Re: [Videolib] whoa! what a flurry of emails on film clips

Jessica Rosner (maddux2014@gmail.com)
Tue, 24 Mar 2009 12:40:55 -0400

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I realize conveniences sound condescending at it may not be the right word
but I am just trying to emphasize thatin fact American copyright is far mor=
e
generous than anywhere else in the world in terms of using films in classes
and that when you try to really push the envelope and say you can stream a
whole film then you ARE going to have to license this right from people wh=
o
own it who are often artists and their representatives not Hollywood fat
cats.

On Tue, Mar 24, 2009 at 12:30 PM, <ghandman@library.berkeley.edu> wrote:

> Jessica...you're lamentably out of touch with current realities as far as
> teaching and learning and educational institutions goes.
>
> You seem to be fixated on the notion of "convenience"... The reasons why
> most instructors wish to put videos online gnerally has less to do with
> "convenience" than with 1) the expediencies and frustrations of teaching
> in a 60-90 minute classroom 2) the changing demographics of college and
> university campuses 3) the fact that close viewing and/or subsequent
> viewing has become an important part of pedagogy and the learning process
> 4) the fact that not every university or college has a media center or a
> library media collection.
>
> I'm still not saying that whole works can be justifiably streamed without
> license or permission. I am saying that there are many reasons other tha=
n
> "convenience" that those of use in academic institutions are pushing hard
> for the ability to serve up video content 24/7.
>
> gary
>
>
>
> > CarrieOne quick response. Streaming is NOT the same as face to face and
> it
> > is not just greedy studio people who would like to be paid for this use=
.
> > If
> > you were talking about streaming TO a classroom that would be one thing
> > but
> > this is done so students can see films in essence at their convenience=
.
> > While this might make things nice and easy it is not really their "righ=
t"
> > to
> > watch the film anytime , anywhere so long as it is part of course.
> Regular
> > bricks and mortar classes have plenty of opportunity to see a work eith=
er
> > in
> > class or at the library.It is fact the smaller companies that are hit
> > hardest when the concept of streaming a whole work without paying any f=
ee
> > is
> > proposed. I grant you that some of the current "models" are out of whac=
k
> > price wise but hopefully that can work out. I am curious is it your
> belief
> > that
> > an entire book can be scanned and posted on line for a class provided =
it
> > is
> > "password protected" ?
> >
> > I am alsol curious about an example of an entire film being considered
> > "Fair
> > Use" . The only example I recall involved what would be called exigent
> > circumstances but at most meant that the institution would have to pay
> for
> > it after the fact not that it was actually covered so if you have an
> > example
> > I would love to hear it.
> >
> > On Tue, Mar 24, 2009 at 11:54 AM, Carrie Russell
> > <crussell@alawash.org>wrote:
> >
> >> I am writing again to try and clarify what I said and have said in th=
e
> >> past about the TEACH Act, about fair use and about anti-circumvention.
> >>
> >>
> >>
> >> 1. TEACH Act applies to both synchronous and asynchronous teaching.
> >> It
> >> also applies to the blended classroom =96 meaning you might be taki=
ng a
> >> regular face-to-face class but the teacher may use digital
> >> technologies to
> >> deliver content to the classroom and to secure, networks for enroll=
ed
> >> students only (like Blackboard). I quoted from the legislative
> >> history to
> >> explain this in an earlier post.
> >>
> >>
> >>
> >> 1. TEACH limits the public performance of audiovisual works
> >> (including
> >> DVDs) to portions necessary to meet the teaching goal. Throughout
> >> Section
> >> 110(2), we are reminded that one can use the portions that they wou=
ld
> >> typically use in the analog/video/16mm classroom, but for audio
> >> visual works
> >> the law is saying even though you would ordinarily screen an entire
> >> film in
> >> the face-to-face classroom, you cannot do that under TEACH.
