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Film Programming or

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Kati Irons

www.alastore.ala.org Film Programming or

f Public L ibraries Kati Irons

An imprint of the American Library Association Chicago | 2014

www.alastore.ala.org Kati Irons is currently the audiovisual collection development librarian for the Pierce County Library System, Tacoma, Washington. She selects and maintains a 500,000-item audiovisual collection for the eighteen- branch system, which serves 560,000 people, and manages an AV budget that has increased from $30,000 in 1991 to more than $700,000 in 2014. Irons works with in-staff and Friends groups to develop programming and educates staff on appropriate marketing and licensing for film programs. She has presented on libraries and film programming at ALA in 2011 and at WLA conferences in 2011, 2012, and 2014.

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Extensive effort has gone into ensuring the reliability of the information in this book; however, the publisher makes no warranty, express or implied, with respect to the material contained herein.

ISBN: 978–0-8389–1197–6 (paper).

Library of Congress Cataloging-in-Publication Data

Irons, Kati. Film programming for public libraries / Kati Irons. pages cm Includes bibliographical references and index. ISBN 978-0-8389-1197-6 (alk. paper) 1. Pierce County Library. 2. Motion picture film collections—Washington (State)— Pierce County. 3. Public libraries—Washington (State)—Pierce County. 4. Public libraries—Washington (State)—Pierce County—Special collections—Motion pictures. 5. Public libraries—Washington (State)—Pierce County.—Special collections—Video recordings. I. Title. Z692.M9I76 2014 025.2'873—dc23 2014004172

Cover design by Casey Bayer. Image © javarman/Shutterstock, Inc. Text design by Kirstin Krutsch in the Chaparral Pro, Dub Tone, and ITC Franklin Gothic Std typefaces.

This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper).

www.alastore.ala.org This book is dedicated to three amazing librarians without whom I would not be a librarian: Pam Darling, who showed me the path; Cindy Cunningham, who opened the door; and Sharon Ufer Lavell, who gave me the keys. Thank you!

www.alastore.ala.org contents

Preface ix Acknowledgments xi

1 2 introduction: creating Your why Film Film Program 5 Programming? 1

3 Film discussion 4 groups and special Viewers’ 5 Programs 33 advisory equipment 45 57

6 7 legalities and marketing related issues 95 69

vii www.alastore.ala.org viii CONTENTS Template Group for Research Discussion Film Year-Round Ideas Programming Film Films Inspired by Classic Literature InspiredFilms Classic by Films Based on Books for Children on Books Based Films Leading a Film Discussion Group Discussion aFilm Leading www.alastore.ala.org Bibliography 157 Appendix Appendix D 151 Appendix Appendix B 117 Appendix A 111 Appendix Appendix C 127 Appendix Appendix E 153 Appendix Appendix F 155 Online Resources Online Index 161 Preface

ilm programming is a natural fit with libraries, another tool in our storehouse of storytimes, book groups, and lectures. They are an opportunity to create programs that are educational, emotional, and F silly. They are an opportunity to reach out to every age group and interest group. Everyone loves movies, and as we sail into cinema’s second century as an art form, it’s safe to say there are plenty of movies for us to love. That said, film programming can seem more complicated than other kinds of programming libraries offer. How do you choose films to show? What equipment should you use? Are you following the correct rules for publicly showing films? How do you market your programs? Where do you begin? For fourteen years I have worked as the development librarian for the Film and Music Collection at the Pierce County Library System (PCLS) in Washington State. When I began, we had a small but well-loved collection of VHS tapes, and now PCLS has a collection of over two hundred thousand DVDs and growing. Although I would like to claim that this is entirely because I’m great at my job, the truth is that the world of movies has never been more available or more affordable. Our collection is that big because the world of films available for libraries to buy is that big—and growing. In addition to building the PCLS film collection, I am also responsible for maintaining the film licenses for the system, keeping them current and keeping our staff educated on how to create programs that work within the bounds the licenses allow us. Because of this, I know all the questions staff often have and the places where librarians can get lost or discouraged when trying to organize film programs. The goal of this book is to help shine some light on challenging film programming areas, such as licensing, marketing, and equipment. It’s also to show you where to find inspiration for your own film programs, film advisory, and film displays. Ultimately, your imagination is the only limit

