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Association for Library Service to Children (ALSC)

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ALSC/Booklist/YALSA Odyssey Award for Excellence in Audiobook Production

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This annual award is given to the producer of the best audiobook produced for children and/or young adults, available in English in the United States. Visit the new ALSC Awards Shelf to browse all current and past ALSC award recipients! Download a complete PDF list of Odyssey Award and Honor Audiobo…

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Screening Legally - Film programming for public libraries

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Screening Legally - Film programming for public libraries

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By Kati Irons | February 16, 2015 - American Libraries

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Film programming is a natural fit for libraries. It's another tool in our arsenal of storytimes, book groups, and lectures to create educational, emotional, and silly programs for every age and interest group.

Film programming can seem more complicated than other kinds of programming. How do you choose films to show? What equipment should you use? How do you market your programs? Where do you begin? The most challenging part-but in many ways the most important-is to make sure you are in compliance with the law relating to public screenings of films. It's vital for a successful film program at your library.

DVDs and Blu-rays released by major studios are generally intended to be used only by an individual or family inside the home. Here is the official word from the Motion Picture Association of America:

"The Federal Copyright Act (Title 17 of the US Code) governs how copyrighted materials, such as movies, may be used. Neither the rental nor the purchase of a copy of a copyrighted work carries with it the right to publicly exhibit the work. No additional license is required to privately view a movie or other copyrighted work with a few friends and family or in certain narrowly defined face-to-face teaching activities. However, bars, restaurants, private clubs, prisons, lodges, factories, summer camps, public libraries, daycare facilities, parks and recreation departments, churches, and non-classroom use at schools and universities are all examples of situations where a public performance license must be obtained. This legal requirement applies regardless of whether an admission fee is charged, whether the institution or organization is commercial or nonprofit, or whether a federal or state agency is involved.

"Willful infringement of these rules is a federal crime carrying a maximum sentence of up to five years in jail and/or a $250,000 fine. Even inadvertent infringement is subject to substantial civil damages."

So, there you have it. Public screenings, even by nonprofit or educational organizations, are not allowed unless you have purchased a film that comes with public performance rights (PPR) or obtained a public performance license (also referred to as a site license, umbrella license, or blanket license). The primary difference between them is that the former covers the film itself while the latter covers where you intend to screen the film.

Public performance rights

When they are available, PPR are included with the film when you purchase it. These rights are usually attached to educational titles, although some entertainment films that are not associated with big studios offer them.

Purchasing films with PPR is a good option for libraries that don't want to get a site license but would still like to do film programming. Another benefit is that the performance rights are attached to the film itself, not the library's location. If a patron wishes to check out the film and show it to his or her Rotary Club or PTA, or if the library wishes to sponsor an offsite screening in conjunction with a local group, it is legal.

Public performance licenses

Public performance licenses allow the purchasing organization, be it a school, church, or library, to show films from any of the studios covered by the license at a specific location.

A public performance license must be purchased for every location at which you would like to show films. If you are a library system or consortium, you will need to purchase a separate license for each location where you wish to have programming. You can show films only covered by the license at branches that have one.

Pricing depends on the population in your library's service area, ranging from $100 to $275 per year. Discounts are often available for libraries that purchase more than one license, and several licensing organizations provide licenses to libraries at reduced rates. For example, the Motion Picture Licensing Corporation charges $115 per year for libraries serving less than 10,000 people; $180 for 10,000-50,000; $230 for 50,001-100,000; and $280 for more than 100,000. Note: The service area is defined as the population of the city, county, or surrounding areas that a library serves, not the number of cardholders.

When considering whether to get a license, contact your state library or state library organization to see if you are eligible for a reduced rate.

What does a license do, exactly?

The federal guidelines for copyright protection of motion pictures are very clear. Showing a movie in a public setting without studio permission is a violation of copyright. Now, every time a library wishes to show a film, it could, conceivably, contact the studio directly and request permission. The result would probably be frustrating and possibly expensive, since the answer could well be, "Sure, but that will cost $2,000."

When you purchase a license, you are purchasing pre-negotiated permission from the studios that work directly with licensers to hammer out these permissions. Every studio covered has agreed to allow its films to be shown by license holders.

