Re: [Videolib] HELP: Best response re libraries and PPR

[Jessica Rosner]

OK that explains it.

Think of the French & Germans for whom PD is almost a non existent
concept. Not sure how that effects all the academic use though.
It does ironically make some German & French films, especially silents
available here that are not available there.


On Fri, Sep 16, 2011 at 5:58 PM, Susan Weber  wrote:
> Janice:  vtape is Canadian. Therefore, PPR is required to show the film
> in a Canadian classroom.  However, since the US did sign the Berne
> Copyright Agreement, the American purchaser only has to apply the
> law of their country, not the law of the originating country where the
> film was made (or sold).
> No doubt, vtape is not up to snuff on S. 107 or 108 or 109 for that matter
> of the US copyright Act. But they are quoting the law of the land where they
> operate.  Face-to-face and classroom exemption are not what vtape would
> normally have to deal with.
> Think how unfair it is to us Canadians when we buy US productions, then have
> to
> pay for PPR for the same use that many of you have: classroom and
> face-to-face.
> Be glad you have the exemptions you do have, and fight to keep them.
>
> Susan
>
> On 15/09/2011 6:04 PM, Jessica Rosner wrote:
>
> They way I am reading that quote, they are basically justifying the
> cost on what I would call contract not copyright law grounds. I am
> going to assume none of their titles are available through your
> standard retailers. I don't think explaining "face to face" etc. to
> them would do any good. The first person seemed to honestly think
> there was a law somehow requiring libraries to purchase PPR rights,
> this one seems to just be explaining why they charge you more. Again
> if a company completely controls the distribution of a title they can
> pretty much charge what they want to who they want, but it is
> frustrating when they try to dress it up using PPR which is of course
> not actually needed or involved in 99% of the cases.
>
> Jessica
>
> On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
>
>
> Thanks for all your suggestions, and yet, I'm still going back and forth
> with the filmmaker trying to help her understand all the legalese.
> On top of that, now I've got another vendor (vtape.org) who is clueless
> about PPR and whom I quote, "Public performance is rated on levels of
> presentation beyond home use. Circulating and using in College and
> University classrooms is actually a level of public performance rights and
> requires a rate that reflects this type of purchase."
> Therefore may I beseech someone to write up an explanation addressed to
> filmmakers and film distributors that clearly and simply states what PPR,
> home-use, lending, the TEACH act etc. means in relation to libraries?  It
> would be wonderful to be able to send out a pdf that says it all, rather
> than spending a whole morning going back and forth over these issues again
> and again.
> Thanks in advance,
> Janice
> California College of the Arts
>
> On Sep 12, 2011, at 1:53 PM, Chris McNevins wrote:
>
> Hi Janice,
>
> I had a similar experience last year which I posed to VIDEOLIB for
> guidance.  Here’s the summary:
>
> [Videolib] FW: Institutional Version of Film Pane Amaro/Bitter Bread
> Chris McNevins
> Fri, 26 Feb 2010 12:32:05 -0800 (PST)
> This is what I sent.
> Feel free to use it as a template.
> Thanks to Dennis, Jessica, et al. for the words and the encouragement.
> I'll keep you posted
> Chris McN
>
> 
>
> From: Chris McNevins
> Sent: Friday, February 26, 2010 2:23 PM
> To: 'Gianfranco Norelli'
> Subject: RE: Institutional Version of Film Pane Amaro/Bitter Bread
>
>
> Dear Mr. Norelli,
> While I understand that the library does not have the right to publicly
> screen
> this DVD with or without an admission fee, US Copyright Title 17 does allow
> for
> library and classroom use:
> See: http://www.copyright.gov/title17/92chap1.html#110
>
> § 110. Limitations on exclusive rights: Exemption of certain performances
> and
> displays43 
>
> Notwithstanding the provisions of section 106,
>   the following are not
> infringements of copyright:
>
>
> (1) performance or display of a work by instructors or pupils in the course
> of
> face-to-face teaching activities of a nonprofit educational institution, in
> a
> classroom or similar place devoted to instruction.
>
> If and when there is an occasion on campus where this DVD will be shown in a
> manner that merits public performance rights the library will make every
> effort
> to contact you for permission.
>
> With kind regards,
> Chris McNevins
> Acquisitions Coordinator
> University of Connecticut
> Homer Babbidge Library
> Collections Services
> Acquisitions-Financial Services-Statistics Team
> 369 Fairfield Way Unit 2005AM
> Storrs, CT 06269-2005
> ph: 860-486-3842
> fax: 860-486-6493
>
>
>
>
> From: videolib-boun...@lists.berkeley.edu [mailto:videolib-boun...

