Jackson, Scarlett Johansson. Now he must decide whether or not to come forward when of them file a lawsuit to reveal his identity. In Ancient Greece B.
But this …. Young writer Sal Paradise has his life shaken by the arrival of free-spirited Dean Moriarty and his girl, Marylou. As they travel across the country, they encounter a mix of people who each impact their journey indelibly. The largest reported use of the Reserve Desk was occasional by 22 percent of students, while 42 percent said that they always or usually downloaded films using P2P file-sharing applications.
Faculty and librarians reported a host of confounding challenges. Yet 60 percent have done it anyway, reportedly turning to illegal sources because legal channels were inconvenient, expensive, or unavailable. Only 30 percent view legal access the same way. Strover and Moner find that students want a legal alternative.
The literature review suggests that online streaming has many advantages; the results of this research confirm that the majority of respondents would prefer increased online options. Regarding format, 67 percent listed an online format as their top preference. The most common suggestion to improve access was to increase online viewing options, according to 43 percent of students, 33 percent of faculty, and 80 percent of librarians.
Together, this evidence indicates that libraries should increase streaming offerings. Yet the literature review and survey results demonstrate that libraries are limited primarily by the availability of appropriate streaming content, and secondarily by price. Streaming services that offer institutional licenses, such as Kanopy, do not offer the variety of feature films required by film studies programs.
Consumer-oriented streaming services such as Netflix, iTunes, Google Play, FilmStruck that provide feature films do not offer licenses to libraries. As noted in the literature review and by faculty and librarian respondents, DVDs offer tangibility, viewing quality, and relative legal simplicity.
This suggests that libraries should continue to purchase DVDs for longer-term preservation right now; it is of course hard to predict what media will look like even 5 or 10 years from now.
But should academic libraries continue to put DVDs on Reserve for film studies courses? Zero students ranked it as their top preference; 28 percent ranked it among their top three. In terms of format, only 27 percent most preferred DVDs. Given the strong support for online options from respondents, libraries should seek to offer titles through legal streaming services when possible.
In addition, libraries should convert syllabus-required DVDs to streaming files for use within password-protected courseware, as reported by King, Kong, and Vallier, and noted by faculty and student respondents. When neither option is possible, libraries should continue to make DVDs available on Reserve, while monitoring developments in access options.
Digitizing DVDs for online classrooms is not a universal solution, even for curricular needs. Further, this solution does not support broader curricular goals: in other words, films may be streamed only to students enrolled in a designated class and not those who seek to view a film as a secondary source for research in a different course. Class screening would not obviate the need for other access, however.
In order to study and write about films, students must be able to view the film more than once and control the viewings pause, fast forward, rewind. The need for better screening space on campus was raised by faculty and librarians, though not by students. Libraries already equipped with group screening space could examine usage and gather student opinions. For libraries without an existing group screening space, a pilot project could be undertaken using library meeting rooms and working with professors and students to create an ad hoc booking system for small groups.
Iordanova suggests that faculty and librarians should lobby filmmakers and distributors for better access and prices, particularly for educational viewing.
Content creators want their work to be remunerated, but they also presumably want their work to be remembered. As memory institutions, libraries are the perfect place to preserve such a legacy. How did you typically obtain access to films required for this course? Considering the same list of methods from the previous question, use the list below to label the methods as follows:. When thinking about how to obtain access to films required for your courses, how important are the following factors to you?
Which format do you prefer? Are you aware that downloading films through peer-to-peer file-sharing applications, gateway sites, or other free online methods is illegal if the films are covered by copyright?
For how many years have you been teaching university courses for which students must watch films? Please check all that apply. Based on your interactions with students, in what other ways do you think they obtain the films required for your courses in addition to the ways you facilitate? Thinking of a typical film course you taught recently, and based on your interactions with students, estimate to the best of your knowledge what percentage of your students likely obtained access to required films in the following ways:.
The next two questions are included to help determine your level of understanding of activities that your students may be pursuing. Do you know how to illegally download films through peer-to-peer file-sharing applications or gateway sites examples: BitTorrent, Pirate Bay?
Have you ever illegally downloaded films through peer-to-peer file-sharing applications or gateway sites examples: BitTorrent, Pirate Bay? If you said Sometimes or Never, please indicate why you do not always ask the campus library to purchase films required for your courses. Choose all that apply. Carole Middleton Samantha Whittaker Olivia Martin Trilby Glover Ian Musgrave Richard Alan Reid Mike Middleton Theo Cross Trevor Louise Linton Pippa Middleton Laura Waddell Learn more More Like This.
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