The rules of the license

The most complicated rules of a public performance license have to do with promoting the film. Within your library, you can promote as much and however you wish. However, there are limits when it comes to public advertising. If advertising your program in newspapers, television, or radio-in other words, mediums that can reach people who are not cardholders in your system-you cannot use the title of the film, the studio name, or the names of the director or actors. Studios don't want libraries directly competing with local movie theaters. They prevent that from happening by promising theaters they will be protected from market competition by license holders. If a library runs into trouble for violating the license agreement, it will almost certainly be because a local theater reported them to the studios. They are the ones who will see your publicity, and they are the ones who will-or will not-feel that you are crossing the line into direct competition with them.

If your library does run afoul of the marketing guidelines and you are reported to the studios or licensing company, you will not have violated federal law. You will have violated an agreement between yourself and the studios. Depending on the circumstances and how irritated the studios are, they may request you cancel your showing, pull your advertising, or, in extreme cases, revoke your license.

Partnerships and fundraising

Film programming can offer opportunities to explore partnerships. When the Pierce County (Wash.) Library first began buying licenses, it was in cooperation with Friends groups at a few branches. The Friends groups paid for the licenses and were active in organizing and running the film programs.

As the programs became more successful, the library system received support from the library foundation to expand and buy licenses for the whole system. Eventually the library was able to absorb the cost of purchasing licenses for all the branches into the regular budget, but in the early years of the system's film programming, support from the Friends and foundation was invaluable.

Both PPR and public performance licenses are designed to cover free screenings and explicitly state that you cannot charge admission. There are still some options for fundraising that you can take advantage of and still remain within the rules of the license.

If you have a public performance license, you can sell tickets to film screenings up to the cost of the license. So if, for example, your library pays $500 for a license, you can sell tickets to recoup up to $500. Libraries cannot earn profits from their programs. You are also in the clear if you wish to collect donations during a screening or indicate a suggested donation at the door.

Collecting donations also provides opportunities for community partnerships. The library can partner with local organizations that want to sponsor a movie night at the library. The group can raise funds via donations during the screening.

If you are showing a film with PPR rather than a license, I recommend contacting the film's supplier directly to ask about fundraising options.

A word about ratings

Ratings are not a legal issue, but they are often interpreted as one. It is a complicated topic, especially for our patrons. Many of our patrons have erroneous assumptions about what ratings mean and the library's role in enforcing them.

Ratings are a tool, but I urge any librarian designing a film program to use them as a guide rather than a definer of what to show. Films of almost any rating can be appropriate for a film program, provided you have a supportive audience. It's important that you review any film yourself before screening it, even if it's a G-rated family film. I don't think reviewing the film would or should change your mind about showing it, but it allows you to be prepared for anything that arises, even scenes of children riding around in open cars without their seat belts.

Rated R: Should you? Shouldn't you?

Many great films are rated R, and an R rating should not automatically disqualify a film for viewing. That said, it is very important that you honestly assess your own community before deciding what films to show, regardless of rating. Certain communities will not blink if the library screens an R-rated film, but others will. It's important to respect those tolerances.

Include the rating when promoting your program. Specify the library's intended audience for the film. Is it for children? All ages? Teens? Adults? The more information you include, the less likely you will have a patron upset or angered by a film program experience. Remember that screening films is ultimately about creating an enjoyable, entertaining program for them.

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Screening Legally | American Libraries Magazine

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Film programming can seem more complicated than other kinds of programming. How do you choose films to show? What equipment should you use? How do you market your programs? Where do you begin? The most challenging part-but in many ways the most important-is to make sure you are in compliance with the law relating to ...

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Use of Videotapes/DVDs/Video Files

Please note that ALA cannot give legal advice. If you need legal advice, you should contact an intellectual property attorney.
The Copyright Act of 1976 governs the rights of reproduction, adaptation, distribution, and public performance and display. Several sections of this act have implications for videocassettes, DVDs and computer file formats.

