A Case Study of Ethnic Studies Media Acquisitions in the Post-Pandemic Academic Library

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Vincent Albarano & Leticia Wiggins

The Ohio State University Libraries

Introduction & Background

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• The Covid-19 pandemic of 2020 caused increased reliance on streaming video within the classroom
• Streaming is now the primary means of video-based instruction and research at OSU
• Physical media requests have significantly decreased
• Requests and acquisitions are primarily user-driven:
• Classroom instruction
• Individual research
• On-campus screenings/events
• These require Digital Site Licenses (DSL) or Public Performance Rights (PPR), respectively

Serving the Center for Ethnic Studies

• Diverse Departments & Focus
• Latinx Studies
• Asian American Studies
• Native American Studies
• New faculty, new needs
• Special focus on accessibility to keep costs low for students
• Need for quick turnaround for materials
• Interest in foreign-language titles
• Responding to disappointment
• Recognizing holes in the collections

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• OSU has existing connections with academic streaming platforms: Kanopy, Swank, Alexander Street, Docuseek2, Films on Demand
• Introduced new services: Criterion Pics, Projectr, Lumiere, Video Data Bank
• Continue to look for new outlets
• Work with independent distributors and filmmakers directly to purchase rights and platform films for our users
• Despite these new opportunities, the streaming media landscape is constantly evolving, and rights-based acquisitions of titles can prove increasingly difficult in this marketplace
• Notable difficulty in accessing films produced outside of the US, and especially Spanish-language films

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Challenges

• Limited term domestic distribution/lack of long-term availability
• Closure of small and independent distributors, rights to films left uncertain
• Non-theatrical physical media releases of foreign films (often OOP)
• Distributor focus on physical media and lack support for streaming
• Small companies/filmmakers not equipped to license to larger platforms
• Filmmakers’ websites often inactive and they are not reachable
• Larger distributors (ex. Miramax) have been sold several times, leaving their rights tangled
• The fractured nature of streaming platforms and licensing spreads exclusive rights between a handful of stakeholders who are often unwilling or unable to license films to academic institutions
• Premium streaming services do not make their titles available to universities

Case Studies

Local Film: Transfusión

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• Independent producers and filmmakers are not always equipped to platform their films.
• Vimeo, YouTube, and other sites for direct purchase/rental streaming are beneficial to artists, but not always compatible for providing institutional access.
• Realities of distribution are very different for filmmakers and academic libraries.
• This is why it is important to renew our searching efforts.

Streaming Film: Las Marthas

• Kanopy has a very large streaming catalog, however there is a version exclusive to non-academic libraries.
• These collections are a good representation of the options available for broader streaming uses, but not available for our collections.
• This was a unique example - the film happened to be available for us to license.
• This is rarely the case, and communication is key to helping patrons understand this confusing reality.

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Formerly Streaming Film: La Mission

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• Rights statuses can be slippery, and titles can fall out of availability.
• We are working to socialize the current state of video availability and make clear that titles are only offered for term periods.
• We are often not made aware of the end of license and can do nothing to change this.
• In some cases, this also means that the film is not available for streaming in any form. 

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Non-Streaming film: Promised Land

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• Independent film producers/distributors are often not equipped to platform films for streaming through an academic institution.
• Platforms such as Vimeo, cannot be accommodated within OSUL's system. In these instances, we are always willing to purchase a physical copy and encourage this as an outlet for continued availability.
• Additionally, communications can take several months or longer, often exceeding the period of need.
• This method is particularly beneficial as the sale directly benefits the filmmaker, while also ensuring that access is retained in our physical collection.

Success: Sleep Dealer

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• First submission went 6 months without response, resubmitted the following year.
• Distributed by Maya Entertainment (like La Mission), who are no longer operational. Streaming rentals list Cinedigm as the current distributor.
• Ultimately available through SubCine; took several months to get in touch and locate distro and platform for catalog.
• This title is illustrative of both how persistent searching efforts can pay off, as well as how quickly changes can occur within the current streaming world.

Responding to Needs

A Changing Landscape

• These examples comprise just a fraction of our requests
• The streaming landscape is constantly in flux
• If our patron base is more informed about the current realities of streaming media, they will be better prepared for their own teaching needs
• Clear communication, assistance with platforms and rights, and guidance toward alternatives

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Thank you!��Questions?�

Vincent Albarano (albarano.6@osu.edu)​

Leticia Wiggins (wiggins.65@osu.edu)