Re: [Videolib] 1987 film "Chinese Ghost Story

Jessica Rosner (jrosner@kino.com)
Wed, 31 May 2006 17:22:43 -0400

You are always free to use the film in a class( from a legal copy of course)
but yes you would be violating copyright if you showed it publicly. This
film is NOT in the public domain but is more than likely caught up in huge
mess of legal problems re bankrupt companies etc.
And yes OF COURSE what you teach is limited by what is commercially
available. This is why you don't get to teach any Raymond Griffith silents,
THE STORY OF TEMPLE DRAKE, THEY WON'T FORGET and most films Duvivier (sic)
Satyait Ray etc. If a film has not been made legally available you don't get
to use it, that simple.
Now do I seriously think anyone cares if you show CHINESE GHOST STORY ?
Hell no but it does become a slippery slope. The company that handles
Chaplin films wants a HUGE amount of money to show them, other companies
that own many films overseas have NO interest in letting you show them at
any price so you are limited in what you can show by all sorts of reasons.

I just don't happen to think that showing CHINESE GHOST STORY in a public
series is a matter of life and death. You are free to use it in a class
anyway. Again no one is going to care or if you prefer "catch" you and I
know you are trying to do the right thing but suppose you want to show
LOLA MONTEZ, CITY LIGHTS, RAISE THE RED LATERN ( another one that is no
longer available in the US) and the rights holder just says no?

Right now it appears the ENTIRE WELLSPRING LIBRARY is now on hiatus so you
can't show ANY of their titles unless and until they sort it out. The
majority of films released by Cowboy, Shooting Gallery , Lot 47 etc are also
Not available.

It sucks I know but think about Canada where they can't even be used IN
CLASS as they can't get PPR.

Not having US distribution is as I said going to get MORE common not less
for the PPR use but as this is for a use BEYOND the face to face use I don't
personally see what you can do about it without breaking copyright law

On 5/31/06 4:44 PM, "Rick Provine" <PROVINE@depauw.edu> wrote:

