim (1945 - 2011) FOR IMMEDIATE RELEASE New York, NY - May 20, 2011 - Donald B. Krim (b. October 5, 1945), the President of Kino International and co-President of Kino Lorber Inc., one of the most prestigious independent film distribution companies in the United States, died at his New York home on May 20, 2011, after a one-year battle with cancer. He was 65. A funeral service is planned for Monday, May 23 (11:45AM) at Riverside Memorial Chapel, located on 180 West 76th Street. The service is open to the public. A memorial service is planned for late June. As the President of Kino International, Don helped introduce some of the world's most revered film directors to American audiences; among many others, Wong Kar-Wai (Happy Together; Fallen Angels); Michael Haneke (The Piano Teacher); Amos Gitai (Kippur; Kadosh); Aki Kaurismäki (The Match Factory Girl; Ariel); Julie Dash (Daughters of the Dust); and Andrei Zvyagintsev (The Return). In 2000, Krim received the Mel Novikoff Award from the San Francisco Film Festival, for his work to enhance the filmgoing public's knowledge and appreciation of world cinema; and in 2006, he was the recipient of the prestigious William K. Everson Award for Film History, given by the National Board of Review. On that same year, the Anthology Film Archives bestowed Mr. Krim with a Film Preservation Honors Award. In 2009, he received The Visionary Award at the 24th Annual Israel Film Festival. Donald Krim, a Newton Mass. native, is the second of three sons of retired distinguished Raytheon engineer and executive Norman Krim and Beatrice Baron (deceased). He has been married to Susan Benjamin, a native of South Africa, since 1979. Susan currently serves as the Admissions Associate and CSE Coordinator at the Mary McDowell Friends School, one of New York City's leading schools for students with learning disabilities. Together, they raised their children, Miriam and Simon, in New York City. Miriam currently lives in London and Simon attends college in New York. His brothers are Arthur J. Krim and Robert Krim of Boston, Massachusetts. Donald Krim's parents, Norman and Beatrice, met in Cambridge and raised their sons in Newton, a suburb of Boston. Don attended Buckingham Browne Nichols School in Cambridge and was active in the high school drama club, producing several plays. The story of the summer day when Don first fell for the magic of the movies is a treasured family memory. The film was the 1950 Disney animated feature Cinderella. Arthur Krim had taken his little brother to the one o'clock show at the Surf Theater on Boston's North Shore. That evening Arthur came home, alone, to a surprised Norman and Beatrice. Back at the theater, Don, then a five-year-old, was well into the third viewing of Cinderella, smitten for life. Future favorites were to include Seven Brides for Seven Brothers and all the grand Technicolor films. In New York City, Donald Krim received his Bachelor's degree in American History from Columbia University in 1967 and obtained his law degree, also from Columbia, in 1971. After law school, Krim began his career at United Artists, first becoming head of the 16mm nontheatrical film rental division, then working on the formation of United Artists Classics, the first major studio-owned, art house division - and the model for today's Fox Searchlight and Sony Pictures Classics. Eventually, UA Classics also began to handle distribution rights to the MGM library, including films like The Wizard of Oz, and pre-1948 Warner Brothers titles, including Casablanca and The Adventures of Robin Hood. The company started distributing new foreign films shortly after. While Krim was at United Artists, his colleague Bill Pence was working at Janus Films, a company that held the rights to classic films like Fritz Lang's M, Fellini's La Strada, Kurosawa's Rashomon and Beauty and the Beast. While working for Janus Films, Pence founded Kino International, and in 1977, Krim purchased the one-year-old company and immediately started to expand. Within a few months of taking over Kino, we made a deal to handle the Chaplin films, like Modern Times and The Great Dictator. [Our rights were for] theatrical. We weren't getting home video, which was just in its beginning, and television. Then we took on the Selznick films, including [Alfred Hitchcock's Rebecca and Notorious, says Mr. Krim. The next year we took over the Alexander Korda library, including Thief of Bagdad. (DVDTalk; July 29, 2002) The next step for the still-young company was to start releasing new films. Around 1979, we started being offered new foreign films, Krim recalled. I took a flyer for a Japanese film from a director named Masahiro Shinoda... My wife [Susan Krim] liked it and we decided to do
Re: [Videolib] Brother Can You Spare a Dime? - again
Ken, I will shoot a note to the director, Phillip Mora. We distribute two of his other films: Double Headed Eagle and Swastika, and will let you know what he says. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Feb 19, 2011, at 6:08 AM, Jessica Rosner wrote: The film is available for instant viewing on Amazon which means there is someone out there who has sold rights in the US recently. Your best bet would be to try to find someone at Amazon willing to tell you who they bought it from. The last known US distributor was VCI and they are still around and while it never made it to DVD and has been out of print for a long time, they might well still have info in their files. Lastly check the original Variety review for producer/distributor. Your best bet is getting someone at Amazon to help with the contract info. On Fri, Feb 18, 2011 at 7:12 PM, Kenneth Wetherington ken.wethering...@duke.edu wrote: I see that my original inquiry was incomplete. I am looking for the rights to the documentary film Brother Can You Spare a Dime? directed by Philippe Mora in 1975. Sorry that I mislead everyone earlier. Ken --- Ken Wetherington Lilly Library Duke University ken.wethering...@duke.edu 660-5989 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) jessicapros...@gmail.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] [Videonews] Test