ix www.alastore.ala.org PREFACE x pop up often throughout these pages! these often up throughout pop me to andresources pointing with good You for thisbook. hisname see will invaluable and he been has in providing me and ALA, (WLA) Association have created several fi programs for the lm advisory Library Washington Library. Developmenthead Collection of Regional John for and I Kitsap Imake but no promises toof-print theHouse. stock, Mouse theof whims aremention inthisbook “inthe vault,” not theirout- describes Disney as $112, Iconsider fi that the Disney available.” “not thiswriting, of As lmsI words, Inother isonlyavailable ifit priced. ably from for used Amazon vendor, Ihave that isavailable it and reason- determined used) (not new vendors or from reliable the source online resources. isanonline When and available inprint for purchase from traditional thiswriting, of library rating. Iinclude fiR. lmsfrom multiple rating including levels, ing fi Iinclude the lms, it made, year was the production company, and the figood lmor programs, When list-could inspire you of to think your own. tive best,” or even “the are they but meant to choices be Ithinkcould make ing to the topics at hand. Th not areintended beexhaus- suggestions to ese free.you the tools your to imagination set fi of on the kinds lm programs offcan you give book can this er, and I hope Much by John help inresearching given Fossett, been has thisbook I have done my to best ensure that the fi are,book lmsIlistinthis as Thoffwill I book the roughout ofsuggestions various er titleslm fi relat- www.alastore.ala.org Acknowledgments

would like to acknowledge the help and support of the Pierce County Library and its staff, whose enthusiasm for film has made my career and by extension this book possible. This book would not have been Ipossible without the help of John Fossett, my partner in cinematic crime and amazing programs, and John’s wonderful system, the Kitsap Regional Library. I also would like to acknowledge some special individuals who kept me going through the challenging task of writing a book, including Lisa Bit- ney, Elise DeGuiseppi, Holly Gorski, Matt Lemanski, Georgia Lomax, Judy Nelson, and Lisa Oldoski. I’d like to thank the Puget Sound Collection Development group for prompt and generous responses to spontaneous film questions, and the lovely ladies of the Friday Writers Group, who helped hold my feet to the fire. My family also made this entirely possible, by answering the phone every time I called to say, “What have I agreed to?” and by replying, “Noth- ing you aren’t capable of!” Mom, Dad, Bev, Sarah, David, and Szilvia, you’re the bomb-diggety. I would also like to acknowledge my grandma, Betty Lou Irons, who loved movies, the TV Guide crossword, and Robert Redford above all things, and showed me that a polite obsession with movies is a perfectly respectable pastime.

xi www.alastore.ala.org Introduction Why Film Programming?

isual-media programming has a long history in libraries. As a child I certainly remember filmstrips and 16 mm films being a regular part of my library experience. Media has long been a tool in Vthe library programming toolbox, along with storytimes and book programming. Often libraries were able to offer movie experiences that customers were simply unable to get anywhere else. Doug Roberts is a reference librarian who has worked for Spokane Pub- lic Library for forty years. In his role as the film and media specialist, he oversaw the 16 mm film collection for Spokane Public. Roberts says, “Dur- ing the 1950s, ’60s, ’70s, and into the ’80s, we had a large 16 mm film collection—over seven hundred titles. We also participated in the Wash- ington Library Film Circuit (WLFC) and rotated packets of films monthly between libraries around the state. We loaned films to the public, teachers, senior centers, day cares, and elsewhere. In addition, we had regular weekly film showings at our downtown library auditorium.” In addition to weekly film showings, the Spokane Public Library hosted free noon-hour programs during the year that featured films or concerts. The audience included people who worked downtown, seniors, business- people, and other library regulars. People were encouraged to bring a brown-bag