> So Jessica,
>
> It seems to me you are making the case for "due diligence," especially
> in academia, where we do have fair use for classroom and educational use
> (yes, I know, its not blanket and not all uses qualify).
>
> So lets take my inquiry as an example: Chinese Ghost Story no longer
> has any US distribution rights active, according to Tai Seng
> Entertainment, LC, the Film Forum, and the Gene Siskel Center. And the
> company that made the film is now defunct (Cinema City and Film Co). I
> have also inquired on a listserv comprised of people well acquainted
> with such things.
>
> So we if want to show this to a group of students interested in film,
> with faculty present, how do we do it? Do we only expose them to mass
> marketed videos and rentals? Do we restrict what we teach based on
> commercial availability? Does this not then unnecessarily shape and
> chill the educational process?
>
> I am not talking about titles from Kino, or anyone that cooperates and
> helps us meet these needs. At what point is it unreasonable to expect
> us to spend thousands to travel to Hong Kong?
>
> Just a hypothesis...
>
> Rick
>
>
>
>
>>>> jrosner@kino.com 5/31/2006 3:46 PM >>>
> Honest this really does no apply to feature films
> The one we that started this is a Hong Kong film made less than 20
> Years ago it is NOT an orphan. I believe "due diligence" is legal term
> which
> generally means you did your utmost to research , discover etc. In
> terms of
> rights holders this pretty much would mean that you hire a
> researcher/lawyer
> to track the rights down of a title in which the rights are not self
> evident. This is clearly more than most libraries could afford. Since
> in
> many cases the titles being asked about are already legally on
> video/dvd it
> it unlikely you would even need to do this but you would often have to
> get
> some big cranky distributor to look up for YOU from whom THEY obtained
> the
> rights which alas is often easier said than done.
> The biggest obstacle in most cases has nothing to do with tracking the
> rights holder but with obtaining the rights holder's PERMISSION.
>
> I am afraid the idea that you will EVER be easily to obtain permission
> to
> use feature films in any kind of public setting ( including downloads)
> for
> Foreign films in particular is a pipe dream
>
> The ever cynical
> Jessica
>
>
> On 5/31/06 3:12 PM, "Ciara Healy" <cmhealy@waketech.edu> wrote:
>
>> Can it be considered an opportunity to allow the "industry" or
> perhaps
>> the library media industry to set forth what diligence is? Certainly
>> diligence means something and can mean almost anything but it seems
>> better to offer a somewhat acceptable definition of diligence
> rather
>> than let lawmakers or policy folks draft one and impose it. That
> way,
>> people who are putting in the actual diligence due to rights holders
> can
>> have some say in the matter. Is there already an industry standard
> for
>> searching? Can't the standard be stipulated (it will be at some
> point
>> and perhaps not by people who know what they are talking about) by
>> pointing out how it is already done and tweaking it?
>>
>> I would absolutely love to see a sensible definition of diligence
> that
>> most of the time fairly compensated film makers and most of the time
>> made it possible for people to see films. Must the diligence applied
> to
>> limit cases block the creation of a more ordinary and mutually
>> acceptable standard of diligence? It may be impossible to do enough
> to
>> find the parents of an orphan if the seeming orphan is from far
> away,
>> has an extended family and was born in obscurity, but that doesn't
> mean
>> that in many cases some orphans and their families can be reunited
>> without heroic measures.
>>
>> Ciara
>>
>>
>>
>>>>> jrosner@kino.com 5/31/2006 1:57 pm >>>
>> Well ownership of feature films is rarely that difficult to
> determine
>> but it
>> it can be expensive and time consuming. Trust me that the "Orphan"