Perhaps the explanation is simple: when I hit 'reply all,' Video News is in the To window and Video List is in the cc line, hence the double e-mails? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Jan 4, 2011, at 12:23 PM, Randy Pitman wrote: Hi Gary, I've been getting double messages for several weeks now as well-- including your test. Best, Randy Randy Pitman Publisher/Editor Video Librarian 8705 Honeycomb Ct. NW Seabeck, WA 98380 Tel: (800) 692-2270; Fax: (360) 830-9346 Email: vid...@videolibrarian.com Web: www.videolibrarian.com - Original Message - From: ghand...@library.berkeley.edu To: videolib@lists.berkeley.edu Sent: Tuesday, January 04, 2011 8:25 AM Subject: [Videonews] [Videolib] Test Hi all Since I've gotten a few complaints about double posting (videonews and videolib) I'm sending this out as a test. I think the trouble may be that someone (a newbie vendor? you know who you are) may be posting to both lists). Let's see... Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEONEWS is an electronic clearinghouse for information about new services, products, resources, and programs of interest to video librarians and archivists, educators, and others involved in the selection, acquisition, programming, and preservation of video materials in non-profit settings. The list is open to all interest individuals and list submissions are unmediated. However the list owner reserves the right to revoke subscriptions to the list in cases where the intent of the list is routinely violated or where general listserv etiquette and protocol are infringed. VIDEONEWS is an electronic clearinghouse for information about new services, products, resources, and programs of interest to video librarians and archivists, educators, and others involved in the selection, acquisition, programming, and preservation of video materials in non-profit settings. The list is open to all interest individuals and list submissions are unmediated. However the list owner reserves the right to revoke subscriptions to the list in cases where the intent of the list is routinely violated or where general listserv etiquette and protocol are infringed. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Community Question
Ah, that explains the dearth of replies from this usually highly opinionated community. I note though that I am not violating the VIDEOLIB mandate: VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. So I hope to hear more opinions. At the moment, I am inclined towards the documentary that places the films in context without showing the explicit material and not releasing the collection of films. I asked myself the following questions yesterday evening: --if the films come with a manifesto, are they still porn due to the explicit nature of the content? --oddly enough, if they are released by a dedicated porn distributor, then any political relevance that the filmmakers were attempting to achieve will be obliterated and they will be sold as porn... by women. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Nov 10, 2010, at 8:24 AM, Shoaf,Judith P wrote: Gosh, I was trying to figure out why this whole thread got quarrantined by my spam filter (!!!)... Judy VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Community Question
Looks like my spam filter also was working overtime I just saw these replies. Please keep them coming! Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Nov 10, 2010, at 9:11 AM, Jessica Rosner wrote: Somewhat off topic, but my single greatest contribution to film studies was that some years ago I saved the largest collection of 35mm porn prints and got them sent to an academic institution. After over 90 years as a crucial part of the film business, the studios finally pushed the majority of film storage depots (known as exchanges in the silent era) out of business in the mid 90s. Together they held tens of thousands of unclaimed prints. The lawyers handling the bankruptcy sent the regular titles containing a large percentage of independent and foreign films (studios claimed theirs) to Atlanta for auction (fewer than 100 sold and I bought 5), but the porn prints were left in NJ for fear that they would be seized in Atlanta. I think there about 1000-1500 mostly from late 60s to early 90s. I thought they were an important piece of history and got the lawyers to agree to donate them to any archive that could arrange pick up. Most archives were not interested and one that was got cold feet. Then I got the idea to contact the Kinsey Institute in Indiana. They said they would take them, but the shipping was a problem. I got on old friend who was on the board the Playboy Foundation to get them to pay for shipping. Some people get to rescue rare and important silent, independent, historical etc, films but I got the porn stuff. Sadly I hear Kinsey has really not done anything with them and I only hope they still have them. I found out later the PFA would have loved them, but did not know that at the time, sorry Garry. On Wed, Nov 10, 2010 at 8:46 AM, Pearson, Jeffrey jwpea...