> >> Audiovisual
> >> works are treated differently than most other works in TEACH.
> >>
> >>
> >>
> >> 1. Switching over to fair use (Section 107) -- The third factor of
> >> fair
> >> use asks that we consider the amount of work we want to use. If on=
e
> >> can
> >> generalize, the less you use, the more likely your use is fair.
> >> HOWEVER,
> >> the third factor is only one factor that we are asked to consider i=
n
> >> making
> >> a fair use assessment. So, it is POSSIBLE that screening an entire
> >> film via
> >> a digital network might be fair given the specific facts of the
> >> situation at
> >> hand.
> >>
> >>
> >>
> >> (Editorial comment: I have been asked before to give an example of whe=
n
> >> it
> >> might be fair to show an entire film via a digital network. Some peop=
le
> >> on
> >> the list cannot imagine a situation when it would ever be fair to show
> >> an
> >> entire film. Other people think it could be possible and they may eve=
n
> >> be
> >> doing it. Other people think this part of TEACH is absurd since the
> >> same
> >> use is occurring for teaching purposes whether on Blackboard or in the
> >> classroom so what is the difference. The difference is that lobbyists
> >> for
> >> the motion picture industry fought hard to get this special treatment =
in
> >> order to establish a new revenue stream for licensing films for
> >> streaming.
> >> Even though you bought a DVD for teaching purposes, some vendors would
> >> like
> >> you to pay again in order to stream it).
> >>
> >>
> >>
> >> 1. Fair use guidelines (10% of this, 10 lines of that etc) are MADE
> >> UP
> >> rules. They are not in the law ANYWHERE. You may choose to use
> >> guidelines
> >> as your local policy but they do not have the force and effect of
> >> law.
> >>
> >>
> >>
> >> 1. On to anti-circumvention -- The DMCA put in effect a new legal w=
ay
> >> for rights holders to protect the use of their works primarily to
> >> control
> >> the unauthorized use of digital content that had not been lawfully
> >> acquired
> >> (paid for). It is a deviation from the rest of the copyright law i=
n
> >> that it
> >> controls ACCESS. Under the copyright law=92s exclusive rights, the=
re
> >> is no
> >> right of access =96 for example, you can go to the bookstore, and l=
ook
> >> at
> >> books and magazines, even read an article or two, without permissio=
n
> >> from
> >> the rights holder -- but the DMCA adds this right of access for
> >> digital
> >> works. This makes sense to an extent because one should pay to hav=
e
> >> digital
> >> access (like with your cable bill). It would be wrong to snag a
> >> cable box
> >> and get free cable. The thought was that rights holders need to mak=
e
> >> money
> >> on digital works which are obviously more vulnerable to easy copyin=
g
> >> and
> >> distribution so this provision is necessary.
> >>
> >>
> >>
> >> 1. The problem with digital locks comes into play when one wants to
> >> use
> >> a work in a lawful way but the technology prevents them from doing
> >> so. For
> >> example, the library buys lots of DVDs. Many are encrypted with
> >> content
> >> scrambling to prevent copying. But some copying is fair, such as
> >> showing
> >> clips of DVDs in the classroom. If you circumvent the technology i=
n
> >> order
> >> to make the lawful clip, you are in violation of the DMCA
> >> anti-circumvention
> >> provision (described above). You may be exercising fair use, but y=
ou
> >> broke
> >> a code to do it and breaking the code is against the
> >> anti-circumvention
> >> provision.
> >>
> >>
> >>
> >> 1. Congress thought this might be a problem, so they added rulemaki=
ng
> >> proceedings to occur every three years to find out if the
> >> anti-circumvention
> >> provision was preventing the public from exercising fair use. One
> >> exemption
> >> to the anti-circumvention provision that has been approved for
> >> several years
> >> is that one can circumvent an e-book to enable the read aloud
> >> function so
> >> the reading impaired can listen to an e-book they have lawfully
> >> acquired.
