For what it's worth I say the same. I do not buy PPR for the library
unless there's no option. Bullfrog, WMM, et al., I would buy 10 $30
DVDs with no PPR for every $300 DVD I buy now -- currently just a
few a year.
Debbie Benrubi
Associate Librarian
University of San Francisco
On 7/1/2011 7:36 AM, Peterson, Erika Day - petersed 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 and be marketing them to my academic
community much more aggressively.
In fact I'm willing to pinky swear that I will spend the
same amount of money OR MORE this fiscal year as my average
over the last five years with any distributor that will make
this deal.
Erika
*
*
* *
* *
Erika Peterson
Director
of Media Resources
Carrier
Library, James
Madison University
(540)
568-6770
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 are still making money (maybe
more) and the visibility of their films has increased
five-fold. Or is it four? Anyway, you see my point.
Elizabeth, Meredith, Karen, are you interested?
$30.00 per title, no PPR, and I promise to buy at least
10 times the number of titles I bought last year.
Or perhaps there's another mutually beneficial
pricing model out there...
Matt
______________________________
Matt Ball
Media and Collections Librarian
University of Virginia
434-924-3812
As someone who works with independent documentary
filmmakers, let me tell you they would be THRILLED to
sell their films at $25 or $30 if they had a chance in
hell of selling 5 times as many as they would at $250.
The subject matter is generally geared towards the
academic community or at least not to the popular topics
that sell in the thousands and they have a lot of
expenses to recoup and it is a bitch to distribute.
These are simply not the same as the more popular $19.95
to $29.95 videos you will find at the retail level and
keep in mind the distributor only gets back 60% or so on
thing sold through third parties like Amazon. I assure
you if 1500 institutions would actually buy a wonderful
series of films on the post genocide justice system in
Rwanda or even one on Gerrymandering ( to plug the ones
I deal with) the directors would be over the moon to
sell them for $25 knowing more people could see them.
When good documentaries are carried by public libraries
at a fraction of the rate of bad action movies then you
will see a huge drop in prices, heck if just one in
every 500 university libraries bought them you would see
the same.
On Fri, Jun 24, 2011 at 7:31
PM, <[email protected]>
wrote:
---------------------------- Original Message
----------------------------
Subject: Re: [Videonews] How do you know when
you’ve become an artist?
From: [email protected]
Date: Fri, June 24, 2011 4:31 pm
To: "Video Library News" <[email protected]>
--------------------------------------------------------------------------
Problem isn't solved if the expensive title they've
taken out and lost is
out of distribution.
All depends on the mission of your collection (and
whether preservation
for long-haul to support teaching and research is
part of it)
Gary (who's cool in Berkeley)
> At the University of Southern California we
have in our collection
> at least 750 documentary films costing $250 or
more. And no effetism
> here. All such films fully circulate. And if a
student happens
> to lose such an item then said student is fully
obliged to reimburse the
> costs of the film. Problem solved--and it is a
policy that seems
> very much to work for us.
>
> And greetings from ALA and New Orleans!
>
> Cheers!
> Anthony
>
> *******************************
> Anthony E. Anderson
> Social Studies and Arts & Humanities
Librarian
> Von KleinSmid Library
> University of Southern California
> Los Angeles, CA 90089-0182
> (213) 740-1190 [email protected]
> "Wind, regen, zon, of kou,
> Albert Cuyp ik hou van jou."
> *********************************
>
> ----- Original Message -----
> From: jwoo <[email protected]>
> Date: Friday, June 24, 2011 12:33 pm
> Subject: Re: [Videonews] How do you know when
you’ve become an artist?
> To: Video Library News <[email protected]>
>
>> I like this video a lot, but because the
institutional price is
>> $250, it's in the "rare book" section of my
library and students
>> never bother to page it for in-library
viewing. If the library
>> were able to purchase a home-use copy for
$30, the video could be
>> placed in the circulating section, and I'm
sure many more students
>> would enjoy and benefit from the
production. IMHO, this is how
>> filmmakers shoot themselves in the foot.
Very few people are going
>> to see their work if it's priced for
effetes only.
>>
>>
>> On Jun 23, 2011, at 1:54 PM, Working Title
Info wrote:
>>
>> >WORKING TITLE: Career, Identity and the
American Artist
>> >
>> >WORKING TITLE offers insight and
inspiration to students of all
>> ages who aspire to follow the courageous
path to professional
>> careers in the arts. By offering a rare and
honest glimpse into the
>> daily lives of five diverse visual and
performing artists, the film
>> asks important questions, from the
practical (how do you support
>> yourself as a professional artist?), to the
personal (how might
>> this career choice affect your personal
relationships and other
>> life choices?) to the philosophical (how do
you know you are an
>> artist, and how do you make peace with that
knowledge and come to
>> embrace it as central to your identity?).
This film is a "must-
>> have" for arts educators, and it gave the
undergraduate students at
>> my university new-found confidence to
nurture and celebrate their
>> artistic aspirations. ~ Paula Birnbaum,
Ph.D., Assistant Professor,
>> Department of Art + Architecture,
University of San Francisco.
>> >
>>
>
> 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.
>
Gary Handman
Director
Media Resources Center
Moffitt Library
UC Berkeley
510-643-8566
[email protected]
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
[email protected]
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.
--
Jessica Rosner
Media Consultant
224-545-3897 (cell)
212-627-1785 (land line)
[email protected]
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.
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