Sources: Film Programming for Public Libraries
Film Programming for Public Libraries. By Katie Irons. Chicago: ALA, 2014. 184 p. Paper $55.00 (ISBN: 978-0-8389-1197-6).
Film programming is an engaging way to bring customers of all ages into the library, and this timely primer by Katie Irons offers libraries a step-by-step guide to make each showing a success. Film programming can be tricky, as libraries need to pay close attention to the legality and logistics of film screening in addition to programming. Fortunately we have Irons to show us the way, with her more than fifteen years as the audiovisual collection development librarian for the Pierce County Library System in Tacoma, Washington. Irons selects for and maintains a 500,000-item audiovisual collection for Pierce County, serving more than 560,000 people, and her knowledge and experience in film programming inform this excellent book.
Irons covers development of film programming, community outreach, film discussion groups, viewers’ advisory, equipment and technology needs, legal considerations, and marketing. She also provides six insightful appendixes, covering topics such as films based on books, program templates, film discussion, and online resources useful for film programmers.
Films are an important part of a library’s collection and reflect some of the best works in literature. Irons makes a case for the thematic and artistic value of film programming and provides practical details and advice on developing program themes and selecting titles for movies for different age groups. The annotated film lists for all age groups are among the best resources offered in this book.
Adherence to licensing rules and guidelines is an ongoing and often complex issue for public libraries that do film programming. Chapter six, “Legalities and Related Issues,” can stand alone as a primer for legal issues involved with showing films. It offers a clear itemized breakdown of the different types of licensing agreements and advertising restrictions, which can change often and may seem like a moving target to library staff. For example, the Public Performance License allows the library facility to be used for film screenings by the staff as well as outside groups hosting an event inside the library, but depending on the content provider, the license may or may not cover outdoor showings. To avoid direct competition with the local movie theatres, a library may be permitted to advertise a movie title, studio name, and movie artwork within the library, but not outside its walls. In addition, libraries who offer film programming may have to deal with annual licenses and/or one-time showing licenses—for a fee, of course.
Irons reminds us that licensing agreements and their terms are in a continual state of flux. Indeed, some license agreements have become less restrictive since this book was published, but the book will still be useful to anyone doing film programming for public libraries.
Film Programming for Public Libraries offers insight into the wonderful world of films in public libraries and will meet the needs of librarians who wish to start or enhance film programming at their library. This is an easy-to-use primer on film programming. Author Katie Irons has given conference presentations on this topic for ALA and the Washington Library Association, and she continues to be a leading resource nationally on film programming.—Nelson Dent, Information Services Librarian, Pioneer Library System, Norman, Oklahoma