Re: [Videolib] How do you know when you’ve become an artist?]

[Jessica Rosner]

I think this is kind of different group of films Elizabeth. They do play in
theaters and they will be released in the home market. While I understand
some institutions may want to get PPR or buy them before they are available
in the retail market, the issue for me is films that sadly have little or no
retail market or ancillary rights .




On Fri, Jul 1, 2011 at 12:31 PM, Elizabeth Sheldon  wrote:

> 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 c

Re: [Videolib] How do you know when you’ve become an artist?]

[Elizabeth Sheldon]

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

Re: [Videolib] How do you know when you’ve become an artist?]

[Ball, James (jmb4aw)]

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
mattb...@virginia.edu
434-924-3812

On Jun 24, 2011, at 8:13 PM, "Jessica Rosner" 
mailto:jessicapros...@gmail.com>> wrote:

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, 
<ghand...@library.berkeley.edu>
 wrote:


 Original Message 
Subject:  Re: [Videonews] How do you know when you’ve become an artist?
From:  
ghand...@library.berkeley.edu
Date: Fri, June 24, 2011 4:31 pm
To:   "Video Library News" 
<videon...@lists.berkeley.edu>
--

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   
> antho...@usc.edu
> "Wind, regen, zon, of kou,
> Albert Cuyp ik hou van jou."
> *
>
> - Original Message -
> From: jwoo <j...@cca.edu>
> Date: Friday, June 24, 2011 12:33 pm
> Subject: Re: [Videonews] How do you know when you’ve become an artist?
> To: Vi

Re: [Videolib] How do you know when you’ve become an artist?]

[Jessica Rosner]

I don't know the film but if it does not have a RETAIL market it is likely
to be priced high as they presumably won't sell enough copies to cover costs
at
a retail price. You might check with them on replacement policy. Many
companies will replace a high priced title that is lost or damaged for a
small fee.

On Tue, Jun 28, 2011 at 9:37 PM, jwoo  wrote:

> Here's what I'd recommend: if a library pays for a $250 DVD, offer them a
> free circulating copy to go with it (that's about $2 worth of plastic,
> right?  heck, I'd pay the extra $2 for a circulating copy).  At least then
> our expensive videos would be seen.  Presently students at my college can
> only view them in class or in the library.
>
> Also, I wouldn't put Working Title in the same genre as Rwanda or
> gerrymandering.  This is an interesting video that our students would really
> appreciate if the access were more convenient.
>
> -- Janice
>
>
> On Jun 24, 2011, at 5:09 PM, Jessica Rosner wrote:
>
> 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,  wrote:
>
>>
>>
>>  Original Message 
>> Subject:  Re: [Videonews] How do you know when you’ve become an artist?
>> From: ghand...@library.berkeley.edu
>> Date: Fri, June 24, 2011 4:31 pm
>> To:   "Video Library News" 
>> --
>>
>> 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  antho...@usc.edu
>> > "Wind, regen, zon, of kou,
>> > Albert Cuyp ik hou van jou."
>> > *
>> >
>> > - Original Message -
>> > From: jwoo 
>> > 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 
>> >
>> >> 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

Re: [Videolib] How do you know when you’ve become an artist?]

[jwoo]

Here's what I'd recommend: if a library pays for a $250 DVD, offer  
them a free circulating copy to go with it (that's about $2 worth of  
plastic, right?  heck, I'd pay the extra $2 for a circulating copy).   
At least then our expensive videos would be seen.  Presently students  
at my college can only view them in class or in the library.


Also, I wouldn't put Working Title in the same genre as Rwanda or  
gerrymandering.  This is an interesting video that our students would  
really appreciate if the access were more convenient.


-- Janice


On Jun 24, 2011, at 5:09 PM, Jessica Rosner wrote:

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,   
wrote:



 Original Message  

Subject:  Re: [Videonews] How do you know when you’ve become an  
artist?

From: ghand...@library.berkeley.edu
Date: Fri, June 24, 2011 4:31 pm
To:   "Video Library News" 
--

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  antho...@usc.edu
> "Wind, regen, zon, of kou,
> Albert Cuyp ik hou van jou."
> *
>
> - Original Message -
> From: jwoo 
> 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 
>
>> 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 + Architec

Re: [Videolib] How do you know when you’ve become an artist?]

[Jessica Rosner]

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,  wrote:

>
>
>  Original Message 
> Subject:  Re: [Videonews] How do you know when you’ve become an artist?
> From: ghand...@library.berkeley.edu
> Date: Fri, June 24, 2011 4:31 pm
> To:   "Video Library News" 
> --
>
> 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  antho...@usc.edu
> > "Wind, regen, zon, of kou,
> > Albert Cuyp ik hou van jou."
> > *
> >
> > - Original Message -
> > From: jwoo 
> > 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 
> >
> >> 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 subscr

[Videolib] How do you know when you’ve become an artist?]

[ghandman]

 Original Message 
Subject:  Re: [Videonews] How do you know when you’ve become an artist?
From: ghand...@library.berkeley.edu
Date: Fri, June 24, 2011 4:31 pm
To:   "Video Library News" 
--

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  antho...@usc.edu
> "Wind, regen, zon, of kou,
> Albert Cuyp ik hou van jou."
> *
>
> - Original Message -
> From: jwoo 
> 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 
>
>> 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
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.