Re: [Videolib] HELP: Best response re libraries and PPR

[Susan Weber]

Janice:  vtape is Canadian. Therefore, PPR is required to show the film
in a Canadian classroom.  However, since the US did sign the Berne
Copyright Agreement, the American purchaser only has to apply the
law of their country, not the law of the originating country where the
film was made (or sold).
No doubt, vtape is not up to snuff on S. 107 or 108 or 109 for that matter
of the US copyright Act. But they are quoting the law of the land where they
operate.  Face-to-face and classroom exemption are not what vtape would
normally have to deal with.
Think how unfair it is to us Canadians when we buy US productions, then 
have to
pay for PPR for the same use that many of you have: classroom and 
face-to-face.

Be glad you have the exemptions you do have, and fight to keep them.

Susan

On 15/09/2011 6:04 PM, Jessica Rosner wrote:

They way I am reading that quote, they are basically justifying the
cost on what I would call contract not copyright law grounds. I am
going to assume none of their titles are available through your
standard retailers. I don't think explaining "face to face" etc. to
them would do any good. The first person seemed to honestly think
there was a law somehow requiring libraries to purchase PPR rights,
this one seems to just be explaining why they charge you more. Again
if a company completely controls the distribution of a title they can
pretty much charge what they want to who they want, but it is
frustrating when they try to dress it up using PPR which is of course
not actually needed or involved in 99% of the cases.

Jessica

On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
  

Thanks for all your suggestions, and yet, I'm still going back and forth
with the filmmaker trying to help her understand all the legalese.
On top of that, now I've got another vendor (vtape.org) who is clueless
about PPR and whom I quote, "Public performance is rated on levels of
presentation beyond home use. Circulating and using in College and
University classrooms is actually a level of public performance rights and
requires a rate that reflects this type of purchase."
Therefore may I beseech someone to write up an explanation addressed to
filmmakers and film distributors that clearly and simply states what PPR,
home-use, lending, the TEACH act etc. means in relation to libraries?  It
would be wonderful to be able to send out a pdf that says it all, rather
than spending a whole morning going back and forth over these issues again
and again.
Thanks in advance,
Janice
California College of the Arts

On Sep 12, 2011, at 1:53 PM, Chris McNevins wrote:

Hi Janice,

I had a similar experience last year which I posed to VIDEOLIB for
guidance.  Here’s the summary:

[Videolib] FW: Institutional Version of Film Pane Amaro/Bitter Bread
Chris McNevins
Fri, 26 Feb 2010 12:32:05 -0800 (PST)
This is what I sent.
Feel free to use it as a template.
Thanks to Dennis, Jessica, et al. for the words and the encouragement.
I'll keep you posted
Chris McN



From: Chris McNevins
Sent: Friday, February 26, 2010 2:23 PM
To: 'Gianfranco Norelli'
Subject: RE: Institutional Version of Film Pane Amaro/Bitter Bread


Dear Mr. Norelli,
While I understand that the library does not have the right to publicly
screen
this DVD with or without an admission fee, US Copyright Title 17 does allow
for
library and classroom use:
See: http://www.copyright.gov/title17/92chap1.html#110

§ 110. Limitations on exclusive rights: Exemption of certain performances
and
displays43 

Notwithstanding the provisions of section 106,
  the following are not
infringements of copyright:


(1) performance or display of a work by instructors or pupils in the course
of
face-to-face teaching activities of a nonprofit educational institution, in
a
classroom or similar place devoted to instruction.

If and when there is an occasion on campus where this DVD will be shown in a
manner that merits public performance rights the library will make every
effort
to contact you for permission.

With kind regards,
Chris McNevins
Acquisitions Coordinator
University of Connecticut
Homer Babbidge Library
Collections Services
Acquisitions-Financial Services-Statistics Team
369 Fairfield Way Unit 2005AM
Storrs, CT 06269-2005
ph: 860-486-3842
fax: 860-486-6493




From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On
Behalf Of Ball, James (jmb4aw)
Sent: Monday, September 12, 2011 4:13 PM
To: 
Subject: Re: [Videolib] Best response re libraries and PPR

Janice,

The ALA fact sheet seems like a good place to start.  You could also direct
them directly to copyright 109.

On a slightly different but related note, I've noticed in my discussions
with some distributors that for them value is related to use or potential
use, meaning the number of times a video is viewed or may be viewed.
 Clearly the mission of most libraries 

Re: [Videolib] videolib Digest, Vol 46, Issue 59

[CATARCHIVE]

Creative Arts Television has a 28 minute show called "Commedia del Arte 
Hamlet."   It's an old television productionand very funny.