@umich.edu wrote: There is an interest in the study of pornography here at the University of Michigan, and I would have no problem with purchasing the material for the library collection. Jeff Pearson -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of Walt Lessun Sent: Tuesday, November 09, 2010 3:14 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Community Question I've been trying to get our film prof to include adult film in his cinema courses. No luck so far but I keep trying. Walter Lessun, MSLS, MBA Director Alex D. Chisholm Library Gogebic Community College High Tech and Affordable: Your Superior Educational Choice http://www.gogebic.edu/library Ex ultione gaudium The information contained in this message (including any attachments) may contain privileged and/or confidential information protected from disclosure by the Family Educational Rights and Privacy Act (FERPA) and/or the Gramm-Leach-Bliley Act. It is intended solely for the use of the addressee. Any disclosure of this document is strictly prohibited outside the scope of the service for which you are receiving the information. If you have received this communication in error, please notify the sender immediately and delete the material from any computer. Please consider the environment before printing this e-mail. -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of Mike Tribby Sent: Tuesday, November 09, 2010 1:58 PM To: 'videolib@lists.berkeley.edu' Subject: Re: [Videolib] Community Question How the heck did Film #1 miss interviewing Nina Hartley? Mike Tribby Senior Cataloger Quality Books Inc. The Best of America's Independent Presses mailto:mike.tri...@quality-books.com -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of Elizabeth Sheldon Sent: Tuesday, November 09, 2010 1:50 PM To: videolib@lists.berkeley.edu Subject: [Videolib] Community Question Dear All, I have a question for the collective: we have an opportunity to acquire two films, one is a documentary about women and pornography with interviews with many of today's pro sex practitioners, activists and scholars in the field. The second film is a collection of explicit pornographic films produced by women for women, which is being promoted as feminist porn. For reference, one of my interns saw it in a theater in Paris and it comes with a manifesto, which you may read below. I have included descriptions of both as before we acquire I would like to know how many of you would potentially purchase explicit films for your collection. I believe these films are relevant to Women's Studies, LGBT and Film Studies, and are not 'just' pornography, although both qualify based on the content
[Videolib] Community Question
Betty Blue, Ophelia and Thelma Louise don't have to die in the end. 4. Smash capitalism and patriarchy The porn industry is sexist because we live in a patriarchal capitalist society. It makes profit out of people’s needs for sex and erotica and women get exploited in the process. To fight sexist porn you have to smash capitalism and patriarchy. 5. As nasty as we wanna be Enjoy, take charge or let go. Say NO when you want, to be able to say YES when YOU want. 6. Legal and free abortion is a human right! Everyone has the right to control their own body. Millions of women suffer from unwanted pregnancies and die from illegal abortions every year. Fuck the moral right for preaching against birth control and sex information. 7. Fight the real enemy! Censorship cannot liberate sexuality. It is impossible to change the image of women's sexuality if sexual images in themselves are taboo. Don't attack women for displaying sex. Attack sexism for trying to control our sexuality. 8. Stay Queer A lot of opposition to erotica is homophobic and even more transphobic. We don't believe in the fight between the sexes but in the fight against sexes. Identify as any gender you want and make love to whoever you want. Sexuality is diverse. 9. Use Protection I'm not saying go out an' do it, but if you do, strap it up before you smack it up. (Missy Elliot) 10. Do it yourself Erotica is good and we need it. We truly believe that it is possible to create an alternative to the mainstream porn industry by making sexy films we like. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
[Videolib] A.O. Scott's Review of Fritz Lang's Newly Restored METROPOLIS
Dear Librarians, How relevant do you find reviews, such as the one below by A.O. Scott in today's New York Times, on the newly restored METROPOLIS to your selection of titles? We always promote Video Librarian, but what about film critics like A.O. Scott and others who write for mainstream media outlets? Fritz Lang’s “Metropolis,” surely one of the most intensely studied and widely imitated films of the silent era, grows more complex and mysterious as time goes on. This is partly because the movie has not been seen in the form its director intended since 1927. The German studio UFA cut Lang’s ambitious science-fiction allegory shortly after its initial domestic release, and the American version (distributed by Paramount) was trimmed by an hour and effectively rewritten, with title cards that altered Lang’s meaning. Over the years new material has been discovered, and fresh restorations have been offered, so that the further “Metropolis” recedes into history, the newer it becomes. Read the complete article here: http://www.nytimes.com/2010/10/22/movies/22metropolis.html?scp=1sq=Metropolisst=cse Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] A.O. Scott's Review of Fritz Lang's Newly Restored METROPOLIS
