[Videolib] Jean-Luc Godard: 'There Is No Such Thing as Intellectual Property'
http://www.theatlantic.com/technology/archive/2010/09/jean-luc-godard-there-is-no-such-thing-as-intellectual-property/62936/ Elizabeth McMahon 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] videolib Digest, Vol 34, Issue 83
As much as I appreciate 35mm, I generally recommend that my film programmers avoid booking old 35mm prints, because the large distributors can't easily control or guarantee the quality of the print shipped. Sandra, that's an excellent point. If I were a programmer, I would steer away from renting such prints altogether for precisely the reasons you describe. However, instructors usually have very specific reasons why they want to show particular films when they're tied to a course. By now they realize it's a crap shoot. I'm not sure that Swank always gets easy access to new prints of old films, even on new reissues. Actually, that's true. The studios maintain completely separate print pools for theatrical and non-theatrical venues. For example, there are always good-looking 35mm prints of 2001: A SPACE ODYSSEY that theatrical venues can rent, but the last I heard it was no longer possible to obtain *any* 35mm print of 2001 non-theatrically. Just because there's a new print showing in theaters does not mean that's what you'll get if you're a non-theatrical outfit. Swank probably has no say in this. At some point in the future, we'll all be able to show pristine 2K or 4K digital versions of many older (and newer) films. But for now I think most colleges are stuck with 35mm, and still more can show only DVDs. I suspect that relatively few can handle even Blu-ray discs at this point. -- James M. Steffen, PhD Film and Media Studies Librarian Theater and Dance 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 -- Message: 1 Date: Fri, 17 Sep 2010 19:45:20 -0400 From: Jackson, Sandra F. jackso...@uncw.edu Subject: Re: [Videolib] thanks for all the help with my Swank question! To: videolib@lists.berkeley.edu videolib@lists.berkeley.edu Message-ID: 88185c1f3afb384bb1bcc3de86115581150a76d...@uncwexmb1.dcs.uncw.edu Content-Type: text/plain; charset=iso-8859-1 I've run 35mm theaters for the past decade and am a skilled projectionist, as well as a manager.As much as I appreciate 35mm, I generally recommend that my film programmers avoid booking old 35mm prints, because the large distributors can't easily control or guarantee the quality of the print shipped.You could get lucky and get a good print. Or the color may be washed out. Or the print could be dirty. Or the sound will be damaged. Or the print may have scene jumps caused by numerous splices required after unfortunate brain wraps, tail wraps, or other projection disasters. Older films are far more likely to be brittle and prone to breakage than new prints. Your best bet is to create a very good relationship with your booker, in hopes that that person will manage the shipment with a bit more detail, rather than letting the depot send the print that is handy. Unfortunately, the depot and the distributor may not always know a print is bad.Some theaters do not report the damage that occurred in their facilities, for fear of incurring large charges. Distributors do not have time to watch every film that is shipped back to them, so they rely on the report of the theater that just received the print for the first time. In fact, a Criterion rep told me that it is nearly impossible to make sure the depot sends a good print regardless of the age. He said he just does not have control over what they ship, regardless of his requests. Make sure you build the print in ample time to preview it, report problems to the distributor and get a replacement reel or order a replacement print. It's not fun having an old film break during a show, then having to spice it while 300 audience members are staring with hostility at the projection booth. The audiences still thinks that a 35mm runs the same way as a VHS tape. If you get it fixed, some bright person in the audience will ask you to do the impossible and rewind the film to show it without the break. Younger audience members probably think that it runs like a DVD and have even less tolerance for technical difficulties. If you do decide to show an old 35mm, educate your audience about the possible challenges, so they will be patient if you experience technical difficulties. By the way, I have received excellent customer service from Swank for the past three years, even though our rep has changed three times, so if you have trouble with your rep, be sure to report the situation. Sandra F. Jackson Film Program Coordinator Lumina Theater Sharky's Box Office Department of Campus Life The University of North Carolina Wilmington Phone 910.962.7971 Fax: 910-962-7438 jackso...@uncw.edu http://www.uncw.edu/lumina NOTICE: Emails sent and received in the course of university business are subject to the North Carolina Public Records Act (N.C.G.S. ?132-1 et