1 www.alastore.ala.org CHAPTER 1 2 show and to circulate. received monthly packets fi of off their expand which helped lms, erings to from the late Memberlibraries the 1970s. State 1950sthrough Library more readily available. Thwas WLFC e facilitated the through Washington to helpmake fi (WLFC), Film Circuit be quitecould expensive— lm—which such as the Washington Library tems created or consortia, partnerships comm.). thepers. children”sake of DeGuiseppi, (Elise consumedby fl being image had I ames, to tear myself away fromit for the once fascinating tothe fi underwassee it momentarily my watch. While lm lived infear threading of and operating on fi the projectors. caught One re “Children quirks. loved own them,” its without I not says, “but DeGuiseppi course,we as just haveOf technical diffi cultiestoday, 16mm fi lm was and were on shown TV. not really Libraries were for amarket fi these lms.” weren’tin that they yet available days) early (which was inits on video children’stions of live [and] of unique abit action well—were as books Westonshowed—[including] Woods iconographic and animated adapta- career achildren’s as inthe late says, “Th librarian 1980s, e shortfi lms we her library whobegan DeGuiseppi, customers. Elise exclusive to library comm.). pers. Roberts, (Doug you heartheto beep’” advanced be ‘when on most,”were some viewer “although and manual needed says Roberts, for children to watch. “Th theimages to advance in the trigger tapee would Th had a also Dukanefew elibrary viewers that staff filmstrip could load centers. teachers local and day-care ment serve for and helped checkout, audio soundtracks were cassette with available from the children’s depart- Spokane.” Park, ’74World’s and especially, the Expo during Fair, which was held in at Riverfront the county fair,or holiday parties parties July of the Fourth fi library up and would set lmshowings forpublic. the ese be would at Th day onWe amonthly schedule. incommunity events every participated also nursing homes and show fi lms to the somewhere residents about just would take fi Outreach“Our Department lms to retirement centers and Spokane’s of the closing old downtown branch in1990. lunch and enjoy afi lm. lastedseries until fornoon-hour twenty years, e Th Many libraries had fi lmand sys- some library and collections, lmstrip fi Th rough share to content lm, libraries opportunity thathad the was fi Spokane’s collection waslimited to not 16mmfi lm;35mm lmstrips fi didn’t fiSpokane limit only. lmshowing says,to the library Roberts www.alastore.ala.org 3 Introduction: Why Film Programming? Introduction: Why Film Th e advent of VHS changed the landscape of fi lm for libraries. When VHS was fi rst released, it was intended for the newly birthed rental market and came with a high price point. But consumers drove the market, demanding the ability to “own” their favorite movies and convincing the industry that there was a home-video market waiting to be tapped. Randy Pitman, publisher and editor of Video Librarian, was working for Kitsap (Wash.) Regional Library when the transition happened. “[When] home video hit in the mid-’80s,” says Pitman, “acquisitions suddenly mushroomed from buying ten 16 mm fi lms a year to eventually purchasing hundreds of VHS titles” (Randy Pitman, pers. comm.). All libraries struggled with the question of whether or not to build VHS collections, and some decided no. Still more decided that if they did build a collection, it should be focused strictly on educational videos and perhaps classic fi lms, but not a showcase for blockbusters or current popular fi lms. Some believed that we must not allow this home-movie juggernaut to dis- tract from the library’s mission, which should be books. On the one hand, never had libraries had greater access to almost any fi lm they might want to show. On the other hand, our patrons were fl ush with the novelty of watching movies at home from their favorite chair and pausing when they wanted to run to the kitchen. Th e focus of libraries became helping patrons create individual viewing experiences, rather than create communal ones. “Ultimately, I think the wide availability of titles on video coupled with the arrival of big-screen TVs made [library] fi lm programming a bit less special than in the days when you couldn’t just immediately stream whatever title you felt like watching,” says Pitman. Libraries were stuck with how to show movies as well. VHS was designed to be watched on a TV screen. Expensive equipment might allow a system to show a movie on a bigger screen, but progress didn’t bring to most libraries expensive screening equipment but instead the ubiquitous television sets with built-in VHS players. Th ese might work adequately for a small group or a children’s program, but showing a feature fi lm to a crowded room on a 16-inch TV set simply did not work. And from our patrons’ perspec- tive, why should they come and sit in folding chairs in a crowded room to watch a movie they could watch at home? Libraries became movie suppliers, drifting out of the fi lm programming business. Other issues and questions arise each time we transition from one format to the next, such as the library community’s role in preserving what

