At first glance, the process of licensing copyright-protected footage from archive sources is not very different from reaching any other legally-binding arrangement. However, negotiating and setting the terms of a licensing deal always requires a full understanding of all the rights, obligations, and details concerning the use of the archive footage on both sides of the agreement. The following examples of licensing terminology can be found in almost every license negotiation between an archive footage provider and a content creator.
Bob Weir and Jerry Garcia recording an early album in 1966. Photo courtesy of Roberto Rabanne.
The summer of 2017 marks the 50th anniversary of “The Summer of Love,” when over 100,000 people, largely consisting of post-beat-generation youth who came to be known as “hippies,” converged on San Francisco’s Haight-Ashbury Neighborhood. The summer came to be defined by experimental rhetoric against the government, experimental drugs consumed by fans and musicians alike, and experimental music, performed at festivals like the now-legendary Monterey Pop Festival by groups like The Who, The Grateful Dead, The Animals, Janis Joplin, and Jimi Hendrix. The 50th Anniversary of the Summer of Love also coincides with the Anniversary of the Grateful Dead’s exponential rise to fame, as masterfully portrayed in Amir Bar-Lev’s six-part documentary on the band, “Long Strange Trip,” executive produced by Martin Scorsese and released in January 2017. (more…)
How did you become an archive researcher?
I owe my career to Martin Scorsese. I was watching the 2005 Academy Awards and Scorsese was presenting Roger Mayer with the Jean Hersholt Humanitarian Award. The video package mentioned how Mayer was the founding chair of the National Film Preservation Foundation. At the time I was a sophomore studying film history and theory at the University of Florida but knew absolutely nothing about film archives. I looked up the NFPF’s website and found a link to archives that had received grants, which included the Lynn and Louis Wolfson II Florida Moving Image Archive in my hometown of Miami, Florida. I inquired about a summer internship and was fortunate to work with Lou Ellen Kramer (who is still there) and then-curator/preservationist Barron Sherer, who taught me about researching, cataloging and screeners, as well as how to clean, splice, store, transfer and preserve film and videotape. (more…)