When libraries purchase a videocassette or a DVD, or make a video file accessible to patrons for a specific rental period, they own the physical object but not the copyright. Copyright law, therefore, determines what libraries can and cannot do with the videotapes/DVDs/video files they own without infringing upon the copyright they do not own. However, the law also includes exceptions and limitations to the exclusive rights of the rights holder that allow libraries to lend, preserve and replace videos and allow non-profit educational institutions the right to publicly perform videos in the face-to-face classroom, and under certain conditions, in the distance educational classroom via digital networks. When libraries want to use a videotape/DVD/video file in such a way that would infringe upon the copyright, permission must be sought from rights holder in the form of a license agreement. Permission fees are likely.

Classroom Use of Videos

Public performances of a video/DVD in the face-to-face classroom is an exception to the public performance right §110 (1) and therefore lawful. The following conditions apply:

The teaching activities are conducted by a non-profit education institution

The performance is in connection with face-to-face teaching activities.

The performance takes place in a classroom or similar place devoted to instruction.

The person responsible for the performance has no reason to believe that the videotape was unlawfully made.

Motion Picture Licensing

Motion Picture Licensing Corporation (MPLC) and Movie Licensing USA

Unless a library purchases a video that comes with public performance rights, it is a copyright infringement for the library to use that video for in-house viewing or programs. Typically, the videos and DVDs purchased through normal retail channels or from video rental stores do not carry the necessary public performance rights, and it will be necessary to obtain those rights in writing from the copyright holder or from a licensing agent. If your library or school plans to show videos frequently, you may wish to consider a site license.

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Ideas

Make Every Day Special.

Enhance special programming or celebrate memorable occasions with programming ideas for every occasion.

Browse Ideas

Enhance Programming Legally with Movies.

Public Performance Licensing lets you show the world's best movies while keeping your events legal. We help you host unlimited showings of any movies from the studios we represent.

Browse Options

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Movie Licensing USA: Public Libraries | Swank Motion Pictures

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We use cookies to improve user experience and analyze website traffic. By clicking "Accept," you agree to our use of cookies to enhance the user experience. Read more here.

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The Association of Moving Image Archivists

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The Association of Moving Image Archivists

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The Association of Moving Image Archivists

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AMIA members are among the leading voices worldwide on issues surrounding the preservation, archiving, and restoration of film, video, and digital moving images. They write not only for AMIA's journal, The Moving Image, but also author books and articles for a wide variety of publications.

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The Association of Moving Image Archivists: Education

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The Association of Moving Image Archivists: Education

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AMIA’s Education Committee has a number of resources for students, new professionals, and those interested pursuing a career in moving image archives.

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What is a Moving Image Archivist?

Anyone responsible for preserving, restoring, and making accessible our audiovisual heritage, including, film, television, video, and digital formats. As a profession, we advocate for the acknowledgement that this media heritage is an important educational, historical and cultural resource.

You may already be working as a media archivist, but if you're deciding if this is the career for you, here are some of the basics that you should know about the field, such as the current professional climate, educational expectations, and how the profession is expected to develop.

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The Association of Moving Image Archivists

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Anyone responsible for preserving, restoring, and making accessible our audiovisual heritage, including, film, television, video, and digital formats. As a profession, we advocate for the acknowledgement that this media heritage is an important educational, historical and cultural resource.

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Association of Moving Image Archivists (AMIA) 2022 Annual Conference

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Association of Moving Image Archivists (AMIA) 2022 Annual Conference

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AMIA 2022 . December 7-9 . #amia22

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More About AMIA

As the world's largest international association of professional media archivists, the Association of Moving Image Archivists (AMIA) is uniquely poised to bring together a broad range of experts. Members represent corporate and national archives, media companies, libraries, historical societies, labs, post production, universities, and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve and provide access to our media heritage in digital and analog formats.

For further information, visit www.AMIAnet.org and follow AMIA on Facebook, Twitter (@AMIAnet) and Instagram (@AMIArchivists).

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As the world's largest international association of professional media archivists, the Association of Moving Image Archivists (AMIA) is uniquely poised to bring together a broad range of experts. Members represent corporate and national archives, media companies, libraries, historical societies, labs, post production, universities, and more.