You guys are terrific! Second half of this question: do you place greater value on festival films or does it depend on the film? For instance, we are releasing THE RED CHAPEL, which won Sundance in 2010. How relevant is the Sundance award to you or os hte subject alone compelling enough when you acquire titles? I look forward to seeing you all in Kansas City. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Oct 22, 2010, at 3:39 PM, Tatar, Becky wrote: And of course, Roger Ebert - Chicago Sun-Times. Becky Tatar Periodicals/Audiovisuals Aurora Public Library 1 E. Benton Street Aurora, IL 60505 Phone: 630-264-4100 FAX: 630-896-3209 blt...@aurora.lib.il.us www.aurora.lib.il.us -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Steffen, James M Sent: Friday, October 22, 2010 2:26 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] A.O. Scott's Review of Fritz Lang's Newly Restored METROPOLIS Dear Kino: Other critics that come to mind... Dave Kehr also has a great blog and a regular column in the New York Times. Other critics I like to follow include Michael Sragow, Jonathan Rosenbaum and the terrific, widely read blogger Self-Styled Siren (http://selfstyledsiren.blogspot.com/). --James -- James M. Steffen, PhD Film and Media Studies Librarian Theater, Dance, ILA/IDS and LGBT Subject Liaison Marian K. Heilbrun Music and Media Library Emory University 540 Asbury Circle Atlanta, GA 30322-2870 Phone: (404) 727-8107 FAX: (404) 727-2257 Email: jste...@emory.edu -- Message: 2 Date: Fri, 22 Oct 2010 11:14:17 -0400 From: Elizabeth Sheldon elizab...@kinolorber.com Subject: [Videolib] A.O. Scott's Review of Fritz Lang's Newly Restored METROPOLIS To: videolib@lists.berkeley.edu Message-ID: 5a729d4f-357b-45d8-bd91-2ddffefba...@kinolorber.com Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Dear Librarians, How relevant do you find reviews, such as the one below by A.O. Scott in today's New York Times, on the newly restored METROPOLIS to your selection of titles? We always promote Video Librarian, but what about film critics like A.O. Scott and others who write for mainstream media outlets? Fritz Lang?s ?Metropolis,? surely one of the most intensely studied and widely imitated films of the silent era, grows more complex and mysterious as time goes on. This is partly because the movie has not been seen in the form its director intended since 1927. The German studio UFA cut Lang?s ambitious science-fiction allegory shortly after its initial domestic release, and the American version (distributed by Paramount) was trimmed by an hour and effectively rewritten, with title cards that altered Lang?s meaning. Over the years new material has been discovered, and fresh restorations have been offered, so that the further ?Metropolis? recedes into history, the newer it becomes. Read the complete article here: http://www.nytimes.com/2010/10/22/movies/22metropolis.html?scp=1sq=Metr opolisst=cse Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com -- Message: 3 Date: Fri, 22 Oct 2010 09:57:30 -0600 From: Kim Crowley kcrow...@flathead.mt.gov Subject: Re: [Videolib] A.O. Scott's Review of Fritz Lang's Newly RestoredMETROPOLIS To: videolib@lists.berkeley.edu videolib@lists.berkeley.edu Message-ID: 7a99adde84b14443a78df0cbb44578f34b6c835...@dsmail.flathead Content-Type: text/plain; charset=Windows-1252 I always pay attention to Tony's reviews. kc Kim Crowley, Director Flathead County Library System phone: 406.758.5826 247 First Avenue East fax: 406.758.5868 Kalispell, MT. 59901-4598 kcrow...@flathead.mt.gov read our blog @ http://flatheadcountylibrary.blogspot.com/ From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] On Behalf Of Elizabeth Sheldon [elizab...@kinolorber.com] Sent: Friday, October 22, 2010 9:14 AM To: videolib@lists.berkeley.edu Subject: [Videolib] A.O. Scott's Review of Fritz Lang's Newly Restored METROPOLIS Dear Librarians, How relevant do you find reviews, such as the one below by A.O. Scott in today's New York Times, on the newly restored METROPOLIS to your selection of titles? We always promote Video Librarian, but what about film critics like A.O. Scott and others who write for mainstream media outlets? Fritz Lang?s ?Metropolis,? surely one of the most intensely studied and widely imitated films of the silent era, grows more complex and mysterious as time goes
[Videolib] Overdrive
Dear Colleagues, Do any of you have experience with Overdrive, and if so, can you let me know your thoughts in terms of: user experience, manageability and cost for movies? Is this service more widely used by public libraries than academic libraries? Many thanks in advance. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
[Videolib] Twitter Question
Dear All, A question for the collective: have you found Twitter useful as a librarian to receive information or do you mainly use it to promote your own events? I ask as we have just launched our Twitter account (twitter.com/ kinolorberedu) and it is bringing traffic into our new site (www.kinolorberedu.com ). We are dedicated to providing meaningful content, such as articles related to films (and not just our own), and updates about events, such as community screenings. What advice do you have for us to be a resource to the community? Looking forward to your replies. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
[Videolib] Stanley Fish, Literary Criticism and HOWL
Dear All, Stanley Fish opined this morning that HOWL is worth going to see (and viewers should definitely buy the book) because it functions as literary criticism, even though the common consensus among the critics is that it is a mediocre film. http://opinionator.blogs.nytimes.com/2010/10/04/literary-criticism-comes-to-the-movies/?hp How many of you will go see the film or acquire it for your collections based on the subject matter alone or does Professor Fish's endorsement make it more (or less) appealing? What other films 'elevate' literary works to the level of critical theory successfully rather than 'just' film adaptations? Is one preferable to the other to your communities? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com www.twitter.com/kinolorberedu www.facebook.com/kinolorberedu (under construction) VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Twitter Question
