Hi Gail- This was very helpful. You have some flexibility as you have control over the entire media budget (we no longer have such a fund)—nice. Do departments tend to contribute up to 50% for titles over $500, or does it depend on their own funds? By series, I meant film festival type series—I too would not automatically buy all the titles in a series, if not requested.
I agree about us doing the research for getting PPR, because that is a specialized service we can do well (with help from this wonderful list serv). Do you actually have this written down as part of your collection development/purchase policy if you have to explain yourself in difficult situations? Debra From: Gail Fedak <gfe...@mtsu.edu<mailto:gfe...@mtsu.edu>> Reply-To: "videolib@lists.berkeley.edu<mailto:videolib@lists.berkeley.edu>" <videolib@lists.berkeley.edu<mailto:videolib@lists.berkeley.edu>> Date: Mon, 26 Sep 2011 16:17:48 -0400 To: "videolib@lists.berkeley.edu<mailto:videolib@lists.berkeley.edu>" <videolib@lists.berkeley.edu<mailto:videolib@lists.berkeley.edu>> Subject: Re: [Videolib] Video Cool Dev.Policies Covering Cost and Special Series Debra, I, too, dislike having to ask departments to contribute funds to a purchase, but I do so under these circumstances: single title applicable primarily to one discipline, =/>$500; series (regardless of # of titles) applicable primarily to one department, =/>$750. I also dislike purchasing only one or two titles out of a finite series, so I try to purchase the whole set, if possible. Understandably, it is getting more difficulty to do so with budget cuts. If a single title or series is truly multi-disciplinary, I do not ask for contributions to help cover the cost. I don't know how this would work in your situation, because our Media Library budget is separate from the main library's budget, so I don't have to be concerned about dipping into other disciplines' "buckets" to cover a purchase. If the only way the Media Library can purchase a title for the collection is with PPR, then we do so if the cost falls below the thresholds described above or we get cost sharing. We prefer buying titles without PPR, if possible. This is a significant change from our prior purchasing guidelines because our use of media has changed and our budget is smaller. When we purchase a title without PPR, the department, organization, individual, etc.is then responsible to purchase PPR if they need it for their specific uses. We will help facilitate the PPR purchase, but do not pay for it. Also, if we do have to purchase PPR when we acquire a title, we do not purchase additional licenses that may be needed for uses outside the original PPR license. For instance, if the original PPR license covers non-paying audiences up to 50, and the campus user is charging admission and/or is anticipating an audience greater than 50, then I will assist in initiating and arranging for a PPR license, but will not pay for it. Hope this is not too muddled to be useful, Gail On 9/26/2011 2:09 PM, Mandel, Debra wrote: Dear Colleagues, I would appreciate if anyone could send me sample policies or collection development excerpts which deal specifically with: 1. Responding to purchases for single titles from one faculty member over $xxx amount (what amount?? 2. Requests for titles that are part of a one-time series (Humanities Dept., Language, special symposium, etc.) How many titles, what amount?? 3. Policies that covers whose responsibility it is to obtain and pay for public performance rights For example, I recently had a request from one faculty member who wanted the library to purchase a DVD for $650 because she was inviting the filmmaker to her class and wanted to show his film. She was not opening this up to a wider audience. Rental was about $395. The dept. had no funds to kick in. The library will not cover either cost. I had to say no. The distributor would not negotiate. There have been several requests for film series, more than 6 titles. Neither dept. was willing to kick in funds. We do not have one media budget—selectors order films from their subject areas, along with books. Our budget have been drastically cut due to the current climate, increase of e-materials and other steadily climbing resources. Oftentimes, I will reach out to other librarians to share in the cost of one title, but sometimes I get no feedback. Without a policy, librarians are having a difficult time deciding where to draw the line. I hate to arbitrarily decide on a price, particularly if the film is outstanding, is interdisciplinary. and comes bundled with PPR, so I thought I would ask you what you are doing. How do you negotiate, say that depts. must kick in ---&age for special events, expensive titles. I have been a media librarian for 100 years, and lately I have felt guilty saying no. The reality is just getting harder. Debra Debra H. Mandel, Head, Digital Media Design Studio Northeastern University Libraries 360 Huntington Ave. 200 SL Boston, MA 02115 617-373-4902; 617-373-5409-Fax 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. -- Gail B. Fedak Director, Media Resources Middle Tennessee State University Murfreesboro, TN 37132 Phone: 615-898-2899 Fax: 615-898-2530 Email: gfe...@mtsu.edu<mailto:gfe...@mtsu.edu> Web: www.mtsu.edu/~imr<http://www.mtsu.edu/%7Eimr> “Education is a progressive study of your own ignorance.” – Will Durant
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.