>> bill was
>> basically aimed at NON feature material.
>> Also it is VERY easy to have multiple owners for a single film which
>> means
>> you would HAVE to clear it with two or more parties. Again
> determining
>> ownership on feature films can be done probably 98% or more of the
> time
>> BUT
>> It will require far more money and time than an average user such as
> a
>> library could afford.
>> The way things are going with most distributors having little
> interest
>> in
>> What we call "public performance rights" for feature films it will
>> become
>> harder and harder to obtain them on most non studio titles. At BEST
>> someone
>> who wants to show say a Chaplin, Truffaut, or Ealing film might be
> able
>> to
>> find the overseas owner but be quoted a very large fee, at worst you
>> will
>> spend an extra $200 to $1,000 to LOCATE the rights holder of a title
>> only to
>> be A. Quoted a huge fee or B. Told they are not interested.
>>
>> I realize this is a sad picture but this is the situation
>>
>>
>> On 5/31/06 1:31 PM, "Brewer, Michael"
> <brewerm@u.library.arizona.edu>
>> wrote:
>>
>>> Jessica,
>>>
>>> I just wanted to bring this topic up, as it will be something that
>> the
>>> media field will need to know about in the coming years. The
> issues
>> you
>>> bring up are serious ones and I am not sure the law will address
>> them
>>> completely. I am just interested in how things will be sorted out
>> in
>>> those fuzzy areas. Your point especially about finding rights
>> owners
>>> for foreign titles. What will constitute "diligent" in this
>> context?
>>> As you mention, it may be impossible to once and for all determine
> a
>>> film is an orphan, but my sense is that if a rights holder cannot
> be
>>> located (after the "diligent" search), the work will be considered
>> an
>>> orphan unless a rights holder surfaces. One will not have to prove
>> that
>>> there is no rights holder, just show that one has searched
>>> (appropriately, whatever that is) and come up empty.
>>>
>>> I anticipate a lot of confusion over this for these types of works.
>> For
>>> example, if one is unable to ascertain who the REAL owner is among
>>> several who claim ownership, could this constitute the work being
> an
>>> "orphan" work? I don't have the answer here, but it seems that it
>> would
>>> relegate it to the same state of limbo "true" orphans are currently
>> in.
>>> I guess we'll have to wait and see how it all shakes out.
>>>
>>> mb
>>>
>>> Michael Brewer
>>> Slavic Studies, German Studies & Media Arts Librarian
>>> University of Arizona Library A210
>>> 1510 E. University
>>> P.O. Box 210055
>>> Tucson, AZ 85721
>>> Voice: 520.307.2771
>>> Fax: 520.621.9733
>>> brewerm@u.library.arizona.edu
>>>
>>> -----Original Message-----
>>> From: owner-videolib@lists.berkeley.edu
>>> [mailto:owner-videolib@lists.berkeley.edu] On Behalf Of Jessica
>> Rosner
>>> Sent: Tuesday, May 30, 2006 3:39 PM
>>> To: videolib@lists.berkeley.edu
>>> Subject: Re: [Videolib] 1987 film "Chinese Ghost Story
>>>
>>> I guess what I meant was that as a practical matter it is virtually
>>> impossible to determine that any foreign film is an "orphan" in
> that
>> the
>>> research necessary for proving this would be infinitely more
>> burdensome
>>> than an American work and again I did correspond with the prime
>> mover
>>> behind
>>> this legislation on another matter but he confirmed that this will
>> have
>>> very
>>> little effect on FEATURE films save some independent ones.
>>>
>>> Also this is far from being passed as it is and I suspect some even
>> more
>>> rigid restrictions will be added before it does.
>>>
>>> There some irony in this discussion being started by CHINESE GHOST
>> STORY
>>> As Asian countries are notorious as hotbeds of piracy of both their
>> own
>>> and
>>> foreign films and in which copyright protection is virtually non
>>> existent
>>>
>>>
>>> On 5/30/06 5:54 PM, "Brewer, Michael"