www.alastore.ala.org CHAPTER 1 4 what special.” “so fi Pitman, inthat respect, Randy lm programming does some- remain ies have community gathering,” of bastions becomeonethe last of says and free by the publicgood, to “Librar- the individual. arethey supported ral places for the community to gather, and unlike commercial enterprises, coff suchas enterprises cafes. But libraries are and Internet natu- eehouses decades that third-place becomedominated location has by commercial where retreat, gather, can they and relax, recharge. Inrecent socialize, not-homerecent place— aplace—a years. Communitiesneed not-work, aren’t hard on theirwallets. at money that bars spending or restaurants.activities need citizens Senior adults and couples wantSingle to fi that don’t activities involvesocial nd want still tothey fi toasa do activities family. entertaining nd inexpensive, manythe moviesissomething rarely, families manage can ifat all,but a family four of to out the moviesfor $40instead $12.Goingto out of street from me!). it’s was aticket $8.12(although of $10.50at the movietheater the down average cost was amovieticket $2.89.In2012the national of average cost market—the to the home-video of become the winner Beta VHS trumped elty. real for issue year Economics customers. our In1980—the isavery now.usual Th aenjoying of e idea nov- others with is afi lmin community to show for easier finever been alibrary groups lms andlarge to small. readily at thismoment available, has it equipment, projection inexpensive to fi picture Blu-rayof DVD and thanks to theBut also high-quality lm. and libraries arevideo, facing crossroads another comes whenit on the horizon comm.). Mossman, pers. (Kate few titles” thousand going to the Netfl ix/Hulustreaming and [are]model satisfi being with a ed to meifwe as are much fi losingso of arepeople as now TV history lmand much and VHSnever then so of converted to to VHS, DVD.verted feels It grams. Mossman says “Th soere is much from 16 mmthat was never con- for the New York Public Library, where she off eredmany 16mm lm pro- fi director forassistant library andEverett worked (Wash.) Public Library the fiKate discarding. blithely perhaps isthe is Mossman itself lmindustry Thin imagination takenhas “third of thelibrary hold of the e idea place” inflEven taking ation into account, there’s diff ahuge erencetaking in audience evolvedOur has too. Watching moviesat home as isbusiness It’s that isever nothing static Th inlibraries. true ankstostreaming www.alastore.ala.org index

A for teen and young adult film programs, actors, 37 15–16 The Adjustment Bureau, 53 Anime News Network, 15 adult film programs Anime Planet, 15 movie ideas for, list of, 25–27 April, film list for, 119 overview, 18 Aquarius Health Care Media, 72 resources for, 19–25 ArtMattan Productions, 72 advertising your film attendance, evaluating program based on, “based-on” exception to no title 105 prohibition, 98 audience legal issues, 81–82, 96–98 as factor in choosing R-rated films, African American History Month, film 92–93 programming inspired by, 118 marketing, identifying audience for, age groups, explanation of, 5. See also 101–102 specific age groups audio systems, 63–64 age guidelines included in publicity for film August, film list for, 122 programs, 102 Austen, Jane, 127 The Age of Movies: Selected Writings of authors, films based on works of. See Pauline Kael (Kael), 23 specific authors Amador, Patty, 10 Aviation History Month, film programming Ambrose Video Publishing Inc., 72 inspired by, 124 Amelie, 42 awards, online resources for, 151 American Film Institute (AFI), 19–20 The Awful Truth, 48 American Library Association Video Round Table (VRT), 20 B amplifiers, 63 Basic Guide to Program Evaluation anime (McNamara), 103 licensing, 15 bedtime movies for children, tweens, and online resources, 151 families’ film programs, 12