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YouTube - The Association of Moving Image Archivists

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YouTube - The Association of Moving Image Archivists

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AMIA is a non-profit association dedicated to the to the preservation and use of audiovisual media. Members range from those who work solely with moving images to organizations where moving images are only a small part of their collection to individuals who want to protect their personal collection…

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Vimeo - The Association of Moving Image Archivists

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Vimeo - The Association of Moving Image Archivists

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AMIA is a member of Vimeo, the home for high quality videos and the people who love them.

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OLAC or the On-line Audiovisual Catalogers, Inc.

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OLAC or the On-line Audiovisual Catalogers, Inc.

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Nonprofit organization for catalogers concerned with all types of nonprint materials

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Using the opera "L'Amour de loin" (Love from afar) by Kaija Saariaho as an example, I will demonstrate how semantically enabled metadata created using the Performed Music Ontology--including descriptions of sound & video recordings--opens up links to related performances, works, and other information resources about the opera, further enriching the descriptions and potentially providing a enhanced discovery experience.

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Conferences, Newsletters, Training Materials, Research Grant

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Founded in 1980, OLAC, also known as the On-Line Audiovisual
Catalogers Inc., is an organization for catalogers concerned with all types of nonprint materials, including a wide range of digital resources as well as more “traditional” formats: video and sound recordings, websites, maps, multimedia, g…

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Tweets by OLACinc

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Share your videos with friends, family, and the world

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ALA FMRT Professional Resources for Media Librarians

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ALA FMRT Professional Resources for Media Librarians

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Fédération Internationale des Archives du Film

International Federation of Film Archives

Federacion Internacional de Archivos Filmicos

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International Federation of Film Archives

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The International Federation of Film Archives (FIAF) brings together institutions dedicated to rescuing of films both as art and as historical documents

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 Co-ordinating Council of Audiovisual Archives Associations (CCAAA) Website

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 Co-ordinating Council of Audiovisual Archives Associations (CCAAA) Website

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International Association of Sound and Audiovisual Archives Website

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International Association of Sound and Audiovisual Archives Website

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Professional association concerned with the care, access and long-term preservation of the world’s sound and moving image heritage.

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International Association of Sound and Audiovisual Archives

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© International Association of Sound and Audiovisual Archives (IASA) Translation not permitted without consent of IASA Executive Board

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Film Museum Dusseldorf(affiliated to FIAF)

Digitized: AV-Media Materials to Dusseldorf

In context of a state funding in 2022 the Film Museum Dusseldorf has the chance to invest in his infrastructure for digitization of audiovisual materials. On a special view on materials to Dusseldorf the Film Museum is digitizing over 200 films and intend to publish all of them online on dkult online, the DDB and Europeana.

On screen:

BLOCK I:
DIE ANDERE SEITE
BRD 1976 · 27min · DF · digitalDCP · ab 18 * R/K: Gerhard Labudda

BLOCK II:
[Blick auf Düsseldorf vom Grafenberger Wildpark über Hamm bis zur Altstadt ]
BRD 1974 · 12min · stumm · digitalDCP · ab 18 * R: Josef Tiepel

BLOCK III:
IM RHYTHMUS DER ZEIT
BRD 1954 · 13min · DF · digitalDCP · ab 18 * R: Alfred Schrader

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The World Day for Audiovisual Heritage has become a key initiative for both UNESCO and the Coordinating Council of Audiovisual Archives Associations (CCAAA) to honour audiovisual preservation professionals and institutions that help to safeguard this heritage for future generations despite the many technical, political, social, financial, and other factors that threaten its survival.

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See video recordings at https://fiatifta.org/index.php/2022/11/14/conference-recordings-final-days/

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"In my own professional path I have evolved through different roles in the BBC's media archives. FIAT/IFTA always stood by our side. The forum of FIAT/IFTA allowed us to share and learn from colleagues, especially in the domain of Media Asset Management systems. The FIAT/IFTA Media Management Commission, who specializes also in this subject, provided the ideal environment for this. It was an unforgettable experience in 2015, to host more than 120 archivists, media managers, researchers, content creators and vendors from all over the world and discuss about all this in Glasgow."

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"In my own professional path I have evolved through different roles in the BBC's media archives. FIAT/IFTA always stood by our side. The forum of FIAT/IFTA allowed us to share and learn from colleagues, especially in the domain of Media Asset Management systems. The FIAT/IFTA Media Management Commission, who specializes also in this subject, provided the ideal environment for this.