Re: [Videolib] thanks for all the help with my Swank
Sorry, I forgot to paste in the correct subject. As much as I appreciate 35mm, I generally recommend that my film programmers avoid booking old 35mm prints, because the large distributors can't easily control or guarantee the quality of the print shipped. Sandra, that's an excellent point. If I were a programmer, I would steer away from renting such prints altogether for precisely the reasons you describe. However, instructors usually have very specific reasons why they want to show particular films when they're tied to a course. By now they realize it's a crap shoot. I'm not sure that Swank always gets easy access to new prints of old films, even on new reissues. Actually, that's true. The studios maintain completely separate print pools for theatrical and non-theatrical venues. For example, there are always good-looking 35mm prints of 2001: A SPACE ODYSSEY that theatrical venues can rent, but the last I heard it was no longer possible to obtain *any* 35mm print of 2001 non-theatrically. Just because there's a new print showing in theaters does not mean that's what you'll get if you're a non-theatrical outfit. Swank probably has no say in this. At some point in the future, we'll all be able to show pristine 2K or 4K digital versions of many older (and newer) films. But for now I think most colleges are stuck with 35mm, and still more can show only DVDs. I suspect that relatively few can handle even Blu-ray discs at this point. -- James M. Steffen, PhD Film and Media Studies Librarian Theater and Dance 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 -- Message: 1 Date: Fri, 17 Sep 2010 19:45:20 -0400 From: Jackson, Sandra F. jackso...@uncw.edu Subject: Re: [Videolib] thanks for all the help with my Swank question! To: videolib@lists.berkeley.edu videolib@lists.berkeley.edu Message-ID: 88185c1f3afb384bb1bcc3de86115581150a76d...@uncwexmb1.dcs.uncw.edu Content-Type: text/plain; charset=iso-8859-1 I've run 35mm theaters for the past decade and am a skilled projectionist, as well as a manager.As much as I appreciate 35mm, I generally recommend that my film programmers avoid booking old 35mm prints, because the large distributors can't easily control or guarantee the quality of the print shipped.You could get lucky and get a good print. Or the color may be washed out. Or the print could be dirty. Or the sound will be damaged. Or the print may have scene jumps caused by numerous splices required after unfortunate brain wraps, tail wraps, or other projection disasters. Older films are far more likely to be brittle and prone to breakage than new prints. Your best bet is to create a very good relationship with your booker, in hopes that that person will manage the shipment with a bit more detail, rather than letting the depot send the print that is handy. Unfortunately, the depot and the distributor may not always know a print is bad.Some theaters do not report the damage that occurred in their facilities, for fear of incurring large charges. Distributors do not have time to watch every film that is shipped back to them, so they rely on the report of the theater that just received the print for the first time. In fact, a Criterion rep told me that it is nearly impossible to make sure the depot sends a good print regardless of the age. He said he just does not have control over what they ship, regardless of his requests. Make sure you build the print in ample time to preview it, report problems to the distributor and get a replacement reel or order a replacement print. It's not fun having an old film break during a show, then having to spice it while 300 audience members are staring with hostility at the projection booth. The audiences still thinks that a 35mm runs the same way as a VHS tape. If you get it fixed, some bright person in the audience will ask you to do the impossible and rewind the film to show it without the break. Younger audience members probably think that it runs like a DVD and have even less tolerance for technical difficulties. If you do decide to show an old 35mm, educate your audience about the possible challenges, so they will be patient if you experience technical difficulties. By the way, I have received excellent customer service from Swank for the past three years, even though our rep has changed three times, so if you have trouble with your rep, be sure to report the situation. Sandra F. Jackson Film Program Coordinator Lumina Theater Sharky's Box Office Department of Campus Life The University of North Carolina Wilmington Phone 910.962.7971 Fax: 910-962-7438 jackso...@uncw.edu http://www.uncw.edu/lumina NOTICE: Emails sent and received in the course of university business are subject to the North