161 www.alastore.ala.org 162 INDEX Byrne, Alexander, 16 Byrne, 61 burn-in, 72–73 Films, Bullfrog Costello Meet Lou and Abbott Bud Brontë sisters, fi lmsinspired classic by FilmInstitute (BFI),14,20 British Frankenstein, of 53 Bride Bradbury, Ray, 128–129 box offi ce, online resources for, 151 to fibooks lm, online resources for, 151 forbooks children, fi on, 111–115 lmsbased to promote used bookmarks fi lm Blu-ray 64–65 format, publicperformance licenses.See blanket Runner,Blade 52 fiBible, 128 on the, lmsbased ThBest e Lives, 49 Our of Years Christian Cinema, 73 Cinema, Christian TaylorChip Communications, 73 fichildren, and families’ tweens, lm characters, 37 131 Chandler, Raymond, 61 screens, CFL 130–131 de, Cevantes, Miguel 130 Cather, Willa, 48 Courageous, Captains Newsreel,California 73 year,calendar fi lm programming ideas Cabaret, c review andtools assessment for, 8–10 overview, 7–8 listof, 11–12 movie ideas, forbooks children, fi on, lmsbased 12 movies, bedtime Frankenstein, 53 literature from 129–130 the, 39 groups, discussion licenses 111–115 programs on, 19,117–125 based 50 www.alastore.ala.org comedies 107 Colon, Miguel, department, development collection 65–66 discs, cleaning Month, Music fiClassical lm programming literature,classic fi lms inspired by, cinematography, 37 Th CinemaGuild, 74 e CinéFête, 73–74 131–132 Agatha, Christie, customer experience, evaluating ficustomer experience, lm fi See critics. critics lm Cooper, James Fenimore, 132–133 Conrad, Joseph, 132 movietheaters, local with competition community, reaching to, out 103 9,14,15 Media, Commonsense fi See groups. discussion lmdiscussion Education, 74 Discovery directly contacting fi lmmakers 80 or studios, direct notifi 98 marketing, of cation method 133–134 Charles, Dickens, fi K., Philip Dick, on the works lmsbased 37 dialogue, 63 detachable speakers, Destination Education, 74 Denby, David, 22 2 Elise, DeGuiseppi, Defoe, Daniel, 134 December, fi lmlist for, 124–125 Th 51 Still, Stood eEarth Day the d National Humor Month, fi lm the genre, of examples list of 48 support for fisupport lm program by, 66 inspired by, 122–123 specifi also 127–150. See authors c programs by observing, 107–109 programs by observing, 96–97 avoiding, programming inspired by, 119 groups of, 52–53 163 INDEX Disney Educational Productions, 74–75 evolution of fi lm programming in libraries, displaying fi lms, 58 1–4 distortion, preventing, 60 Th e Exorcist, 54 Do Th e Movies Have a Future? (Denby), 22 Doctor Zhivago, 49 F Docurama Films, 75 Facebook, marketing with, 100–101 Doyle, Arthur Conan, 134–135 families. See children, tweens, and families’ Dracula, 53 fi lm programs dramas, list of examples of the genre, Fanlight Productions, 75 48–49 February, fi lm list for, 118 dramatic analysis of fi lm, 37 Federal Copyright Act, 69–70 Dumas, Alexandre, 136 feedback, evaluating fi lm programs with, 107 DVD format, 64–65 ‘’Th e 50 Films You Should See by the Age of 14” (British Film Institute), 14 e fi lm, physically preparing your, 65–66 Ebert, Roger, 22 fi lm and television history, online resources Edelstein, David, 22–24 for, 152 editing of fi lm, 37 fi lm critics Eliot, George, 136–137 Anthony Lane, 23 equipment David Denby, 22 Blu-ray format, 64–65 David Edelstein, 22–23 DVD format, 64–65 John Simon, 24 fi lm, physically preparing your, 65–66 Leonard Maltin, 23–24 list of, 58 overview, 21 monitors, 60–63 Pauline Kael, 23 overview, 58 Roger Ebert, 22 preparing, 65–67 Steven Jay Schneider, 24 problems with, plan to deal with, 66–67 fi lm discussion groups projectors, 59–60 dramatic analysis of fi lm, 37 sound, 63–64 example of fi lm list used to accompany testing, 66–67 Th e Paris Wife, 40–43 Ergo Video, 75 gathering, 38 evaluating fi lm programs leading, 38, 155 counting turnout, 105 literary analysis of fi lm, 37 customer experience, observing, 107–109 online resources, 34, 151 with feedback, 107 overview, 34 forms for, 105–106 research, template for fi lm discussion goals, setting, 104–105 group, 153 overview, 102–104 special programs, 38–43 staff time, measuring, 109–110 technical analysis of fi lm, 37 targets, setting, 104–105 template for information to gather your experience with fi lm program, before discussion, 34–37 107–109 fi lm encyclopedias, online resources for, 152

