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This chapter presents a historical analysis of how rural and small libraries have traditionally used nontheatrical film, including a discussion of how bookmobiles presented these materials to persons in broader service areas. After establishing the entertainment and educational benefits patrons historically received from the screening of these materials, the author transitions to discuss how recently established regional film archives and other organizations have made significant strides in recent years in preserving motion pictures that document local and regional culture. The chapter concludes with an analysis of how rural and small libraries can work with regional motion picture archives to design screenings and other programs that fulfill traditional roles of entertaining and educating patrons while also reaffirming local cultural identity.

Summative research and archival sources provide the foundations for the discussion of the role and purpose of film in rural and small libraries. Specific libraries and collections serve as case studies.

• Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

• Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

• Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Numerous scholars have published studies on regional and local nontheatrical film in recent decades, but relatively little has been written to connect these films with their value to rural public libraries and their constituents. By beginning with a historical analysis of how films have traditionally been of value to these audiences, the author is able to transition to presenting ideas on how nontheatrical works can continue to be of value in rural contexts. This has practical applications for rural libraries and other rural cultural organizations throughout the United States.

Looks at the first 100 years of Italian cinema examining its role in Italy’s recent history. Provides a bibliography of major film directors, Italian cinema sources, reference works, histories, themes, theory and criticism and articles in journals.

One of the greatest challenges facing academic libraries is maintaining necessary space for collections and services. Academic administrators are forced to balance the need for space to support new and expanded programs, while supporting the traditional needs of the educational enterprise. With many of these situations, the answer comes from redeploying library space for other purposes. The net result for libraries is that functions and services run for years might no longer be possible with these changes in space. This is exactly the problem faced by the Kresge Business Administration Library at the University of Michigan when a major gift led to a construction project that saw the library’s footprint decrease by over 80%. As Kresge went through this change, there was a concerted effort to retain jobs, even though many would be dramatically changed with the new world order. This chapter focuses on the response undertaken at Kresge Library to balance the changing needs of the library that accompany dramatic space reduction. Additionally, this chapter will explore the literature on staffing trends in light of major changes to our work, political posturing to generate more work or “business” for library staff, exploration of the assessment program to ensure that we have the right staffing levels.

Audiovisual works – especially cinematographic works – are at the heart of the changes resulting from the development of the information society. Media convergence radically changed the way traditional audiovisual content is produced, distributed, consumed and eventually archived. Film producers slowly started to experiment with new ways of digital production such as the shortening of release windows to favor new on demand services. How does this translate to European film policy? Due to the unique double nature of cinematographic works which are both economic and cultural goods at the same time, the European film policy is at the crossing point of media, culture, competition and heritage. This paper seeks to address these issues.

In this research paper the authors assessed to what extent the adoption of digital technologies is stimulated throughout the value chain of film making and more precisely to what degree the distribution of a European culturally diverse catalogue of films is encouraged.

For the first time in history, European producers have the tools at their disposal to collaborate, promote and distribute internationally, at lower transaction costs and at a higher speed, and to look beyond their national market. The fast‐evolving technological developments provided the European legislator with the opportunity to strengthen and support the promotion of the European cultural identity in all its diversity. But is this also reflected in the current legislative framework? It is clear that different hurdles still need to be tackled.

In this research paper an overview is given of the regulatory steps that have been taken so far in the field of European film policy to stimulate the digital production and distribution of European film productions. In the context of new unfolding alliances between stakeholders and experiments with premium video‐on‐demand or shorter cinema release windows, the relevance of digital production and distribution schemes can no longer be neglected. The emergence of web‐based services including cloud computing is likely to accelerate this trend.