Mike, I don't think anybody has ever described me as verbose... but I agree about Mr. Ebert. I can't keep up with him. And as I said, we are aiming for quality tweets, not spam. Like our films: all essential, no supplement ; ) Now how about that HOWL review by Professor Fish in today's New York Times -- any comments or thoughts, preferably deep? Elizabeth On Oct 5, 2010, at 1:00 PM, Mike Tribby wrote: And if you don't think Twitter can be used to express deep / intelligent / relevant thoughts, take a look at Errol Morris's contributions But I would venture to say that even Morris' tweets have more application for some than for others. This discussion reminds me of one in another forum where a poster mentioned having to cancel Roger Ebert's Twitter stream because it was too prolific, causing the dissatisfied poster to have to scroll through a sea of Ebertisms to get to other stuff. So getting back to the original question for a second, I'd advise keeping the number of your tweets under control-- which I doubt will be a problem for Elizabeth. Mike Tribby Senior Cataloger Quality Books Inc. The Best of America's Independent Presses mailto:mike.tri...@quality-books.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Stanley Fish, Literary Criticism and HOWL
Gary, I had a personal close encounter with critical theory in graduate school which was very scarring, so for me it is not a recommendation that a weak film is redeemed because it is elevated beyond narrative to critical theory. I actually took a seminar with Zizek back in the day, which I found very interesting at the time (I think I also wore a lot of black, thought Sartre was credible and smoked Gitanes) but realized how far I was into my recovery post graduate school when I read an article about Zizek groupies in New York several years later in the New Yorker and tried to get my head around what anybody could possibly mean by claiming to be a 'Lacanian Marxist.' So that said, I will probably pass on HOWL especially -- and don't take offense here -- as I prefer the poems of Thom Gunn over AG. I am probably best described as a closet formalist when it comes to my taste in poetry. So here is to good poetry, good books and good films and the excellent critic that elucidates why things are important (in depth). Elizabeth On Oct 5, 2010, at 1:25 PM, ghand...@library.berkeley.edu wrote: Hi Elizabeth Well, although I haven't seen the film yet (I will--I'm a HUGE AG fan), I doubt that it (or ANY feature film) can be said to be effective literary criticism. The narrative and cinematic structure of features and their ultimate goal (box office receipts, always) generally put these films at odds with real critical analysis. I think the best that can be said is that a film like Howl may shed some light on the writing process and the critical reception of a literary work (but even here, the need to dramatize and hold audience attention may be at odds with that intent). In a sense, films like the Spike Jonze's Adaptation, which attempt to use the act of literary creation as a kind of dramatic trope, are much more effective works of general literary criticism than biopics such as Howl (even though the literary work at the core of the film is fictitious) Documentaries, which use a completely different types of rhetorical strategy and which have different claim on our attention, may be better suited to criticism (although I've seen fairly few which pull this off effectively). I appreciate Stanley Fish's analysis, but... Movies will simply never be able to do what sustained, well-reasoned writing does, and certainly not what effective literary criticism does. (Hey, this may be a continuation of my anti-Twitter viturperation) (By the way, film adaptation is a completely different kettle of typewriters on any number of scores...) gary Dear All, Stanley Fish opined this morning that HOWL is worth going to see (and viewers should definitely buy the book) because it functions as literary criticism, even though the common consensus among the critics is that it is a mediocre film. http://opinionator.blogs.nytimes.com/2010/10/04/literary-criticism-comes-to-the-movies/?hp How many of you will go see the film or acquire it for your collections based on the subject matter alone or does Professor Fish's endorsement make it more (or less) appealing? What other films 'elevate' literary works to the level of critical theory successfully rather than 'just' film adaptations? Is one preferable to the other to your communities? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com www.twitter.com/kinolorberedu www.facebook.com/kinolorberedu (under construction) VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control
Re: [Videolib] Stanley Fish ...Yipes