Stephan Chodorov
Creative Arts TelevisionVIDEOLIB 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] Commedia dell'arte

[Susan Weber]

Jo-An:
Films Media Group has a Peregrine Production DVD called Commedia dell'arte
http://twist.langara.bc.ca/record=b1189797~S1

Susan

On 16/09/2011 11:47 AM, Jo Ann Reynolds wrote:


Hi Collective Mind,

 

Having discouraged one of our professors from using long clips most 
probably not covered by section 108 I am looking for alternatives for her.


 

She was very interested in a BBC production, All the World's a Stage 
with Ron Harwood for examples of Commedia dell'arte.


 

A quick search has found a couple of alternatives and Harwood's book, 
All the World's a Stage, but she wants clips or DVD.


 

I found Theatre in Video has a clip on Commedia dell'arte and Icarus 
Films has Sia Bazi theater groups similar to Commedia dell'arte.


 

Does anyone know where the BBC series All The World's Stage can be 
purchased (or if it is still available)?


Any other particularly fine examples of Commedia dell'arte from other 
productions?


 


e.g. are these any good?

 


*Commedia by Fava - The Commedia dell' Arte Step by Step *

*Or*

*Spirit of Commedia***

 

 


Any pointers would be appreciated.

 


Thanks,
Jo An

 


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 *

 




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.
  


--

Susan Weber

Media Librarian
Library
T  604.323.5533
F  604.323.5512
swe...@langara.bc.ca 

Langara. 

100 West 49th Avenue, Vancouver, BC, V5Y 2Z6

Please consider the environment before printing.
CONFIDENTIALITY: This e-mail may contain confidential or privileged 
information. If you are
not the intended recipient, please notify us immediately and delete this 
email from your system.


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] Commedia dell'arte

[Jo Ann Reynolds]

Hi Collective Mind,

 

Having discouraged one of our professors from using long clips most
probably not covered by section 108 I am looking for alternatives for
her.

 

She was very interested in a BBC production, All the World's a Stage
with Ron Harwood for examples of Commedia dell'arte.

 

A quick search has found a couple of alternatives and Harwood's book,
All the World's a Stage, but she wants clips or DVD. 

 

I found Theatre in Video has a clip on Commedia dell'arte and Icarus
Films has Sia Bazi theater groups similar to Commedia dell'arte.

 

Does anyone know where the BBC series All The World's Stage can be
purchased (or if it is still available)?

Any other particularly fine examples of Commedia dell'arte from other
productions?

 

e.g. are these any good?

 

Commedia by Fava - The Commedia dell' Arte Step by Step 

Or

Spirit of Commedia

  

  

Any pointers would be appreciated.

 

Thanks,
Jo An

 

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 

 

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 46, Issue 57 --Re: Friday Fun Day Bibliography

[Julie Bradford]

Today's Topics:

   1. Re: Friday Fun Day Bibliography: Films that Portray Computers
  in a Positive Light... 

I'd say this one might be both positive and negative, but definitely an 80s
classic: Electric Dreams!
http://www.imdb.com/title/tt0087197/


Also stumbled upon a Disney Flick with Kurt Russell from 1969:
The Computer who wore Tennis Shoes 
http://www.amazon.com/Computer-Wore-Tennis-Shoes/dp/B7GZZT/ref=sr_1_1?s=
movies-tv&ie=UTF8&qid=1316196937&sr=1-1

~Julie





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 Day Bibliography: Films that Portray Computers in a Positive Light...

[Brigid Duffy]

Aha! That brings to mind:

Batteries Not Included (1987)

Brigid Duffy
Academic Technology
San Francisco State University
San Francisco, CA  94132-4200
E-mail: bdu...@sfsu.edu


On Sep 16, 2011, at 9:42 AM, Rachel Gordon wrote:

> Short Circuit!
>
> Sci-Fi Geek of 80s...
> :)
> Rachel
>
> Rachel Gordon
> Energized Films
> www.energizedfilms.com
>
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu
> [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of  
> Shoaf,Judith P
> Sent: Friday, September 16, 2011 12:30 PM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Friday Fun Day Bibliography: Films that  
> Portray
> Computers in a Positive Light...
>
> I was thinking of the computers and robots in Woody Allen's  
> Sleepers. There
> is a bossy computer in a Prisoner episode, "The General" I think.  
> Benign
> computers are harder to come up with. There is that uncanny valley  
> thing
> that skews narratives away from it.
> Benign computer techs, though, i.e. humans who interpret computer
> information to people, are pretty common. But I guess you would call  
> that
> "the good geek."
>
> Judy
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu
> [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
> ghand...@library.berkeley.edu
> Sent: Friday, September 16, 2011 11:48 AM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Friday Fun Day Bibliography: Films that  
> Portray
> Computers in a Positive Light...
>
> hey scott
>
> check out:
>
> http://www.lib.berkeley.edu/MRC/Scififilm.html#cyborg
>
> Some of favorite bad (or at least annoying) machines
>
> Desk Set (with Katherine Hepburn)
> Colossus, The Forbin Project
> 2001 (my man, HAL!)
> Demon Seed (Julie Christie goes on the ultimate bad date with a
> supercomputer)
>
> I also sort of like the various Twilight Zone installments dealing  
> with
> comuters (see sci fi list cited above)...charming and instructive in  
> a Mad
> Men sort of way.
>
> gary
>
>
>
>> Hi Everyone,
>>
>> Late today I received a fun request from the Computer Science subject
>> librarian.  Students from [the world's coolest] Computer Science
>> course need to write a paper on positive/negative portrayals of
>> computer tech. in film.
>> I sought clarification if "computer tech." extended to robots and
>> other computer run machinery, but no response, so I am sticking to
>> pure computing for now.
>>
>> Since negative portrayals are easy enough to come by, the CS  
>> librarian
>> specifically requested film titles suggestions with positive computer
>> tech portrayals, a request I have found to be subjective (e.g., is
>> WOPR from WarGames a positive or negative portrayal?)
>>
>> So have it, films that portray computers in a positive light...
>>
>> -Scott
>>
>> On Thu, Sep 15, 2011 at 11:17 PM,
>> wrote:
>>
>>> 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/ 
>>> video...@lists.berk
>>> eley.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. Re: HELP: Best response re libraries and PPR (Jessica Rosner)
>>>  2. Re: HELP: Best response re libraries and PPR (Joyce Johnson)
>>>
>>>
>>> -
>>> -
>>>
>>> Message: 1
>>> Date: Thu, 15 Sep 2011 21:04:51 -0400
>>> From: Jessica Rosner 
>>> Subject: Re: [Videolib] HELP: Best response re libraries and PPR
>>> To: videolib@lists.berkeley.edu
>>> Message-ID:
>>>
>>> >>>
>>> Content-Type: text/plain; charset=windows-1252
>>>
>>> They way I am reading that quote, they are basically justifying the
>>> cost on what I would call contract not copyright law grounds. I am
>>> going to assume none of their titles are available through your
>>> standard retailers. I don't think explaining "face to face" etc. to
>>> them would do any good. The first person seemed to honestly think
>>> there was a law somehow requiring libraries to purchase PPR rights,
>>> this one seems to just be explaining why they charge you more. Again
>>> if a company completely controls the distribution of a title they  
>>> can
>>> pretty much charge what they want to who they want, but it is
>>> frustrating when they try to dress it up using PPR which is of  
>>> course
>>> not actually needed or involved in 99% of the cases.
>>>
>>> Jessica
>>>
>>> On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
 Thanks for all your suggestions, and yet, I'm still going back and
>>> forth
 with the filmmaker trying to help her understand all the legalese.
 On top of that

Re: [Videolib] Friday Fun Day Bibliography: Films that Portray Computers in a Positive Light...

[Brigid Duffy]

Can't think of any positive portrayals of computers, save for some  
(not all) humanoid computers, like Commander Data in Star Trek: The  
Next Generation, or K.I.T.T., the car in the "Knight Rider" series - a  
humanoid car.

Brigid Duffy
Academic Technology
San Francisco State University
San Francisco, CA  94132-4200
E-mail: bdu...@sfsu.edu




On Sep 16, 2011, at 9:30 AM, Shoaf,Judith P wrote:

> I was thinking of the computers and robots in Woody Allen's  
> Sleepers. There is a bossy computer in a Prisoner episode, "The  
> General" I think. Benign computers are harder to come up with. There  
> is that uncanny valley thing that skews narratives away from it.
> Benign computer techs, though, i.e. humans who interpret computer  
> information to people, are pretty common. But I guess you would call  
> that "the good geek."
>
> Judy
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu 
> [mailto:videolib-boun...@lists.berkeley.edu 
> ] On Behalf Of ghand...@library.berkeley.edu
> Sent: Friday, September 16, 2011 11:48 AM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Friday Fun Day Bibliography: Films that  
> Portray Computers in a Positive Light...
>
> hey scott
>
> check out:
>
> http://www.lib.berkeley.edu/MRC/Scififilm.html#cyborg
>
> Some of favorite bad (or at least annoying) machines
>
> Desk Set (with Katherine Hepburn)
> Colossus, The Forbin Project
> 2001 (my man, HAL!)
> Demon Seed (Julie Christie goes on the ultimate bad date with a
> supercomputer)
>
> I also sort of like the various Twilight Zone installments dealing  
> with comuters (see sci fi list cited above)...charming and  
> instructive in a Mad Men sort of way.
>
> gary
>
>
>
>> Hi Everyone,
>>
>> Late today I received a fun request from the Computer Science subject
>> librarian.  Students from [the world's coolest] Computer Science
>> course need to write a paper on positive/negative portrayals of
>> computer tech. in film.
>> I sought clarification if "computer tech." extended to robots and
>> other computer run machinery, but no response, so I am sticking to
>> pure computing for now.
>>
>> Since negative portrayals are easy enough to come by, the CS  
>> librarian
>> specifically requested film titles suggestions with positive computer
>> tech portrayals, a request I have found to be subjective (e.g., is
>> WOPR from WarGames a positive or negative portrayal?)
>>
>> So have it, films that portray computers in a positive light...
>>
>> -Scott
>>
>> On Thu, Sep 15, 2011 at 11:17 PM,
>> wrote:
>>
>>> 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/ 
>>> video...@lists.berk
>>> eley.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. Re: HELP: Best response re libraries and PPR (Jessica Rosner)
>>>  2. Re: HELP: Best response re libraries and PPR (Joyce Johnson)
>>>
>>>
>>> -
>>> -
>>>
>>> Message: 1
>>> Date: Thu, 15 Sep 2011 21:04:51 -0400
>>> From: Jessica Rosner 
>>> Subject: Re: [Videolib] HELP: Best response re libraries and PPR
>>> To: videolib@lists.berkeley.edu
>>> Message-ID:
>>>
>>> >>>
>>> Content-Type: text/plain; charset=windows-1252
>>>
>>> They way I am reading that quote, they are basically justifying the
>>> cost on what I would call contract not copyright law grounds. I am
>>> going to assume none of their titles are available through your
>>> standard retailers. I don't think explaining "face to face" etc. to
>>> them would do any good. The first person seemed to honestly think
>>> there was a law somehow requiring libraries to purchase PPR rights,
>>> this one seems to just be explaining why they charge you more. Again
>>> if a company completely controls the distribution of a title they  
>>> can
>>> pretty much charge what they want to who they want, but it is
>>> frustrating when they try to dress it up using PPR which is of  
>>> course
>>> not actually needed or involved in 99% of the cases.
>>>
>>> Jessica
>>>
>>> On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
 Thanks for all your suggestions, and yet, I'm still going back and
>>> forth
 with the filmmaker trying to help her understand all the legalese.
 On top of that, now I've got another vendor (vtape.org) who is
>>> clueless
 about PPR and whom I quote, "Public performance is rated on levels
 of presentation beyond home use. Circulating and using in College
 and University classrooms is actually a level of public performance
 rights
>>> and
 r

Re: [Videolib] Friday Fun Day Bibliography: Films that Portray Computers in a Positive Light...

[Rachel Gordon]

Short Circuit!

Sci-Fi Geek of 80s...
:)
Rachel

Rachel Gordon
Energized Films
www.energizedfilms.com


-Original Message-
From: videolib-boun...@lists.berkeley.edu
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Shoaf,Judith P
Sent: Friday, September 16, 2011 12:30 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Friday Fun Day Bibliography: Films that Portray
Computers in a Positive Light...

I was thinking of the computers and robots in Woody Allen's Sleepers. There
is a bossy computer in a Prisoner episode, "The General" I think. Benign
computers are harder to come up with. There is that uncanny valley thing
that skews narratives away from it.
Benign computer techs, though, i.e. humans who interpret computer
information to people, are pretty common. But I guess you would call that
"the good geek."

Judy

-Original Message-
From: videolib-boun...@lists.berkeley.edu
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
ghand...@library.berkeley.edu
Sent: Friday, September 16, 2011 11:48 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Friday Fun Day Bibliography: Films that Portray
Computers in a Positive Light...

hey scott

check out:

http://www.lib.berkeley.edu/MRC/Scififilm.html#cyborg

Some of favorite bad (or at least annoying) machines

Desk Set (with Katherine Hepburn)
Colossus, The Forbin Project
2001 (my man, HAL!)
Demon Seed (Julie Christie goes on the ultimate bad date with a
supercomputer)

I also sort of like the various Twilight Zone installments dealing with
comuters (see sci fi list cited above)...charming and instructive in a Mad
Men sort of way.