>> <brewerm@u.library.arizona.edu>
>>> wrote:
>>>
>>>> Jessica,
>>>>
>>>> I agree that films will seldom be candidates for Orphan Works,
>>>> especially if people do "diligent" searches. I just hope that
> that
>>> term
>>>> is really defined to keep people from cutting corners.
>>>>
>>>> I heard back from an international copyright specialist on this
> and
>>> she
>>>> mentions that, in the US, US law on orphan works will apply to all
>>>> works, foreign and domestic.
>>>>
>>>> As for the research and scholarship limitation, that is for the
>>> portion
>>>> of section 108 that relates to works in their final 20 years of
>>>> copyright protection (which, it seems, will largely be eclipsed by
>>>> Orphan works).
>>>>
>>>> You bring up a good point about determining who, among many, holds
>> the
>>>> copyright. Orphan works won't help there. It seems those
>> situations
>>>> can only be worked out by the courts (if it ever gets that far),
>> and
>>>> that, unfortunately, means those films will more or less remain
>>>> unavailable to most scholars.
>>>>
>>>> mb
>>>>
>>>> Michael Brewer
>>>> Slavic Studies, German Studies & Media Arts Librarian
>>>> University of Arizona Library A210
>>>> 1510 E. University
>>>> P.O. Box 210055
>>>> Tucson, AZ 85721
>>>> Voice: 520.307.2771
>>>> Fax: 520.621.9733
>>>> brewerm@u.library.arizona.edu
>>>>
>>>> -----Original Message-----
>>>> From: owner-videolib@lists.berkeley.edu
>>>> [mailto:owner-videolib@lists.berkeley.edu] On Behalf Of Jessica
>> Rosner
>>>> Sent: Tuesday, May 30, 2006 1:54 PM
>>>> To: videolib@lists.berkeley.edu
>>>> Subject: Re: [Videolib] 1987 film "Chinese Ghost Story
>>>>
>>>> Well keep in mind that GATT supercedes US Copyright law and the
>>> concept
>>>> of
>>>> Public Domain is virtually unheard of in Europe for instance so
>> the
>>>> likelihood of a feature film being without a rights holder in
>> almost
>>> non
>>>> existent. The thing is you have lots an lots of messy legal issues
>>>> involving
>>>> say multiple parties claiming rights, bankruptcies etc which make
>>>> getting
>>>> PPR rights on many foreign films very, very difficult however it
>> does
>>>> NOT
>>>> mean that the rights holders don't exist.
>>>> My concern is someone thinking well Tai Seng is not being
>> responsive
>>> or
>>>> MK2 did not answer our fax and therefore we exorcised due
> diligence
>> in
>>>> trying to clear this. Again at its BEST the Orphan Film work
> might
>>> get
>>>> you
>>>> some limited access to American films almost entirely non feature
>>> works
>>>> that
>>>> have fallen through the cracks but it is absolutely not intended
> to
>>>> allow
>>>> Public showings of foreign works
>>>>
>>>> I recently e mailed with one of the prime movers behind this on a
>>>> related
>>>> subject and he confirmed that it has little relevance to the vast
>>>> majority
>>>> Of feature films
>>>>
>>>>
>>>> On 5/30/06 4:06 PM, "Brewer, Michael"
>> <brewerm@u.library.arizona.edu>
>>>> wrote:
>>>>
>>>>> Jessica,
>>>>>
>>>>> You bring up an interesting point, and one for which I don't have
>> an
>>>>> immediate answer. I had not thought about foreign works. There
>> is
>>> no
>>>>> mention of this not applying to foreign works in any of the
>> documents
>>>> I
>>>>> have read. My assumption, therefore, was that this would apply
> to
>>>> uses
>>>>> of works in the United States, regardless of country of origin,
>> but
>>>> I'll
>>>>> have to check on this. This is pretty much how, for example,
> Fair
>>>> Use,
>>>>> or the TEACH Act, or section 108, or most other sections of US
>>>> copyright
>>>>> law works (an exception would be duration of copyright). I think
>>>>> whether or not this would apply to foreign works would have more
>> to
>>> do
>>>>> with whether or not they have signed Berne or some other
>>> international
>>>>> copyright agreement to which we also are a signatory.
>>>>>
>>>>> I'll look into this more and see what I can find.
>>>>>
>>>>> As for only applying to research, that, too, is not in the