James, Thom Gunn, in my estimate, is an unsung star in whom future generations will discover and delight while AG's celebrity will, I suspect, fade. And while we are on the topic of great writers, is anybody else a fan of William Vollmann? My, we are off topic. Elizabeth On Oct 5, 2010, at 5:02 PM, Steffen, James M wrote: Maybe TMI, but only in the most delightful way. Thom Gunn was a fine poet and a fascinating character--he will be missed! --James -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of videolib-requ...@lists.berkeley.edu Sent: Tuesday, October 05, 2010 4:10 PM To: videolib@lists.berkeley.edu Subject: videolib Digest, Vol 35, Issue 17 Send videolib mailing list submissions to videolib@lists.berkeley.edu To subscribe or unsubscribe via the World Wide Web, visit https://calmail.berkeley.edu/manage/list/listinfo/videolib@lists.berkeley.edu or, via email, send a message with subject or body 'help' to videolib-requ...@lists.berkeley.edu You can reach the person managing the list at videolib-ow...@lists.berkeley.edu When replying, please edit your Subject line so it is more specific than Re: Contents of videolib digest... Today's Topics: 1. Stanley Fish ...Yipes (ghand...@library.berkeley.edu) 2. Re: Stanley Fish ...Yipes (CROWLEY, CHRISTINE) -- Message: 1 Date: Tue, 5 Oct 2010 11:39:33 -0700 From: ghand...@library.berkeley.edu Subject: [Videolib] Stanley Fish ...Yipes To: videolib@lists.berkeley.edu Message-ID: 91acbb5169f4569cf21caac61ccaff31.squir...@calmail.berkeley.edu Content-Type: text/plain;charset=utf-8 Yow! I meant my last ramble for Elizabeth only, not the list at large. Sory folks. g Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut -- Message: 2 Date: Tue, 5 Oct 2010 14:54:16 -0500 From: CROWLEY, CHRISTINE ccrowl...@alamo.edu Subject: Re: [Videolib] Stanley Fish ...Yipes To: videolib@lists.berkeley.edu Message-ID: dbce06919cb10d438b9adeb7486c3d4101d52...@accdmail2.ad.root Content-Type: text/plain; charset=US-ASCII It did seem a little TMIish... :) Christine Crowley Dean of Learning Resources Adjunct Faculty, Theatre Northwest Vista College 3535 N. Ellison Dr. San Antonio, TX 78251 210.486.4572 voice 210.486.4504 fax We will either find a way, or make one.--Hannibal -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of ghand...@library.berkeley.edu Sent: Tuesday, October 05, 2010 1:40 PM To: videolib@lists.berkeley.edu Subject: [Videolib] Stanley Fish ...Yipes Yow! I meant my last ramble for Elizabeth only, not the list at large. Sory folks. g Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. End of videolib Digest, Vol 35, Issue 17 This e-mail message (including any attachments) is for the sole use of the intended recipient(s) and may contain confidential and privileged information. If the reader of this message is not the intended recipient, you are hereby notified that any dissemination, distribution or copying of this message (including any attachments) is strictly prohibited. If you have received this message in error, please contact the sender by reply e-mail message and destroy all copies of the original message (including attachments). VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage
Re: [Videolib] Swank Digital Campus
For clarity, unless a contract between a filmmaker and a distributor specifies that the distributor may not grant licenses that extend beyond the original Term of the contract, a distributor may license a film for any given period of time during the original license period. For example, if a contract was signed in 2005 for a seven year term, a distributor could grant licenses that extend ten years beyond, or even, in perpetuity. The right to grant licenses expires in 2012, not the licenses granted to the end user. For example, a PPR license is for the life of the DVD. Even if the distributor only has seven years to grant PPR licenses to customers, the customer's license does not end when the distributor's contract ends. Likewise with digital site licenses, it is for the term of the digital site license agreed to between the institution and the distributor. Unless there are underlying rights issues and/or a clause that limits the term of a license to a certain period beyond the end of the original contract, there is no reason for a distributor not to offer a digital site license in perpetuity. From a legal point of view. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorberedu.com On Sep 30, 2010, at 5:08 PM, Jessica Rosner wrote: As a practical matter Swank really can't license for more than one academic year. This is what I have been trying to explain re studio product. I think is is very unlikely they will ever allow Swank, Criterion Pictures ( Fox films) or even themselves to license for more than a year. Anything is possible but I would not hold my breath. Similarly most independent and foreign films are likely to be able to license for say 1-7 years because 7 years is the standard contract term though some go up to 10 or more, however the clock starts ticking when the contract is signed so a film released in 2005 is likely only to have 2 years of licensing life left. In many cases these films are renewed, but in many cases they are not and a whole lot of companies go out of business these days leaving a lot of films in limbo. The Swank scenario may be more restrictive in terms of use than some, but for fiction feature films, most are going to be time limited and few available in perpetuity unless it is put into new contracts from now on and again I would not hold my breath for that. Jessica On Thu, Sep 30, 2010 at 3:40 PM, Stanton, Kim kim.stan...