www.alastore.ala.org 164 INDEX fund-raising to helppay used for public French, 42 Kiss John,Fossett, 38,47,60,92,107,109,153 49 42nd Street, Forster, M.,137 E. forms for evaluating fi lm programs, foreign fi online lms, resources for, 152 For 30Years Keeps: 23 the at Movies (Kael), For aFew Dollars More, 50 fl monitors, 61–62 at-panel (HDTV) fl 37 ashbacks, fl 37 ash forwards, 501 Movie Directors: AComprehensive Dollars, of 50 A Fistful Films for 76 and Sciences, the Humanities fi 80 lmmakers directly or studios, contacting, fievolution lm programming inlibraries, fi specifi also 19–25.See lm organizations, c Film Movement,76 Film Ideas 75 Inc., fi lm festivals genres, list of examples of genres, examples listof Gay Month, fi Pride lm programming figathering groups, 38 lmdiscussion 88 G rating, g overview, 29–21 list of, 21 westerns, 50–51 westerns, science fiction, 51–53 49–50 musicals, horror, 53–55 dramas, 48–49 48 comedies, performance licenses, 87–88 licenses, performance 105–106 24 (Schneider), to theGuide Greatest Directors Film of, 1–4 organizations inspired by, 120–121 www.alastore.ala.org Hugo, movies horror Unbearable of Length Experience A Horrible fiHolmes, Sherlock, lmand based television Holiday 117 Insights, fi of history lm programming inlibraries, Hill, John, 82,86 Noon, 50 High monitors, 61–63 HDTV Nathaniel,Hawthorne, 141 Hardy, Th 140–141 omas, Dashiell,Hammett, 140 Hammer horror fi listof Films, lms by, h Irish American Heritage Month, Heritage fi American Irish lm Invasion Snatchers, 51 the of Body 77 Films Inc., Historic International 63 speakers, internal movieideaslist for See ideas movies. 76–77 Films, Icarus 23 the at It Movies (Kael), I Lost I Hated, Hated, Hated Th 22 isMovie (Ebert), i Green Planet Films, 76 Films, Green Planet Greek fi mythology, lm programming Th 22 e Great (Ebert), Movies Th andUgly,Bad, Good, the the 50 e 49 GoodFellas, goals for fi 104–105 setting, lm programs, 49 Gigi, 62 ghosting, for October fi 123 lm programming, the genre, of examples list of 53–55 42 (Ebert), 22 (Ebert), on the character, 135 1–4 54–55 programming inspired by, 118–119 inspired by, 138–139 165 INDEX J Live Oak Media, 77 James, Henry, 141–142 local events as inspiration for fi lm January, fi lm list for, 117 programming, 28 John Simon on Film: Criticism 1982–2001 local movie theaters (Simon), 24 competition with, avoiding, 96–97 July, fi lm list for, 121 reaching out to, 101 June, fi lm list for, 120–121 Lonesome Dove, 50

m K Maltin, Leonard, 23–24 Kael, Pauline, 23 March, fi lm list for, 118–119 Kids-In-Mind, 8–9 marketing Kino Lorber Education, 77 advertising your fi lm, 81–82, 96–98 Kiss Kiss Bang Bang, 48 age guidelines included in publicity for fi lm programs, 102 l audience for, identifying, 101–102 La Voyage dans la Lune, 51 direct notifi cation, 98 Lane, Anthony, 23 “no title” prohibition, 98 Laudicina, Sal, 86 overview, 95–98 LCD screens, 61–62 with social media, 100–101 leading fi lm discussion groups, 38, 155 through library website, 98–100 LED back-lit LCD screens, 61–62 what to include in publicity for fi lm legal issues programs, 101 advertising your fi lm, 81–82, 96–98 Masenhimer, Tami, 8, 105, 107 directly contacting fi lmmakers or studios, 80 May, fi lm list for, 120 overview, 69–70 McNamara, Carter, 103 public performance licenses, 80–83 Metropolis, 51 public performance rights (PPR), 70–80 Midnight in Paris, 42 renting fi lms for a public showing, 71 Minority Report, 52 Leonard Maltin’s 151 Best Movies You’ve monitors, 60–63 Never Seen (Maltin), 24 Mossman, Kate, 4 Leonard Maltin’s Classic Movie Guide mothers, fi lms about, 120 (Maltin), 24 Moulin Rouge, 42–43 Leonard Maltin’s Movie Guide (Maltin), 23–24 mounted projectors, 59 LGBT experience and history, 120–121 movie ideas list library website, marketing through, 98–100 for adult fi lm programs, 25–27 licensing anime, 15. See also public for children, tweens, and families’ fi lm performance licenses programs, 11–12 literary analysis of fi lm, 37 for senior fi lm programs, 29–31 literature, fi lms inspired by classic, for teen and young adult fi lm programs, 127–150. See also specifi c authors 16–18 Th e Little Rascals: Th e Life and Times of Our Movie Licensing USA, 15, 80–84, 86, 87, Gang (Maltin), 24 96