gary



> Hi Everyone,
>
> Late today I received a fun request from the Computer Science subject 
> librarian.  Students from [the world's coolest] Computer Science 
> course need to write a paper on positive/negative portrayals of 
> computer tech. in film.
> I sought clarification if "computer tech." extended to robots and 
> other computer run machinery, but no response, so I am sticking to 
> pure computing for now.
>
> Since negative portrayals are easy enough to come by, the CS librarian 
> specifically requested film titles suggestions with positive computer 
> tech portrayals, a request I have found to be subjective (e.g., is 
> WOPR from WarGames a positive or negative portrayal?)
>
> So have it, films that portray computers in a positive light...
>
> -Scott
>
> On Thu, Sep 15, 2011 at 11:17 PM,
> wrote:
>
>> 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/video...@lists.berk
>> eley.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. Re: HELP: Best response re libraries and PPR (Jessica Rosner)
>>   2. Re: HELP: Best response re libraries and PPR (Joyce Johnson)
>>
>>
>> -
>> -
>>
>> Message: 1
>> Date: Thu, 15 Sep 2011 21:04:51 -0400
>> From: Jessica Rosner 
>> Subject: Re: [Videolib] HELP: Best response re libraries and PPR
>> To: videolib@lists.berkeley.edu
>> Message-ID:
>>
>> > >
>> Content-Type: text/plain; charset=windows-1252
>>
>> They way I am reading that quote, they are basically justifying the 
>> cost on what I would call contract not copyright law grounds. I am 
>> going to assume none of their titles are available through your 
>> standard retailers. I don't think explaining "face to face" etc. to 
>> them would do any good. The first person seemed to honestly think 
>> there was a law somehow requiring libraries to purchase PPR rights, 
>> this one seems to just be explaining why they charge you more. Again 
>> if a company completely controls the distribution of a title they can 
>> pretty much charge what they want to who they want, but it is 
>> frustrating when they try to dress it up using PPR which is of course 
>> not actually needed or involved in 99% of the cases.
>>
>> Jessica
>>
>> On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
>> > Thanks for all your suggestions, and yet, I'm still going back and
>> forth
>> > with the filmmaker trying to help her understand all the legalese.
>> > On top of that, now I've got another vendor (vtape.org) who is
>> clueless
>> > about PPR and whom I quote, "Public performance is rated on levels 
>> > of presentation beyond home use. Circulating and using in College 
>> > and University classrooms is actually a level of public performance 
>> > rights
>> and
>> > requires a rate that reflects this type of purchase."
>> > Therefore may I beseech someone to write up an explanation 
>> > addres

Re: [Videolib] Friday Fun Day Bibliography: Films that Portray Computers in a Positive Light...

[Shoaf,Judith P]

I was thinking of the computers and robots in Woody Allen's Sleepers. There is 
a bossy computer in a Prisoner episode, "The General" I think. Benign computers 
are harder to come up with. There is that uncanny valley thing that skews 
narratives away from it.
Benign computer techs, though, i.e. humans who interpret computer information 
to people, are pretty common. But I guess you would call that "the good geek."

Judy

-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of 
ghand...@library.berkeley.edu
Sent: Friday, September 16, 2011 11:48 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Friday Fun Day Bibliography: Films that Portray 
Computers in a Positive Light...

hey scott

check out:

http://www.lib.berkeley.edu/MRC/Scififilm.html#cyborg

Some of favorite bad (or at least annoying) machines

Desk Set (with Katherine Hepburn)
Colossus, The Forbin Project
2001 (my man, HAL!)
Demon Seed (Julie Christie goes on the ultimate bad date with a
supercomputer)

I also sort of like the various Twilight Zone installments dealing with 
comuters (see sci fi list cited above)...charming and instructive in a Mad Men 
sort of way.

