I appreciate the complexity of the situation as you describe it. However,
in our case, PPR is a simple issue. Either our vendor signs over PPR or we
don't distribute the video, no exceptions. We have turned down desirable
titles over this very important issue. It sounds like Bullfrog's situation
At 03:19 PM 3/22/99 -0800, you wrote:
>I am not trying to be difficult but I find a lot of times even the rights
>holders are confused. For Example Kultur does the Eisenstein titles and I
>do not know if Corinth which owns the rights for THESE versions has
>licenced them. In many cases the term is used a little too easily. I
>honestly believe that on any COPYRIGHTED film, it is a problem to deal with
>anyone on PPR but the direct distributor. Questions about just what the PPR
>includes ( Closed circuit for campus, off premise etc) can only be answered
>by the company with the contract.
>I know of at least one company that resells are stuff at a very high price
>which leads the purchaser to think they are getting PPR which of course
>they are not.
>On PD titles, that issue is kind of mess. Under GATT many previously PD
>are being retroactivally copyrighted. This is gonna screw up a number of
>titles people had every right to think were PD ( this will not bother
>Also I have had people assume that since many of Kino's silents are PD, our
>tapes are as well. They are not as we get "special contents" copyright on
>OUR VERSIONS of these titles ( we put a lot of money in these).
>All I am trying to say is that PPR is COMPLICATED. There is no one stop
>shopping or easy answers. IF you are looking for FEATURE films to program
>you can either get umbrella licences and even then you need to be VERY
>CAREFUL as MPLC has a charming way of making you believe it covers many
>titles it does not. You can licence title by title so long as you are
>flexible since not all films can be licenced for PPR under ANY
> I emphasize that all the above applies to FEATURE FILMS. I know very
>little about educational and other non feature materials.