www.alastore.ala.org 166 INDEX November, fi lmlist for, 124 nonlinear fi 37 lms, Perfect Nobody’s prohibition, 98 “no title” 54 Dead, the of Living Night n fimythology, lm programming inspired by the genre, of examples listof musicals, Man, Music fiMuppet 13 lms, MPLC (Motion Picture Licensing MPAA ratings MPAA of (Motion Picture Association 77 Distribution, Moving Images Next, New York (NYPL), Public Library City New Day 78 Films, costspublicperformance of negotiating NC-17 89 rating, National Month, Poetry fi lm programming National Novel Month, Writing fi lm Week,National Writing fi Letter lm National Humor Month, fi lm programming National Educational, 78 Geographic Day,National Lovers Book 124 ThSpur, eNaked 50 R rating, 89,92–93 R rating, 89 PG-13 rating, 89 PG rating, overview, 88–89 NC-17 89 rating, 88 G rating, 53 Greek, 138–139 Greek, 49–50 Company), 80,81,83,84–86 88–89 America), 99–100 81 licenses, inspired by, 119 programming inspired by, 124 programming inspired by, 117 inspired by, 119 50 (Lane), 23 (Lane), www.alastore.ala.org portable audio 63–64 systems, portable fi of view of point lm,37 10 PluggedIn, 61–62 screens, plasma 52 the of Planet Apes, Randy,Pitman, 3,4 Pierce program, Reads County 8–39 89 PG-13 rating, PG rating 78 PBS Educational Media, Paycheck, fipatriotic 121 lms, to helppay used forpartnerships public ThWife, e 39–43 Paris parent resources and content 152 guides, Parent 9–10 Previews, P 143 George, Orwell, online resources You1001 Films Before See You Must Die over Flew theOne Cuckoo’s Nest, 49 American of AHistory Magic: Mice and Of October, fi lmlist for, 123 Patrick, 143 O’Brian, o television industry ratings, 90 television industry MPAA, 89 release 152 dates, parent resources and content guides, foreign fi 152 lms, fi 152 lm reviews, fi 152 lmencyclopedias, figroups, 34,151 lmdiscussion fi lmand history,television 152 box offi ce, 151 to fibooks lm,151 awards, 151 151 anime, performance licenses, 87 licenses, performance 24 (Schneider), 24 (Maltin), Cartoons Animated 152 52 167 INDEX portable projectors, 59–60 overview, 88, 91–92 preexisting library programs, coordinating societal changes and, 91 fi lm showings with, 31 television industry ratings, 89–92 preparing equipment, 65–67 recommending movies you didn’t Princeton Book Company, 78 personally like, 47 problems with equipment, plan to deal release dates, online resources for, 152 with, 66–67 renewing public performance licenses, 81 prohibition and twenty-fi rst amendment, renting fi lms for a public showing, 71 fi lms inspired by, 124–125 Repeal Day, 124–125 projecting fi lms, 58 research, template for fi lm discussion projectors, 59–60 group, 153 Psycho, 54 resources. See also online resources public performance licenses for adult fi lm programs, 19–25 advertising, limitations on, 97–98 for fi lm discussion groups, 34 choosing, 86 for teen and young adult fi lm programs, fund-raising used to help pay for, 87–88 14–15 negotiating costs of, 81 review and assessment tools for children, overview, 80 tweens, and families’ fi lm programs, partnerships used to help pay for, 87 8–10 paying for, 87–88 reviewers. See fi lm critics public performance rights (PPR) reviews of fi lms compared, 70 by Commonsense Media, 9 renewing, 81 by Kids-In-Mind, 8–9 rules of, 81–83 online resources for, 152 what it does, 81 by Parent Previews, 9–10 public performance rights (PPR) by PluggedIn, 10 overview, 70–71 Rich-Heape Films Inc., 79 providers, list of, 71–80 Roberts, Doug, 1, 2 public performance license compared, 70 Robot Monster, 51 Roger Ebert’s Movie Yearbook (Ebert), 22 q Rostand, Edmond, 143–144 Questar Inc., 79 Russian writers, fi lm programming inspired by, 144–145 r R rating, 89, 92–93 s Ratatouille, 43 A Scanner Darkly, 53 ratings systems Schneider, Steven Jay, 24 audience as factor in choosing R-rated school-inspired fi lms, 122 fi lms, 92–93 science fi ction as guidelines, not rules, 92 list of examples of the genre, 51–53 MPAA ratings, 88–89 Philip K. Dick, fi lms based on the works no ratings, fi lms with, 92 of, 52–53