gary



> Hi Everyone,
>
> Late today I received a fun request from the Computer Science subject 
> librarian.  Students from [the world's coolest] Computer Science 
> course need to write a paper on positive/negative portrayals of 
> computer tech. in film.
> I sought clarification if "computer tech." extended to robots and 
> other computer run machinery, but no response, so I am sticking to 
> pure computing for now.
>
> Since negative portrayals are easy enough to come by, the CS librarian 
> specifically requested film titles suggestions with positive computer 
> tech portrayals, a request I have found to be subjective (e.g., is 
> WOPR from WarGames a positive or negative portrayal?)
>
> So have it, films that portray computers in a positive light...
>
> -Scott
>
> On Thu, Sep 15, 2011 at 11:17 PM,
> wrote:
>
>> 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/video...@lists.berk
>> eley.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. Re: HELP: Best response re libraries and PPR (Jessica Rosner)
>>   2. Re: HELP: Best response re libraries and PPR (Joyce Johnson)
>>
>>
>> -
>> -
>>
>> Message: 1
>> Date: Thu, 15 Sep 2011 21:04:51 -0400
>> From: Jessica Rosner 
>> Subject: Re: [Videolib] HELP: Best response re libraries and PPR
>> To: videolib@lists.berkeley.edu
>> Message-ID:
>>
>> > >
>> Content-Type: text/plain; charset=windows-1252
>>
>> They way I am reading that quote, they are basically justifying the 
>> cost on what I would call contract not copyright law grounds. I am 
>> going to assume none of their titles are available through your 
>> standard retailers. I don't think explaining "face to face" etc. to 
>> them would do any good. The first person seemed to honestly think 
>> there was a law somehow requiring libraries to purchase PPR rights, 
>> this one seems to just be explaining why they charge you more. Again 
>> if a company completely controls the distribution of a title they can 
>> pretty much charge what they want to who they want, but it is 
>> frustrating when they try to dress it up using PPR which is of course 
>> not actually needed or involved in 99% of the cases.
>>
>> Jessica
>>
>> On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
>> > Thanks for all your suggestions, and yet, I'm still going back and
>> forth
>> > with the filmmaker trying to help her understand all the legalese.
>> > On top of that, now I've got another vendor (vtape.org) who is
>> clueless
>> > about PPR and whom I quote, "Public performance is rated on levels 
>> > of presentation beyond home use. Circulating and using in College 
>> > and University classrooms is actually a level of public performance 
>> > rights
>> and
>> > requires a rate that reflects this type of purchase."
>> > Therefore may I beseech someone to write up an explanation 
>> > addressed
>> to
>> > filmmakers and film distributors that clearly and simply states 
>> > what
>> PPR,
>> > home-use, lending, the TEACH act etc. means in relation to libraries?
>> ?It
>> > would be wonderful to be able to send out a pdf that says it all,
>> rather
>> > than spending a whole morning going back and forth over these 
>> > issues
>> again
>> > and again.
>> > Thanks in advance,
>> > Janice
>> > California

Re: [Videolib] Friday Fun Day Bibliography: Films that Portray Computers in a Positive Light...

[ghandman]

hey scott

check out:

http://www.lib.berkeley.edu/MRC/Scififilm.html#cyborg

Some of favorite bad (or at least annoying) machines

Desk Set (with Katherine Hepburn)
Colossus, The Forbin Project
2001 (my man, HAL!)
Demon Seed (Julie Christie goes on the ultimate bad date with a
supercomputer)

I also sort of like the various Twilight Zone installments dealing with
comuters (see sci fi list cited above)...charming and instructive in a Mad
Men sort of way.

gary



> Hi Everyone,
>
> Late today I received a fun request from the Computer Science subject
> librarian.  Students from [the world's coolest] Computer Science course
> need
> to write a paper on positive/negative portrayals of computer tech. in
> film.
> I sought clarification if "computer tech." extended to robots and other
> computer run machinery, but no response, so I am sticking to pure
> computing
> for now.
>
> Since negative portrayals are easy enough to come by, the CS librarian
> specifically requested film titles suggestions with positive computer tech
> portrayals, a request I have found to be subjective (e.g., is WOPR from
> WarGames a positive or negative portrayal?)
>
> So have it, films that portray computers in a positive light...
>
> -Scott
>
> On Thu, Sep 15, 2011 at 11:17 PM,
> wrote:
>
>> 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. Re: HELP: Best response re libraries and PPR (Jessica Rosner)
>>   2. Re: HELP: Best response re libraries and PPR (Joyce Johnson)
>>
>>
>> --
>>
>> Message: 1
>> Date: Thu, 15 Sep 2011 21:04:51 -0400
>> From: Jessica Rosner 
>> Subject: Re: [Videolib] HELP: Best response re libraries and PPR
>> To: videolib@lists.berkeley.edu
>> Message-ID:
>>> >
>> Content-Type: text/plain; charset=windows-1252
>>
>> They way I am reading that quote, they are basically justifying the
>> cost on what I would call contract not copyright law grounds. I am
>> going to assume none of their titles are available through your
>> standard retailers. I don't think explaining "face to face" etc. to
>> them would do any good. The first person seemed to honestly think
>> there was a law somehow requiring libraries to purchase PPR rights,
>> this one seems to just be explaining why they charge you more. Again
>> if a company completely controls the distribution of a title they can
>> pretty much charge what they want to who they want, but it is
>> frustrating when they try to dress it up using PPR which is of course
>> not actually needed or involved in 99% of the cases.
>>
>> Jessica
>>
>> On Thu, Sep 15, 2011 at 5:41 PM, jwoo  wrote:
>> > Thanks for all your suggestions, and yet, I'm still going back and
>> forth
>> > with the filmmaker trying to help her understand all the legalese.
>> > On top of that, now I've got another vendor (vtape.org) who is
>> clueless
>> > about PPR and whom I quote, "Public performance is rated on levels of
>> > presentation beyond home use. Circulating and using in College and
>> > University classrooms is actually a level of public performance rights
>> and
>> > requires a rate that reflects this type of purchase."
>> > Therefore may I beseech someone to write up an explanation addressed
>> to
>> > filmmakers and film distributors that clearly and simply states what
>> PPR,
>> > home-use, lending, the TEACH act etc. means in relation to libraries?
>> ?It
>> > would be wonderful to be able to send out a pdf that says it all,
>> rather
>> > than spending a whole morning going back and forth over these issues
>> again
>> > and again.
>> > Thanks in advance,
>> > Janice
>> > California College of the Arts
>> >
>> > On Sep 12, 2011, at 1:53 PM, Chris McNevins wrote:
>> >
>> > Hi Janice,
>> >
>> > I had a similar experience last year which I posed to VIDEOLIB for
>> > guidance.? Here?s the summary:
>> >
>> > [Videolib] FW: Institutional Version of Film Pane Amaro/Bitter Bread
>> > Chris McNevins
>> > Fri, 26 Feb 2010 12:32:05 -0800 (PST)
>> > This is what I sent.
>> > Feel free to use it as a template.
>> > Thanks to Dennis, Jessica, et al. for the words and the encouragement.
>> > I'll keep you posted
>> > Chris McN
>> >
>> > 
>> >
>> > From: Chris McNevins
>> > Sent: Friday, February 26, 2010 2:23 PM
>> > To: 'Gianfranco Norelli'
>> > Subject: RE: Institutional Version of Film Pane Amaro/Bitter Bread
>> >
>> >
>> > Dear Mr. Norelli,
>> > While I understan

