[Videolib] Films and TV Shows In Production

2012-02-21 Thread Tom Ipri
What are people's favorite/most recommended places to find TV shows and films 
that are currently in production? Seems like IMDB hides that info behind the 
Pro account. Other than their news feeds, is there a way to tease this info out 
of Variety? We don't really subscribe to any industry stuff here, so I'm 
looking for suggestions.

Thanks in advance,

Tom

--
Tom Ipri
Liaison Librarian for the College of Media Arts and Design
Hagerty Library
Drexel University
33rd and Market Streets
Philadelphia, PA 19104
215-895-2772
ta...@drexel.edu
http://www.library.drexel.edu/resources/guides/mediaartsdesignguides/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] offer of an FAQ and even a webinar

2012-02-21 Thread Jessica Rosner
Would it not have been better to include rights holders, distributors
and non university
paid copyright lawyers in both the initial discussion and in any
online webinars discussions etc?

When only one side develops guidelines and frankly has direct
access to the library community ( I love videolib but it only reaches
a small fraction of librarians), rights holders get deeply concerned.

Clearly the issue of most concern is the apparent claim that there are
situations in which fair use would be used to stream complete works
it would be a huge relief if
you would clarify this issue very specifically. If we have indeed
overreacted than we would be most happy to told we are dead wrong and
the code do not in fact say that CITIZEN KANE or a documentary from
California Newsreel, First Run etc. could be streamed in their
entirety for a class. The reason there is so much distrust from rights
holders is that we have in fact encountered a number of schools that
are indeed streaming whole works routinely in classes so please,
please clarify this issue and don't say it depends on the
circumstances, give any examples of the above that you believe are
covered by fair use/

On Sun, Feb 19, 2012 at 2:18 PM, Patricia Aufderheide
pauf...@american.edu wrote:
 Thank you to all the correspondents! And we all really appreciate the
 good faith attempt to work from information. Here is Brandon's reply
 (and I'll post the FAQ as soon as possible):

 Jonathan, et al.,

 Thanks for that intervention. I look forward to working on an FAQ that
 can be a start at what Gary kindly calls for, light not heat.  I
 certainly didn't mean to create straw men, and I think it is actually
 quite helpful to be clear that the discussion here is not about fair
 use simpliciter, but about fair use *as the Code articulates it.*

 So let me rephrase that: There is concern that if librarians exercise
 their fair use rights *as librarians have articulated them in the Code
 of Best Practices in Fair Use for Academic and Research Libraries,*
 their highly-valued relationships with film producers and distributors
 will be put in jeopardy. What I would like to address is the concern
 that the vision of fair use articulated in the librarians' Code is
 inconsistent with this relationship, because I do not think it is.

 It's clear that people on this list can and do debate the proper scope
 of the fair use rights of libraries, and I'm sure that's a fruitful
 and interesting discussion. My concern, however, is much more
 pedestrian. I want to be sure that people with an interest in
 libraries' use of video understand what the libraries' Code really
 says on that subject. Maybe once we are clear on that, you can debate
 whether the Code's vision is appropriate. I am afraid, based on the
 pieces of this discussion that Pat has shared with me, that some of
 the very important stakeholders on this list have misunderstood the
 libraries' position in fundamental ways, which makes it impossible to
 determine the stakes for video producers and distributors, much less
 whether the librarians got it right.

 I hope by sharing how the Code approaches the core questions in my
 earlier email, we could help facilitate a more useful discussion of
 the Code and its merits or demerits on this list and elsewhere. I
 tried in my earlier email to distill those core questions, with help
 from Pat, but I see that we need to be very clear that what we're
 talking about here is the contents of the Code. So, while I appreciate
 Gary's suggestion that everyone's views on these questions are
 welcome, I plan to craft answers grounded in the Code principles. If
 there is anything you would change or add, please let us know. Here
 are the questions, again, rephrased per Jonathan's intervention:

 *Does this Code really say that librarians can stream audio and video for
 student use, without licensing it for that specific use?
 *Does fair use law as the Code applies it really let a librarian copy
 a VHS to a DVD?

 *Does the Code's language on exhibits let a librarian show a video publicly
 without getting public performance rights?
 *Don't librarians have to pay educational prices to use films/videos in a
 library context? What does the Code say on this subject?

 *What authority is the Code of Best Practices in Fair Use for Academic and
 Research Libraries grounded in?
 *How risky would it be for a librarian to actually use this Code?

 Best,
 Brandon

 On Fri, Feb 17, 2012 at 12:08 PM,  ghand...@library.berkeley.edu wrote:
 Thanks, Pat.  I think all of us on the list appreciate your efforts to
 continue the dialog on these important issues and to listen to the
 concerns being voiced about these guidelines.  These concerns are based on
 the experiences and knowledge of working media librarians, many of us in
 the business for a great many years; I don't they're idle, naive, or
 misinformed.

 Most of us have assiduously built strong relationships with content
 providers over 

[Videolib] Costs of securing AV materials

2012-02-21 Thread S Urwiler
Please excuse cross-posting.  

Has anyone studied the costs of securing audio-visual materials, relative to 
the 
costs of lost/stolen materials?  We are beginning a expansion/remodel project 
in 
our main branch, and want to compare whether it is more cost effective to 
continue the current practice of leaving the discs behind the Circ desk with 
empty cases on the shelves, or use some type of security system (locking cases, 
security cameras, security gates).  If anyone has done this kind of study, we 
would appreciate the information and any conclusions you made.

Thanks in advance,

Sheila Urwiler
Director, Starke County Public Library System
Knox, IndianaVIDEOLIB 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 for Film (1965)

2012-02-21 Thread Ray Privett
Congratulations, Dennis.

Ray


On Mon, Feb 20, 2012 at 2:37 PM, Dennis Doros milefi...@gmail.com wrote:

 Okay, I'm back from picking Amy up at the airport, so I can write the
 whole story. The script for FILM is protected and the film has a proper
 copyright notice which means it is protected -- we will register this with
 the LoC in the next few months. (Any film after 1963 with proper copyright
 notice has this option.) We just signed the rights from the original
 producer, Barney Rosset and the Evergreen Foundation. He's always owned it.
 Beckett very much liked FILM, though he had some suggestions for editing
 that they never followed through upon. One DVD/BluRay bonus feature will be
 this version. It was Keaton who never really understood the playwright or
 the work, but in the end, he enjoyed the film itself.


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.