www.alastore.ala.org 168 INDEX Swift, Jonathan, 147–148 Swift, FilmFestival,Sundance 20 fi reading-themed summer 122 lms, studios or fi 80 directly lmmakers, contacting, streaming 4 video, WarsStar Day, 120 17,34–37 Stalag Stagecoach, staff 109–110 time, measuring, 79 Arts, Spoken Public Library,Spokane 1–2 programs special effspecial 37 ects, 63 speakers, Green, 52 Soylent 63–64 soundboards, infi used sound lm,37 63–64 equipment, sound Hot, It 48 Like Some ratings changes, systemssocietal and, 91 100–101 with, marketing media, social 48 Soapdish, publicperformance site licenses.See Simon, John, 24 Shaw, 146–147 Bernard, George the of 548 Dead, Shaun 145–146 William, Shakespeare, Serenity, September, fi lmlist for, 122–123 fisenior lm programs Th Searchers, e 50 TCM Greatest Classic Films Collection: Films GreatestTCM Classic fortargets fi 104–105 setting, lm programs, t overview, 38–39 fi of example used to lmlist accompany overview, 27–29 movie ideasfor, listof, 29–31 ThWife, e 40–43 Paris licenses Hammer Horror, 52 50 54 www.alastore.ala.org teen and young adult fi lm programs fitechnical of analysis lm,37 templates ratings television industry television and fi lmhistory, online resources TVMA rating, 91 rating, TVMA 90 rating, TVG 90 rating, TV14 ParentalTV 88–91 Guidelines, to fiturnout evaluation of lms, lm fi Th Belleville, 43 of Triplets e Touch 49 Evil, of Total Recall, 62–63 3-D screens, coordinatingthemes, fi lm programs 66–67 testing equipment, voting on fi giving teens lm ideas, resources for, 14–15 overview, 12–15 movie ideasfor, listof, 16–18 15–16 anime, for information to gather before for group research, discussion film 89 V rating, 90 rating, TVY7 90 rating, TVY 90 rating, TVY7-FV 91 rating, TVMA 90 rating, TVG 90 rating, TV14 89 S rating, 90 PG rating, overview, 9 89 L rating, 89 FV rating, 89 D rating, for, 152 for,option 17 programs by counting, 105 programs by counting, around, 13,38–43 34–37 discussion, 153 52 169 INDEX TVY7-FV rating, 90 w TVY rating, 90 Walker, Alice, 148 TVY7 rating, 90 Washington Library Film Circuit (WLFC), 2 tweens. See children, tweens, and families’ westerns, list of examples of the genre, fi lm programs 50–51 Twitter, marketing with, 100 Wharton, Edith, 148–149 two years old, children under, 7 White Zombie, 53 Wilde, Oscar, 149 u Th e Wild Bunch, 50 Th e Wolf Man, 53 umbrella licenses. See public performance Women Make Movies, 79 licenses Woolf, Virginia, 149–150 Unforgiven, 51 World UFO Day, 121

V Y VHS movies, 3–4 YALSA, 14–15 Th e Video Project, 79 year-round fi lm programming ideas, viewers’ advisory 117–125 list of titles representative of each young adult fi lm programs. See teen and genre, 48–55 young adult fi lm programs overview, 45–48 young children’s fi lm programs recommending movies you didn’t overview, 6–7 personally like, 47 two years old, children under, 7 voting on fi lm ideas, giving teens option for, 17 VRT (American Library Association Video Z Round Table), 20 zombie fi lms, list of, 54