@unt.edu wrote: Hi all, I think we’re about to license our first streaming film through Swank Digital Campus. The usage scenario is so different from what I normally deal with. Typically, my library licenses individual films from distributers for use by all current student faculty, for a term ranging from 3 years to perpetuity and we stream the content from a library-run server and management system. The Swank content would be license for 1 semester, would only be accessible to a specific class and would be hosted off-site. I’m trying to figure out what my library’s role should be in the Swank scenario. If you’ve used Swank Digital Campus at your institution (or deal with other short term/ course specific digital rights), could you tell me how this was handled. · Who is responsible for the transaction – i.e whose name is on the contract/ invoice? The Library, the academic department, the faculty member, another campus group? · Who directly pays for the content? · If both of the above were handled by the library, was there any resistance to this sort of short term, limited access being the library’s responsibility? · Is there another department on your campus that more directly supports development and resources for online courses? What was their involvement? Thanks! Kim Stanton Head, Media Library University of North Texas kim.stan...@unt.edu P: (940) 565-4832 F: (940) 369-7396 VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between
[Videolib] Non-Theatrical /Educational Marketing Manager Job Posting
Non-Theatrical /Educational Marketing Manager Job Posting Kino Lorber, Inc., a leader in independent film distribution is seeking a Non-Theatrical/Educational Marketing Manager, to report directly to the Vice President. The Non-theatrical Manager works very closely with the VP and individual filmmakers in developing and executing non-theatrical marketing and outreach strategies for a wide variety of films. Main duties include: grassroots social networking, customer sales/ service, overseeing and maintaining branded websites, fielding calls and questions related to bookings, as well as email marketing to existing and new customers. Additional responsibilities include light administrative work, and general office support when necessary. A successful candidate will exhibit strong written and verbal communication skills, familiarity with digital marketing techniques, and have at least two years experience related to independent film distribution. Skills, Qualifications and Other Requirements: · This position requires someone to be detail oriented, computer savvy, and able to juggle multiple tasks in a productive and positive manner. · Excellent written and verbal communication skills. · Ability to work with little direct supervision with positive results. · Knowledge of and commitment to classic, world and independent cinema. · Proficient in Office software, social networking tools, web- based programs and comfortable working in a Mac environment. · Experience using web programming including HTML, CSS, a strong plus. · Passion for film and the Humanities · Liberal Arts degree with graduate degree preferred. Please forward resumes to: elizab...@kinolorber.comVIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Collective Brain: Gender Issues in Foreign Feature Films
of a handsome fellow prisoner and Helene with the boss whose kindness becomes her only solace. Remarkably at ease with his taboo subject matter, director Dieterle depicts the hothouse passions of Sex in Chains with ravishing black and white photography. Actor Dieterle gives a restrained, honest performance as a traditionally-minded young husband forced to test his marriage and his very sexuality. Though censored after its 1928 release, Sex in Chains has been restored to its original state-of-the- silent-film-art brilliance by the Filmmuseum Muenchen and is presented here for the first time on DVD. http://kino.com/video/item.php?film_id=731 Dementia An entirely unique and utterly bizarre rediscovery, John J. Parker's Dementia is a 1950s-style foray into the mind of psycho-sexual madness. Set entirely in a nocturnal twilight zone that blends dream imagery with the cinematic stylings of film noir, Dementia follows the tormented existence of a young woman haunted by the horrors of her youth, which transformed her into a stiletto-wielding, man-hating beatnik. Accompanied by George Antheil's sci-fi score, the camera follows a Gamin (Adrienne Barrett) on a surreal sleepwalk through B-movie hell, populated by prostitutes, pimps and would-be molesters, all photographed by William Thompson (Plan 9 From Outer Space, Maniac, Glen or Glenda?). Two years after its original release, a narration track of foreboding psychobabble (diabolically spoken by Ed McMahon) was added to Dementia, some controversial scenes were cut and the title was changed to the more sensational Daughter Of Horror. For 45 years, only this revamped bersion has ever been shown. This Kino on Video edition presents the original cut of Dementia, digitally mastered from the 35mm negative, as well as the complete Daughter Of Horror (U.S. 1957. 55 mins. BW.) from a 35mm print, and other rare souvenirs of this most peculiar motion picture achievement. http://kino.com/video/item.php?film_id=648 Let me know if any of these are interest. Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 www.kino.com On Jul 6, 2010, at 4:30 PM, Meghann Matwichuk wrote: Thanks for all the great suggestions so far. To answer Elizabeth's question -- these are some of the topics the instructor is looking to explore over the course of the semester, so no, she's not expecting to find films that cover all these in one title. She's looking for a handful of films from different world cinemas from 2008 or so forward. Best, Meghann On 7/6/2010 4:19 PM, Elizabeth Sheldon wrote: Must a film contain all of the 'areas of interest' or only one? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Jul 6, 2010, at 3:43 PM, Threatt, Monique Louise wrote: So, does that rule out Antonio’s Line? J From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of Meghann Matwichuk Sent: Tuesday, July 06, 2010 3:32 PM To: videolib@lists.berkeley.edu Subject: [Videolib] Collective Brain: Gender Issues in Foreign Feature Films Hi All, My annual appeal to the collective brain: I have a women's studies instructor who teaches a class on gender issues in world film each fall. She tries to use all new titles each semester, and it can be a challenge for her to find a new slate each year. Any recent releases that come to mind would be greatly appreciated. Here are the topics / areas that are of particular interest for her: intersexuality, reproductive rights, marriage choice, prostitution, religion and cultural gendered practices. She is ONLY interested in feature films -- not documentaries. Thanks in advance, * Meghann Matwichuk, M.S. Associate Librarian Instructional Media Collection Department Morris Library, University of Delaware 181 S. College Ave. Newark, DE 19717 (302) 831-1475 http://www.lib.udel.edu/ud/instructionalmedia/ VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between
Re: [Videolib] Collective Brain: Gender Issues in Foreign Feature Films
Must a film contain all of the 'areas of interest' or only one? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 W. 39th St., Suite 503 New York, NY 10018 (212) 629-6880 On Jul 6, 2010, at 3:43 PM, Threatt, Monique Louise wrote: So, does that rule out Antonio’s Line? J From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of Meghann Matwichuk Sent: Tuesday, July 06, 2010 3:32 PM To: videolib@lists.berkeley.edu Subject: [Videolib] Collective Brain: Gender Issues in Foreign Feature Films Hi All, My annual appeal to the collective brain: I have a women's studies instructor who teaches a class on gender issues in world film each fall. She tries to use all new titles each semester, and it can be a challenge for her to find a new slate each year. Any recent releases that come to mind would be greatly appreciated. Here are the topics / areas that are of particular interest for her: intersexuality, reproductive rights, marriage choice, prostitution, religion and cultural gendered practices. She is ONLY interested in feature films -- not documentaries. Thanks in advance, * Meghann Matwichuk, M.S. Associate Librarian Instructional Media Collection Department Morris Library, University of Delaware 181 S. College Ave. Newark, DE 19717 (302) 831-1475 http://www.lib.udel.edu/ud/instructionalmedia/ VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Trance, Shamanism, Spirit Procession Video
Chuck, Check out our 'highly recommended' documentary INTANGIBLE ASSET #82 about traditional Asian Shamanism. You can read more here: http://www.alivemindeducation.com/intangible-asset-82/ Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. (212) 629-6880 On Feb 24, 2010, at 8:47 PM, John Hoskyns-Abrahall wrote: Hi, Chuck Bullfrog has Miranda Smith's wonderful film called THE SHAMAN'S APPRENTICE about ethnobontanist Mark Plotkin's efforts to save the ancient wisdom of Amazonian shamans. www.bullfrogfilms.com/catalog/sham.html. All the best, John Hoskyns-Abrahall From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Chuck McCann Sent: Wednesday, February 24, 2010 6:14 PM To: videolib@lists.berkeley.edu Subject: [Videolib] Trance, Shamanism, Spirit Procession Video Please let me know of good titles in these or related topic areas!! :-) My Best -- Chuck McCann Strozier Library Scholars Common 850-644-5924 http://guides.lib.fsu.edu/multimedia http://guides.lib.fsu.edu/profile.php?uid=12569 http://www.youtube.com/user/fsulibraries VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Gary? How many?
happy birthday. i still owe you lunch... On Feb 8, 2010, at 1:36 PM, ghand...@library.berkeley.edu wrote: ...beats the alternative. g. Sweet. -Original Message- From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of ghand...@library.berkeley.edu Sent: Monday, February 08, 2010 12:31 PM To: videolib@lists.berkeley.edu Subject: Re: [Videolib] Gary? How many? 60 g So gary, tell us the truth! JM Jonathan Miller President Icarus Films 32 Court Street, 21st Floor Brooklyn, NY 11201 USA tel 1.718.488.8900 fax 1.718.488.8642 www.IcarusFilms.com jmil...@icarusfilms.com VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566 ghand...@library.berkeley.edu http://www.lib.berkeley.edu/MRC I have always preferred the reflection of life to life itself. --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
Re: [Videolib] Streaming feature films
Sarah, How much does Swank charge and how long is the term? Best, Elizabeth Elizabeth Sheldon Vice President Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 (212) 629-6880 tele www.alivemindeducation.com On Jan 21, 2010, at 1:36 PM, Sarah E. McCleskey wrote: Swank does it. But it’s not cheap. Sarah E. McCleskey Head of Access Services Acting Director, FIlm and Media Library 112 Axinn Library, 123 Hofstra University Hempstead, NY 11549-1230 516-463-5076 sarah.e.mccles...@hofstra.edu From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...@lists.berkeley.edu ] On Behalf Of Foster, Jennifer Sent: Thursday, January 21, 2010 1:11 PM To: videolib@lists.berkeley.edu Subject: [Videolib] Streaming feature films Has anyone ever tried to get streaming rights for a feature film? Even for a day (or a week or two) with an identified number of students? Is it outrageously prohibitive? Does Swank do that? My likely alternative is to put copies on reserve in our three locations and recommend local libraries, Netflix, and local rental locations. Thanks…jen Jennifer Foster Media Librarian The Victoria College/University of Houston-Victoria Library 361.570.4195 fost...@uhv.edu http://vcuhvlibrary.uhv.edu VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