> >>
> >>
> >>
> >> 1. Currently under consideration is whether faculty can circumvent
> >> CSS
> >> technology on DVDs that they have purchased, in order to copy a cli=
p
> >> for use
> >> in the face-to-face classroom.
> >>
> >>
> >>
> >> 1. Finally to complicate matters =96 back to TEACH (which was passe=
d
> >> after the DMCA). If you wanted to use a clip from a DVD but could
> >> not do so
> >> because of anti-circumvention, TEACH says you can go ahead and
> >> digitize an
> >> analog version of the title in order to create the digital clip to
> >> use for
> >> teaching. TEACH spells this out specifically because Congress does
> >> not want
> >> you to violate the DMCA in order to exercise a right they give you =
in
> >> TEACH. If you can only find your title in a format that is encrypt=
ed
> >> (there
> >> are no unencrypted version like a videotape), you are out of luck.
> >> You
> >> cannot break the code on the encrypted DVD UNLESS it is decided tha=
t
> >> these
> >> works are exempt in the DMCA rulemaking. At this time, they are
> >> exempt for
> >> faculty who teach film or media studies, not for any other faculty
> >> unless
> >> there is a change made at the rulemaking to expand the provision.
> >>
> >>
> >>
> >> 1. As my cataloging professor use to say, =93Clear as mud?=94
> >>
> >>
> >>
> >> Carrie Russell, Director
> >>
> >> Program on Public Access to Information
> >>
> >> American Library Association
> >>
> >> Office for Information Technology Policy
> >>
> >> 1615 New Hampshire Avenue NW, First Floor
> >>
> >> Washington, DC 20009
> >>
> >> 202.628.8410/800.941.8478
> >>
> >> 202.628.8419 (fax)
> >>
> >> crussell@alawash.org
> >>
> >>
> >>
> >>
> >>
> >> 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 librari=
es
> >> 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 communicati=
on
> >> 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 serv=
e
> > as an effective working tool for video librarians, as well as a channel
> of
> > communication between libraries,educational institutions, and video
> > producers and distributors.
> >
>
>
> Gary Handman
> Director
> Media Resources Center
> Moffitt Library
> UC Berkeley
>
> 510-643-8566
> ghandman@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 issu=
es
> 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 effectiv=
e
> working tool for video librarians, as well as a channel of communication
> between libraries,educational institutions, and video producers and
> distributors.
>

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I realize conveniences sound condescending at it may not be the right word =
but I am just trying to emphasize that<div>in fact American copyright is fa=
r more generous than anywhere else in the world in terms of using films in =
classes and that when you try to really push the envelope and say you can s=
tream a whole film =A0then you ARE going to have to license this right from=
people who own it who are often artists and their representatives not Holl=
ywood fat cats.<br>
<br><div class=3D"gmail_quote">On Tue, Mar 24, 2009 at 12:30 PM, <span dir=
=3D"ltr">&lt;<a href=3D"mailto:ghandman@library.berkeley.edu">ghandman@libr=
ary.berkeley.edu</a>&gt;</span> wrote:<br><blockquote class=3D"gmail_quote"=
style=3D"margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
Jessica...you&#39;re lamentably out of touch with current realities as far =
as<br>
teaching and learning and educational institutions goes.<br>
<br>
You seem to be fixated on the notion of &quot;convenience&quot;... The reas=