Re: [Videolib] Blu-Ray

[Stockwell, Patricia]

I have not heard of that yet - but it sure would be a great invention for 
someone with the talent for such a thing.  We do not buy Blu-Ray at our college 
because most do not own Blu-Ray machines.  So we are sticking to regular DVD's 
for right now.  But, if a computer comes with Blu-Ray capabilities I Just have 
to have it.

Patricia Stockwell
Head of Technical Services / College Archivist
Pikes Peak Community College
5675 S. Academy Blvd.  Box 7
Colorado Springs, CO 80906
719-502-3238

patricia.stockw...@ppcc.edu


"He who does not understand your silence, will probably not understand your 
words."
- Elbert Hubbard


From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Susan Weber
Sent: Thursday, September 15, 2011 5:19 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Blu-Ray

Do you think that will change in future computers?
After all, the monitors are becoming HD.
Susan

On 15/09/2011 3:42 PM, Dorfman, Andrew wrote:
There are internal Blu-Ray drives (read and write) available for computers but 
it's not a common standard configuration yet.  At least not that I've seen.

Andy
Regis University Library

From: 
videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Susan Weber
Sent: Thursday, September 15, 2011 4:20 PM
To: videolib@lists.berkeley.edu
Subject: [Videolib] Blu-Ray

Folks:
I've been off this list for more than a month, so here I am, back in the fold.

As I'm sure some of you are aware, some films are being released only on 
Blu-Ray (BD).
Our College doesn't currently own a Blu-Ray player, although it is on the 
purchase request
list (1 or 2 machines, not converting all existing classrooms).

Can someone tell me if BD will play in a computer, as opposed to having a 
Blu-Ray
player?

Susan
--



Susan Weber

Media Librarian
Library
T  604.323.5533
F  604.323.5512
swe...@langara.bc.ca

Langara.

100 West 49th Avenue, Vancouver, BC, V5Y 2Z6

Please consider the environment before printing.
CONFIDENTIALITY: This e-mail may contain confidential or privileged 
information. If you are
not the intended recipient, please notify us immediately and delete this email 
from your system.







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.



--


Susan Weber

Media Librarian
Library
T  604.323.5533
F  604.323.5512
swe...@langara.bc.ca

Langara.

100 West 49th Avenue, Vancouver, BC, V5Y 2Z6

Please consider the environment before printing.
CONFIDENTIALITY: This e-mail may contain confidential or privileged 
information. If you are
not the intended recipient, please notify us immediately and delete this email 
from your system.
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

[Elizabeth Sheldon]

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.

Re: [Videolib] HELP: Best response re libraries and PPR

[Elizabeth Sheldon]

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 di