In this article, I analyze constructions of and responses to vulnerability in the US government and a now-prominent evangelical aid organization, World Vision, during the 1950s and 1960s in Korea and Vietnam. World Vision was founded as the “development discourse,” Cold War rhetoric, and the neo-evangelical movement were all rising to prominence in the United States. World Vision’s early understandings of vulnerability resonated with Cold War and modernization theory rhetoric in certain ways; however, its approaches to remake vulnerable Asians were often distinct. World Vision evangelical Christians looked to private voluntary organizations and individual conversions in a free society to remake individuals and nations, notions not so different from neoliberal development approaches today. US foreign aid approaches were rooted in nation-building for centralized, planned government institutions and economies to modernize “traditional” people. This article examines the complex relationships between missionaries, evangelists, US foreign aid experts and the military in American constructions of vulnerable traditional Asians and interventions to modernize and Christianize them. In examining roots of faith-based development models through the case of World Vision and notions of vulnerability, historical threads and lineages emerge for understanding the relationship of religion and the state in modernizing projects, and faith-based and neoliberal development models.

The inability of cultural institutions to make available digital reproductions of collected material highlights a shortcoming with the existing copyright framework in a number of national jurisdictions. Overlapping efforts to remedy the situation were recently undertaken in the form of EU Directive 2012/28/EU, the “Orphan Works” directive, and a new licensing scheme introduced by the UK Intellectual Property Office (UKIPO). The purpose of this paper is to empirically evaluate both the EU and UK policy approaches, drawing on data collected during a live rights clearance simulation.

The authors attempted to clear rights in a sample of 432 items contained in the mixed-media Edwin Morgan Scrapbooks collection held by the University of Glasgow Library. Data were collected on the resource costs incurred at each stage of the rights clearance process, from initial audit of the collection, through to compliance with diligent search requirements under EU Directive 2012/28/EU and the UKIPO licensing procedures.

Comparing results against the two current policy options for the use of orphan works, the authors find that the UKIPO licensing scheme offers a moderate degree of legal certainty but also the highest cost to institutions (the cost of diligent search in addition to licence fees). The EU exception to copyright provides less legal certainty in the case of rightsholder re-emergence, but also retains high diligent search costs. Both policy options may be suitable for institutions wishing to make use of a small number of high-risk works, but neither approach is currently suitable for mass digitisation.

This rights clearance exercise is focussed on a single case study with unique properties (with a high proportion of partial works embedded in a work of bricolage). Consequently, the results obtained in this study reflect differences from simulation studies on other types of orphan works. However, by adopting similar methodological and reporting standards to previous empirical studies, the authors can compare rights clearance costs between collections of different works.

This study is the first to empirically assess the 2014 UK orphan works licensing scheme from an institutional perspective. The authors hope that it will contribute to an understanding of how policy could more effectively assist libraries and archives in their digitisation efforts.

This paper aims to provide reasons for developing an anime collection within academic libraries as well as providing guidance in starting such a collection.

This paper is based upon research of literature and anime-related websites, as well as familiarity gained through viewing anime.

Anime is a medium that can be used to explore all genres, as well as universal themes, and provide a glimpse of Japanese life. The study of film has been accepted for decades and the study of animation has grown from that but has been restricted to primarily American animation. Anime is animation specific to Japan which can inspire students and faculty to explore another culture. Libraries should provide classic anime that can support cross-cultural and interdisciplinary studies. By creating an anime collection, a library will provide their community with engaging materials that can be used for enjoyment as well as study. A list of core titles is included.

This paper reflects recent trends toward increased interest in Japanese popular culture, specifically anime, and offers academic libraries a rationale for including such materials within their collection to connect with their students and faculty. There are no articles on the topic of collecting anime in academic libraries.

The purpose of this article is to discuss key issues for archives and special collections related to the recent Library of Congress Orphan Works report and Section 108 Study Group.

The article is a documentary and legal analysis.

The article finds that recent developments in copyright, such as the Library of Congress' determination on Orphan Works and the Section 108 Study Group could have major implications for libraries and archives interested in digitizing their holdings and making them more widely available.

This article points to several new and / or emerging developments in the evolution of Copyright law in the USA that have implications for libraries, archives, and museums.

This article identifies and highlights the implications of the Orphan Works and the Section 108 Study Group findings on copyright.

Moving images represent a category of material which has historically received short shrift in most libraries and archives. Film, video, and now digital images form a significant part of many library and archival collections, however, and can be found in many formats and genres. Despite the ubiquity of such media in cultural institutions, the majority of libraries and archives owning collections of moving images have neglected these holdings—with the specific exception of those few archives devoted primarily to the care and preservation of moving images.