>> documents
>>> I
>>>>> have read. At the site for which I gave the previous URL, this
> is
>>> the
>>>>> stated purpose of the research into Orphan works in the first
>> place:
>>>>>
>>>>> During 2005, the Copyright Office studied issues raised by
> "orphan
>>>>> works"- copyrighted works whose owners may be impossible to
>> identify
>>>> and
>>>>> locate. Concerns had been raised that the uncertainty surrounding
>>>>> ownership of such works might needlessly discourage subsequent
>>>> creators
>>>>> and users from incorporating such works in new creative efforts,
>> or
>>>> from
>>>>> making such works available to the public.
>>>>>
>>>>> I agree that most rights holders could be found were the search
>>>> diligent
>>>>> enough. I will be curious, though, to see how people (and the
>>> courts)
>>>>> define diligent.
>>>>>
>>>>> mb
>>>>>
>>>>> Michael Brewer
>>>>> Slavic Studies, German Studies & Media Arts Librarian
>>>>> University of Arizona Library A210
>>>>> 1510 E. University
>>>>> P.O. Box 210055
>>>>> Tucson, AZ 85721
>>>>> Voice: 520.307.2771
>>>>> Fax: 520.621.9733
>>>>> brewerm@u.library.arizona.edu
>>>>>
>>>>> -----Original Message-----
>>>>> From: owner-videolib@lists.berkeley.edu
>>>>> [mailto:owner-videolib@lists.berkeley.edu] On Behalf Of Jessica
>>> Rosner
>>>>> Sent: Tuesday, May 30, 2006 10:42 AM
>>>>> To: videolib@lists.berkeley.edu
>>>>> Subject: Re: [Videolib] 1987 film "Chinese Ghost Story
>>>>>
>>>>> It would DEFINITELY not effect this film. The Orphan work can
> ONLY
>>>> apply
>>>>> to
>>>>> American films and there is no question that this film has an
>> owner
>>>> and
>>>>> a
>>>>> very good high priced lawyer or researcher could track it down
> for
>>> you
>>>>> just
>>>>> not worth the time and money
>>>>>
>>>>> The Orphan bill will have virtually no effect on feature films
>> where
>>>> you
>>>>> can
>>>>> With enough work find a rights holder 98% of the time. Also the
>>> Orphan
>>>>> work
>>>>> is strictly copying for research etc and does NOT allow ANY
>> public
>>>>> showing
>>>>> of a work. I think the main intent of the Orphan bill is to allow
>>>>> indendent
>>>>> films, short works, industrials etc better access for research
>> etc.
>>>>> Again
>>>>> virtually no effect on feature films and none for films produced
>>>> outside
>>>>> the
>>>>> US
>>>>>
>>>>>
>>>>> On 5/30/06 1:12 PM, "Brewer, Michael"
>> <brewerm@u.library.arizona.edu>
>>>>> wrote:
>>>>>
>>>>>> All,
>>>>>>
>>>>>> I wonder what affect the Orphan Works bill, which is expected to
>> be
>>>>>> passed in some form by Congress and go into effect in 2008, will
>>> have
>>>>> on
>>>>>> these sorts of situations. I think the key portion of it will
> be
>>>>>> determining what constitutes a "good faith, reasonably diligent
>>>>> search"
>>>>>> for the copyright holder. My understanding of what is being
>>> proposed
>>>>> is
>>>>>> that if this "reasonably diligent search" is done (however that
>> may
>>>> be
>>>>>> defined), and a copyright holder is not found, then one can use
>> the
>>>>> work
>>>>>> non-commercially without fear of any damages. If the use is
>> ongoing,
>>>>> and
>>>>>> a copyright holder surfaces, "reasonable compensation" must be
>> paid.
>>>>>>
>>>>>> There is more info on Orphan works here.
>>>>>> http://www.copyright.gov/orphan/
>>>>>>
>>>>>> mb
>>>>>>
>>>>>> Michael Brewer
>>>>>> Slavic Studies, German Studies & Media Arts Librarian
>>>>>> University of Arizona Library A210
>>>>>> 1510 E. University
>>>>>> P.O. Box 210055
>>>>>> Tucson, AZ 85721
>>>>>> Voice: 520.307.2771
>>>>>> Fax: 520.621.9733
>>>>>> brewerm@u.library.arizona.edu
>>>>>>
>>>>>> -----Original Message-----
>>>>>> From: owner-videolib@lists.berkeley.edu
>>>>>> [mailto:owner-videolib@lists.berkeley.edu] On Behalf Of Jessica
>>>> Rosner
>>>>>> Sent: Tuesday, May 30, 2006 9:02 AM
>>>>>> To: videolib@lists.berkeley.edu
>>>>>> Subject: Re: [Videolib] 1987 film "Chinese Ghost Story
>>>>>>