ons why<br>
most instructors wish to put videos online gnerally has less to do with<br>
&quot;convenience&quot; than with 1) the expediencies and frustrations of t=
eaching<br>
in a 60-90 minute classroom 2) the changing demographics of college and<br>
university campuses 3) the fact that close viewing and/or subsequent<br>
viewing has become an important part of pedagogy and the learning process<b=
r>
4) the fact that not every university or college has a media center or a<br=
>
library media collection.<br>
<br>
I&#39;m still not saying that whole works can be justifiably streamed witho=
ut<br>
license or permission. =A0I am saying that there are many reasons other tha=
n<br>
&quot;convenience&quot; that those of use in academic institutions are push=
ing hard<br>
for the ability to serve up video content 24/7.<br>
<br>
gary<br>
<br>
<br>
<br>
&gt; CarrieOne quick response. Streaming is NOT the same as face to face an=
d it<br>
<div><div></div><div class=3D"h5">&gt; is not just greedy studio people who=
would like to be paid for this use.<br>
&gt; If<br>
&gt; you were talking about streaming TO a classroom that would be one thin=
g<br>
&gt; but<br>
&gt; this is done so students can see =A0films in essence at their convenie=
nce.<br>
&gt; While this might make things nice and easy it is not really their &quo=
t;right&quot;<br>
&gt; to<br>
&gt; watch the film anytime , anywhere so long as it is part of course. Reg=
ular<br>
&gt; bricks and mortar classes have plenty of opportunity to see a work eit=
her<br>
&gt; in<br>
&gt; class or at the library.It is fact the smaller companies that are hit<=
br>
&gt; hardest when the concept of streaming a whole work without paying any =
fee<br>
&gt; is<br>
&gt; proposed. I grant you that some of the current &quot;models&quot; are =
out of whack<br>
&gt; price wise but hopefully that can work out. I am curious is it your be=
lief<br>
&gt; that<br>
&gt; an entire book can be scanned and posted on =A0line for a class provid=
ed it<br>
&gt; is<br>
&gt; &quot;password protected&quot; ?<br>
&gt;<br>
&gt; I am alsol curious about an example of an entire film being considered=
<br>
&gt; &quot;Fair<br>
&gt; Use&quot; . The only example I recall involved what would be called ex=
igent<br>
&gt; circumstances but at most meant that the institution would have to pay=
for<br>
&gt; it after the fact not that it was actually covered so if you have an<b=
r>
&gt; example<br>
&gt; I would love to hear it.<br>
&gt;<br>
&gt; On Tue, Mar 24, 2009 at 11:54 AM, Carrie Russell<br>
&gt; &lt;<a href=3D"mailto:crussell@alawash.org">crussell@alawash.org</a>&g=
t;wrote:<br>
&gt;<br>
&gt;&gt; =A0I am writing again to try and clarify what I said and have said=
in the<br>
&gt;&gt; past about the TEACH Act, about fair use and about anti-circumvent=
ion.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div></div>&gt;&gt; =A0 =A01. TEACH Act applies to both synchronous and as=
ynchronous teaching.<br>
<div class=3D"im">&gt;&gt; It<br>
&gt;&gt; =A0 =A0also applies to the blended classroom =96 meaning you might=
be taking a<br>
&gt;&gt; =A0 =A0regular face-to-face class but the teacher may use digital<=
br>
&gt;&gt; technologies to<br>
&gt;&gt; =A0 =A0deliver content to the classroom and to secure, networks fo=
r enrolled<br>
&gt;&gt; =A0 =A0students only (like Blackboard). =A0I quoted from the legis=
lative<br>
&gt;&gt; history to<br>
&gt;&gt; =A0 =A0explain this in an earlier post.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. TEACH limits the public performance of audiovisual=
