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This chapter presents a historical analysis of how rural and small libraries have traditionally used nontheatrical film, including a discussion of how bookmobiles presented these materials to persons in broader service areas. After establishing the entertainment and educational benefits patrons historically received from the screening of these materials, the author transitions to discuss how recently established regional film archives and other organizations have made significant strides in recent years in preserving motion pictures that document local and regional culture. The chapter concludes with an analysis of how rural and small libraries can work with regional motion picture archives to design screenings and other programs that fulfill traditional roles of entertaining and educating patrons while also reaffirming local cultural identity.

Summative research and archival sources provide the foundations for the discussion of the role and purpose of film in rural and small libraries. Specific libraries and collections serve as case studies.

• Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

• Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

• Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Numerous scholars have published studies on regional and local nontheatrical film in recent decades, but relatively little has been written to connect these films with their value to rural public libraries and their constituents. By beginning with a historical analysis of how films have traditionally been of value to these audiences, the author is able to transition to presenting ideas on how nontheatrical works can continue to be of value in rural contexts. This has practical applications for rural libraries and other rural cultural organizations throughout the United States.

While the popular image of the Sherman Act is that of a “trust-busting” statute, conduct remedies have been more common than structural relief. This paper evaluates the effect on economic welfare of conduct remedies that have resulted from ten prominent Sherman Act monopolization cases. In general, we find that in some cases the behavioral relief has had no consequence other than the cost of litigation and cost of compliance; in other cases, the remedies probably reduced consumer welfare. Cases studied are United Shoe Machinery, AT&T, Std. Oil of California, IBM, United Fruit, Kodak, Safeway, GM, Jerrold, and Blue Chip Stamp.

Archive footage is now a staple of much cinematic and broadcast production. This chapter explores some of the ways in which archival material has been recycled and considers some of the tensions between filmmakers, archivists, and audiences throughout the process of research, production, and screening. It considers some of the controversies associated with the repositioning of material in short-form, narrative and documentary filmmaking, particularly in relation to content that was never intended for exhibition in the public sphere. Drawing upon Benjaminian ideas of accessing authenticity in a form that has been reproduced, it considers the responsibility of both filmmaker and viewer in critiquing moving image content that has borrowed, self-consciously or surreptitiously, from earlier filmic forms. It concludes by making recommendations for an ethical approach to recycling archival material in research contexts that are pertinent to the burgeoning field of academic creative practice, with a particular focus on the stakeholders involved and a reasonable contextual positioning of the source material in its remediated form.

The aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.

The qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.

A proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.

This study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.

The originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.

The purpose of this paper is to understand how Agfa, a division of IG Farben and Germany's leading producer of photographic equipment, adapted its marketing strategy to the new political environment created by the Nazi regime. This was a time when many consumer goods manufacturers suffered from the state‐driven reallocation of resources favoring the armament industry. Agfa, however, expanded its production well into the war.

This case study is based on archival records of Agfa's sales department.

This paper shows that Hitler's armament drive left room for non‐essential consumer goods such as cameras, film, and photographic paper as they fitted the regime's consumption policy, as well as its import and foreign exchange policy. A pioneer in marketing, Agfa was able to secure its growth strategy and its room to maneuver by focusing its product and promotion program on the socioeconomic needs of the “Volksgemeinschaft” and the “Four Year Plan”.

This paper sheds new light on the often‐underestimated role of consumption during the “Third Reich.” Furthermore, it supports the evolutionary – rather than revolutionary – nature of the history of marketing practice in Germany, as Agfa's interwar marketing policy features many sophisticated modern elements prior to the “Marketing Revolution” of the 1960s.

The paper aims at dealing with the role of users in the creation (or curation) and distribution of digital contents. User generated contents (UGCs) refer to a variety of media such as Wikis, question-answer databases, digital video, blogging, podcasting, forums, review sites, social networking, social media and mobile phone photograph. It attempts assessing their potential role as co-innovators. The paper follows the progressive creation of a new space for users, tracking its specific forms in each subsector of the media and content industries. Each subsector reveals a disruption in the production and circulation of new content.

The paper is based on desk research, a review of literature, review of the technical journals, and analysis of annual reports. The paper is part of an on-going research project on media and content industries.

The paper argued that since 2007 (release of iPhone and Kindle) the landscape went through a dramatic change, scaling up. It illustrates how the entire value chain of content (production/distribution/consumption) has opened up. The amount of UGC produced triggered a qualitative jump, ushering in new modes of interaction between the customers and creators, without necessarily turning the consumer into a full-fledge producer. The UGC model adds another source of production, thereby increasing diversity, ushering in new ways for talent scouting. It reveals various forms of co-creation and the role of a community model while also showing its limits.

This paper concentrates on digital media and does not deal with any other aspect such as knowledge sharing (Wikis). The paper does not cover the reactions of traditional industry players to UGC (some elements are given for newspaper), neither possible policy and regulatory responses The paper relies mostly on reports from news agencies, consultancies or annual reports from companies so as to delineate the main trends.

It shows that the role of customers did change within this context. The new channels offer novel ways to produce, curate and disseminate contents. It offers a range of examples from different industries.

The paper documents the participation of consumers in the production of content. it hints at the evolution of labour, alludes to the issue of diversity and of creativity, but does not address other societal issues.

Some reports were devoted to UGC in 2007 (OECD) and 2008 (Idate-IVIR-TNO) but in spite of the major changes that took place over the past decade, the research has been scarce, or has concentrated on a specific segment of the media industry. The paper is trying to offer a comprehensive overview of the various segments. Each sub-segment of the media industry illustrates a specific dimension.

The film approach to history in this paper I want to consider the film as source material for history in the sense that palimpsest and parchment, hieroglyph and rune, clay tablet and manorial roll are source materials—fragments, sometimes fragments of fragments, often defaced by time, and applied to purposes of historical reconstruction rarely contemplated by the original authors. For the most part I shall not be particularly concerned with the various philosophies of history—whether it is the job of the historian to lay material dispassionately before the student so that he can make up his own mind about what happened in the past, or to digest source material in order to arrive at the truth—that is, what the historian may hope is the whole incontrovertible real truth, or to digest source material, as Macaulay and Carlyle digested it, in order to justify something in contemporary life or thought. All that need be said here for the moment is that films can be used, as other historical source material can be used, for various and different historical purposes.

The serious shortage of teaching films suitable for use in university‐level work was an important theme in the opening address by Mr John Maddison at the recent conference on ‘The Use of Film in Higher Education and Research’ held at the Birmingham College of Advanced Technology.

Moving images represent a category of material which has historically received short shrift in most libraries and archives. Film, video, and now digital images form a significant part of many library and archival collections, however, and can be found in many formats and genres. Despite the ubiquity of such media in cultural institutions, the majority of libraries and archives owning collections of moving images have neglected these holdings—with the specific exception of those few archives devoted primarily to the care and preservation of moving images.