>>>>>> If Tai Seng can't help , I doubt there is much you can do
>>>>>> The Hong Kong titles are messy to say the least and you might
>>>>>> Find 3 companies claiming to own it. I don't think anyone in the
>>>>>> US could own it at this point and trying to untangle this in HK
>> is
>>>>> more
>>>>>> trouble than it is worth
>>>>>>
>>>>>> FYI this is NOT an unusual situation for a foreign title
>>>>>> There are thousands if not tens of thousands of titles where it
>> is
>>>>>> Difficult to impossible to get rights for a public showing which
>>> does
>>>>>> Not mean they are not protected , only that these rights are
>>>>> considered
>>>>>> So unimportant that they are rarely in the home video contracts
>>>>> meaning
>>>>>> You have to track the overseas rights holder to obtain them
>>>>>>
>>>>>>
>>>>>> On 5/30/06 10:38 AM, "Rick Provine" <PROVINE@depauw.edu> wrote:
>>>>>>
>>>>>>> Howdy:
>>>>>>>
>>>>>>> One more try...
>>>>>>>
>>>>>>> We want to show the film, "Sinnui yauwan," (Chinese Ghost
> Story,
>>>>> 1987)
>>>>>>> for an arts festival next fall, and are seeking rights
>>>>>>> holder/distributor info. The previous one (Tai Seng
>> Entertainment)
>>>>> no
>>>>>>> longer has the rights.
>>>>>>>
>>>>>>> Jessica? Facets? Help!!!
>>>>>>>
>>>>>>> Thanks.
>>>>>>>
>>>>>>> Rick
>>>>>>>
>>>>>>>
>>>>>>> _____________________________
>>>>>>> Rick Provine
>>>>>>> Director of Libraries
>>>>>>> and Associate CIO for Library
>>>>>>> & Information Services
>>>>>>> DePauw University
>>>>>>> 11 East Larabee Street
>>>>>>> Greencastle, IN 46135
>>>>>>> provine@depauw.edu
>>>>>>> office 765-658-4435
>>>>>>> mobile 765-301-0262
>>>>>>> fax 765-658-4445
>>>>>>>
>>>>>>>>>> PROVINE@depauw.edu 5/26/2006 1:29 PM >>>
>>>>>>> Greetings, Folks:
>>>>>>>
>>>>>>> Anyone know who currently has PPR for the 1987 film, "Chinese
>> Ghost
>>>>>>> Story?"
>>>>>>>
>>>>>>> Thanks!
>>>>>>>
>>>>>>> Rick
>>>>>>>
>>>>>>> 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 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.
>>>>>>
>>>>>>
>>>>>>
>>>>>> Proud Resident of a BLUE STATE
>>>>>>
>>>>>> Jessica Rosner
>>>>>> Kino International
>>>>>> 333 W 39th St. 503
>>>>>> NY NY 10018
>>>>>> jrosner@kino.com
>>>>>> 212-629-6880
>>>>>>
>>>>>>
>>>>>> 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 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.
>>>>>
>>>>>
>>>>>
>>>>> Proud Resident of a BLUE STATE
>>>>>
>>>>> Jessica Rosner
>>>>> Kino International
>>>>> 333 W 39th St. 503
>>>>> NY NY 10018
>>>>> jrosner@kino.com
>>>>> 212-629-6880
>>>>>
>>>>>
>>>>> 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 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.
>>>>
>>>>
>>>>
>>>> Proud Resident of a BLUE STATE
>>>>
>>>> Jessica Rosner
>>>> Kino International
>>>> 333 W 39th St. 503
>>>> NY NY 10018
>>>> jrosner@kino.com
>>>> 212-629-6880
>>>>
>>>>
>>>> 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 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.
>>>
>>>
>>>
>>> Proud Resident of a BLUE STATE
>>>
>>> Jessica Rosner
>>> Kino International
>>> 333 W 39th St. 503
>>> NY NY 10018
>>> jrosner@kino.com
>>> 212-629-6880
>>>
>>>
>>> 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 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.
>>
>>
>>
>> Proud Resident of a BLUE STATE
>>
>> Jessica Rosner
>> Kino International
>> 333 W 39th St. 503
>> NY NY 10018
>> jrosner@kino.com
>> 212-629-6880
>>
>>
>> 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 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.
>
>
>
> Proud Resident of a BLUE STATE
>
> Jessica Rosner
> Kino International
> 333 W 39th St. 503
> NY NY 10018
> jrosner@kino.com
> 212-629-6880
>
>
> 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 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.

Proud Resident of a BLUE STATE

Jessica Rosner
Kino International
333 W 39th St. 503
NY NY 10018
jrosner@kino.com
212-629-6880

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.