works<br>
<div class=3D"im">&gt;&gt; (including<br>
&gt;&gt; =A0 =A0DVDs) to portions necessary to meet the teaching goal. =A0T=
hroughout<br>
&gt;&gt; Section<br>
&gt;&gt; =A0 =A0110(2), we are reminded that one can use the portions that =
they would<br>
&gt;&gt; =A0 =A0typically use in the analog/video/16mm classroom, but for a=
udio<br>
&gt;&gt; visual works<br>
&gt;&gt; =A0 =A0the law is saying even though you would ordinarily screen a=
n entire<br>
&gt;&gt; film in<br>
&gt;&gt; =A0 =A0the face-to-face classroom, you cannot do that under TEACH.=
<br>
&gt;&gt; Audiovisual<br>
&gt;&gt; =A0 =A0works are treated differently than most other works in TEAC=
H.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. Switching over to fair use (Section 107) -- The th=
ird factor of<br>
<div><div></div><div class=3D"h5">&gt;&gt; fair<br>
&gt;&gt; =A0 =A0use asks that we consider the amount of work we want to use=
. =A0If one<br>
&gt;&gt; can<br>
&gt;&gt; =A0 =A0generalize, the less you use, the more likely your use is f=
air.<br>
&gt;&gt; HOWEVER,<br>
&gt;&gt; =A0 =A0the third factor is only one factor that we are asked to co=
nsider in<br>
&gt;&gt; making<br>
&gt;&gt; =A0 =A0a fair use assessment. So, it is POSSIBLE that screening an=
entire<br>
&gt;&gt; film via<br>
&gt;&gt; =A0 =A0a digital network might be fair given the specific facts of=
the<br>
&gt;&gt; situation at<br>
&gt;&gt; =A0 =A0hand.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt; (Editorial comment: I have been asked before to give an example of=
when<br>
&gt;&gt; it<br>
&gt;&gt; might be fair to show an entire film via a digital network. =A0Som=
e people<br>
&gt;&gt; on<br>
&gt;&gt; the list cannot imagine a situation when it would ever be fair to =
show<br>
&gt;&gt; an<br>
&gt;&gt; entire film. =A0Other people think it could be possible and they m=
ay even<br>
&gt;&gt; be<br>
&gt;&gt; doing it. =A0Other people think this part of TEACH is absurd since=
the<br>
&gt;&gt; same<br>
&gt;&gt; use is occurring for teaching purposes whether on Blackboard or in=
the<br>
&gt;&gt; classroom so what is the difference. =A0The difference is that lob=
byists<br>
&gt;&gt; for<br>
&gt;&gt; the motion picture industry fought hard to get this special treatm=
ent in<br>
&gt;&gt; order to establish a new revenue stream for licensing films for<br=
>
&gt;&gt; streaming.<br>
&gt;&gt; Even though you bought a DVD for teaching purposes, some vendors w=
ould<br>
&gt;&gt; like<br>
&gt;&gt; you to pay again in order to stream it).<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt; =A0 =A01. Fair use guidelines (10% of this, 10 lines of that etc) =
are MADE<br>
&gt;&gt; UP<br>
&gt;&gt; =A0 =A0rules. =A0They are not in the law ANYWHERE. =A0You may choo=
se to use<br>
&gt;&gt; guidelines<br>
&gt;&gt; =A0 =A0as your local policy but they do not have the force and eff=
ect of<br>
&gt;&gt; law.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div></div>&gt;&gt; =A0 =A01. On to anti-circumvention -- The DMCA put in =
effect a new legal way<br>
<div class=3D"im">&gt;&gt; =A0 =A0for rights holders to protect the use of =
their works primarily to<br>
&gt;&gt; control<br>
&gt;&gt; =A0 =A0the unauthorized use of digital content that had not been l=
awfully<br>
&gt;&gt; acquired<br>
&gt;&gt; =A0 =A0(paid for). =A0It is a deviation from the rest of the copyr=
ight law in<br>
&gt;&gt; that it<br>
&gt;&gt; =A0 =A0controls ACCESS. =A0Under the copyright law=92s exclusive r=
ights, there<br>
&gt;&gt; is no<br>
