Issue link: http://digital.copcomm.com/i/1061972
137 Q4 2018 / CINEMONTAGE items available for non-commercial uses. As in most of his source referrals, the author provides detailed website addresses and telephone numbers, current as of publication. One valuable section of the Most Affordable chapter is a set of highlighted advice tips from professional film researcher Bonnie Rowan. It is not only a plug for hiring an accomplished professional, but also warns of the pitfalls facing anyone seeking to access the myriad holdings in Washington, DC's public institutions. While often rights-free, they are not accessible in user-friendly databases (even the Library of Congress has only a fraction of its resources databased), and ordering broadcast quality copies is generally confusing and time-consuming. The profession of media archivist has come a very long way since private collectors guarded their secret vaults of 16mm and 35mm prints with passionate ferocity, but despite increasing access to collections, there is still no substitute for the first-hand experience of individuals who know what is where and who controls it. (Those interested in learning about the current state of moving image archiving should check out the website of the Association of Moving Image Archivists at htpps://amianet.org). Forsher is himself the owner of an active commercial film archive with over 4,000 titles related to Americana and the entertainment industry. He thus knows well of what he writes in Part Three, How to License It. Here, he concisely explains the basics of copyright, public domain and fair use. These often misunderstood and misused laws and rules of the road require a more nuanced examination than Stock Footage can supply, but it is an excellent place to begin parsing their complexities. Part Three also includes advice on how to clear rights, when to negotiate for material, and why every professional production needs Errors and Omissions Insurance. "Entertainment is a very litigious area," he writes, following up with another understatement: "Most people who have spent years creating a project feel strongly about protecting their hard work. So do studios." Forsher plainly states that he is not offering legal advice. Although not pointed out by the author, filmmakers seeking better understanding are well advised to refer to American University's Center for Social Media Fair Use Guides (http://cmsimpact.org/ codes-of-best-practices), the 2016 documentary film Other People's Footage (www.otherpeoplesfootage. com) and/or a highly knowledgeable entertainment copyright attorney. CUT / PRINT CONTINUED ON PAGE 142