&gt;&gt; =A0 =A0right of access =96 for example, you can go to the bookstor=
e, and look<br>
&gt;&gt; at<br>
&gt;&gt; =A0 =A0books and magazines, even read an article or two, without p=
ermission<br>
&gt;&gt; from<br>
&gt;&gt; =A0 =A0the rights holder -- =A0but the DMCA adds this right of acc=
ess for<br>
&gt;&gt; digital<br>
&gt;&gt; =A0 =A0works. =A0This makes sense to an extent because one should =
pay to have<br>
&gt;&gt; digital<br>
&gt;&gt; =A0 =A0access (like with your cable bill). =A0It would be wrong to=
snag a<br>
&gt;&gt; cable box<br>
&gt;&gt; =A0 =A0and get free cable. The thought was that rights holders nee=
d to make<br>
&gt;&gt; money<br>
&gt;&gt; =A0 =A0on digital works which are obviously more vulnerable to eas=
y copying<br>
&gt;&gt; and<br>
&gt;&gt; =A0 =A0distribution so this provision is necessary.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. The problem with digital locks comes into play whe=
n one wants to<br>
<div class=3D"im">&gt;&gt; use<br>
&gt;&gt; =A0 =A0a work in a lawful way but the technology prevents them fro=
m doing<br>
&gt;&gt; so. =A0For<br>
&gt;&gt; =A0 =A0example, the library buys lots of DVDs. =A0Many are encrypt=
ed with<br>
&gt;&gt; content<br>
&gt;&gt; =A0 =A0scrambling to prevent copying. =A0But some copying is fair,=
such as<br>
&gt;&gt; showing<br>
&gt;&gt; =A0 =A0clips of DVDs in the classroom. =A0If you circumvent the te=
chnology in<br>
&gt;&gt; order<br>
&gt;&gt; =A0 =A0to make the lawful clip, you are in violation of the DMCA<b=
r>
&gt;&gt; anti-circumvention<br>
&gt;&gt; =A0 =A0provision (described above). =A0You may be exercising fair =
use, but you<br>
&gt;&gt; broke<br>
&gt;&gt; =A0 =A0a code to do it and breaking the code is against the<br>
&gt;&gt; anti-circumvention<br>
&gt;&gt; =A0 =A0provision.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. Congress thought this might be a problem, so they =
added rulemaking<br>
<div class=3D"im">&gt;&gt; =A0 =A0proceedings to occur every three years to=
find out if the<br>
&gt;&gt; anti-circumvention<br>
&gt;&gt; =A0 =A0provision was preventing the public from exercising fair us=
e. =A0One<br>
&gt;&gt; exemption<br>
&gt;&gt; =A0 =A0to the anti-circumvention provision that has been approved =
for<br>
&gt;&gt; several years<br>
&gt;&gt; =A0 =A0is that one can circumvent an e-book to enable the read alo=
ud<br>
&gt;&gt; function so<br>
&gt;&gt; =A0 =A0the reading impaired can listen to an e-book they have lawf=
ully<br>
&gt;&gt; acquired.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. Currently under consideration is whether faculty c=
an circumvent<br>
<div class=3D"im">&gt;&gt; CSS<br>
&gt;&gt; =A0 =A0technology on DVDs that they have purchased, in order to co=
py a clip<br>
&gt;&gt; for use<br>
&gt;&gt; =A0 =A0in the face-to-face classroom.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. Finally to complicate matters =96 back to TEACH (w=
hich was passed<br>
<div class=3D"im">&gt;&gt; =A0 =A0after the DMCA). =A0If you wanted to use =
a clip from a DVD but could<br>
&gt;&gt; not do so<br>
&gt;&gt; =A0 =A0because of anti-circumvention, TEACH says you can go ahead =
and<br>
&gt;&gt; digitize an<br>
&gt;&gt; =A0 =A0analog version of the title in order to create the digital =
clip to<br>
&gt;&gt; use for<br>
&gt;&gt; =A0 =A0teaching. =A0TEACH spells this out specifically because Con=
gress does<br>
&gt;&gt; not want<br>
&gt;&gt; =A0 =A0you to violate the DMCA in order to exercise a right they g=
ive you in<br>
&gt;&gt; =A0 =A0TEACH. =A0If you can only find your title in a format that =
is encrypted<br>
&gt;&gt; (there<br>
&gt;&gt; =A0 =A0are no unencrypted version like a videotape), you are out o=
f luck.<br>
&gt;&gt; You<br>
&gt;&gt; =A0 =A0cannot break the code on the encrypted DVD UNLESS it is dec=
ided that<br>
&gt;&gt; these<br>
&gt;&gt; =A0 =A0works are exempt in the DMCA rulemaking. =A0At this time, t=
hey are<br>
&gt;&gt; exempt for<br>
&gt;&gt; =A0 =A0faculty who teach film or media studies, not for any other =
faculty<br>
&gt;&gt; unless<br>
&gt;&gt; =A0 =A0there is a change made at the rulemaking to expand the prov=
ision.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
</div>&gt;&gt; =A0 =A01. As my cataloging professor use to say, =93Clear as=
mud?=94<br>
<div><div></div><div class=3D"h5">&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt; Carrie Russell, Director<br>
&gt;&gt;<br>
&gt;&gt; Program on Public Access to Information<br>
&gt;&gt;<br>
&gt;&gt; American Library Association<br>
&gt;&gt;<br>
&gt;&gt; Office for Information Technology Policy<br>
&gt;&gt;<br>
&gt;&gt; 1615 New Hampshire =A0Avenue NW, First Floor<br>
&gt;&gt;<br>
&gt;&gt; Washington, DC 20009<br>
&gt;&gt;<br>
&gt;&gt; 202.628.8410/800.941.8478<br>
&gt;&gt;<br>
&gt;&gt; 202.628.8419 (fax)<br>
&gt;&gt;<br>
&gt;&gt; <a href=3D"mailto:crussell@alawash.org">crussell@alawash.org</a><b=
r>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt; VIDEOLIB is intended to encourage the broad and lively discussion =
of<br>
&gt;&gt; issues<br>
&gt;&gt; relating to the selection, evaluation, acquisition,bibliographic<b=
r>
&gt;&gt; control,<br>
&gt;&gt; preservation, and use of current and evolving video formats in lib=
raries<br>
&gt;&gt; and<br>
&gt;&gt; related institutions. It is hoped that the list will serve as an<b=
r>
&gt;&gt; effective<br>
&gt;&gt; working tool for video librarians, as well as a channel of communi=
cation<br>
&gt;&gt; between libraries,educational institutions, and video producers an=
d<br>
&gt;&gt; distributors.<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt; VIDEOLIB is intended to encourage the broad and lively discussion of<b=
r>
&gt; issues relating to the selection, evaluation, acquisition,bibliographi=
c<br>
&gt; control, preservation, and use of current and evolving video formats i=
n<br>
&gt; libraries and related institutions. It is hoped that the list will ser=
ve<br>
&gt; as an effective working tool for video librarians, as well as a channe=
l of<br>
&gt; communication between libraries,educational institutions, and video<br=
>
&gt; producers and distributors.<br>
&gt;<br>
<br>
<br>
</div></div>Gary Handman<br>
Director<br>
Media Resources Center<br>
Moffitt Library<br>
UC Berkeley<br>
<br>
510-643-8566<br>
<a href=3D"mailto:ghandman@library.berkeley.edu">ghandman@library.berkeley.=
edu</a><br>
<a href=3D"http://www.lib.berkeley.edu/MRC" target=3D"_blank">http://www.li=
b.berkeley.edu/MRC</a><br>
<br>
&quot;I have always preferred the reflection of life to life itself.&quot;<=
br>
--Francois Truffaut<br>
<div><div></div><div class=3D"h5"><br>
<br>
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 an=
d related institutions. It is hoped that the list will serve as an effectiv=
e working tool for video librarians, as well as a channel of communication =
between libraries,educational institutions, and video producers and distrib=
utors.<br>

</div></div></blockquote></div><br></div>

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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.

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