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television archive broadcast fiatifta cultural heritage

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A global network of broadcast archives. The World's leading professional association for those engaged in the preservation and exploitation of broadcast archives

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Society for Cinema and Media Studies Website

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Society for Cinema and Media Studies Website

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Leading scholarly organization in the United States dedicated to the scholarly study of film and media

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Association for Library Service to Children (ALSC)

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The Notable Children’s Recordings list includes recordings for children 14 years of age and younger of especially commendable quality that demonstrate respect for young people’s intelligence and imagination; exhibit venturesome creativity; and reflect and encourage the interests of children and youn…

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MOUG provides an official means of communication and assistance for users of the products and services of the Online Computer Library Center, Inc. (OCLC), in the pursuit of quality music coverage in these products and services. The Music OCLC Users Group is a 501 (c)3 organization.

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Cataloging

Discovery, Reference, and Collections

Listserv

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Share your videos with friends, family, and the world

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ARSC 57th Annual Conference 2023

ARSC has selected Pittsburgh, Pennsylvania as the host city for ARSC's 57th Annual Conference, May 17-20, 2023. Please see the Call for Presentations on the conference web page.

NEWS and EVENTS

Apply for an ARSC Conference Grant to participate in ARSC's 57th Annual Conference in Pittsburgh, PA, May 17-20, 2023. Read more...

ARSC's next Continuing Education Webinar "Stewarding Ethnographic Sound Collections" will be on Nov. 17. Read more...

ARSC's NY Chapter will meet again on Nov. 17 with Matthew Barton presenting "The Story of ARSC's First CD Release". Read more...

ARSC Journal 52:3 (Winter 2021), a special issue and CD celebrating the advent of a public domain for recorded sound in the U.S., remains available online to members and available for order. Read more...

ARSC announces winners of 2022 ARSC Awards for Excellence in Historical Recorded Sound Research. Read more...

ARSC announces award for Distinguished Service to ARSC. Congratulations to ARSC member Roberta Freund Schwartz on her outstanding contributions to ARSC over an extended period. Read more...

The ARSC Journal 53:1 (Spring 2022) is here and includes original articles, book reviews, sound recording reviews and more! Read more...

The The Summer 2022 issue of the ARSC Newsletter is here! Catch up on recent ARSC news and more! Read more...

ARSC signs on to statement in support of education on World Intellectual Property Day, April 26, 2022. Read more...

Recordings of ARSC's Continuing Education Webinars are available to the public on ARSC's Aviary Site.

ARSC Opposes Racism and Police Brutality. The ARSC Board issued a statement opposing racism and police brutality and committing to initiatives to improve its operations. Read more...

Introducing ARSCLIB: The ARSC Library and Archives Electronic Discussion List! ARSCLIB has been created to be a forum for discussing issues of concern to individuals who are responsible for caring for recorded sound collections within institutions. The discussions are expected to have a narrower professional focus than the main ARSCLIST, discussing issues such as collection policies, deaccessioning, cleaning, digitization, metadata, etc. To subscribe to ARSCLIB and/or ARSCLIST, go to www.arsc-audio.org/listservs.html.

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ARSC (Association for Recorded Sound Collections)

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ARSC has selected Pittsburgh, Pennsylvania as the host city for ARSC's 57th Annual Conference, May 17-20, 2023. Please see the Call for Presentations on the conference web page. Apply for an ARSC Conference Grant to participate in ARSC's 57th Annual Conference in Pittsburgh, PA, May 17-20, 2023. Read more...

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Association for Recorded Sound Collections

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Founded in 1966, the Association for Recorded Sound Collections, Inc. is a nonprofit organization dedicated to the preservation and study of sound recordings-in all genres of music and speech, in all formats, and from all periods. Find us at: WEBSITE: www.arsc-audio.org FACEBOOK: www.facebook.com/pages/Association-for-Recorded-Sound-Collections-ARSC/165687321898 LINKEDIN: https://www.linkedin.com/groups?home=&gid=3967774&trk=groups_statistics-h-logo&goback=%2Egmr_3967774 ARSC BLOG: http://www.arsc-audio.org/blog/index.php

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Music Library Association

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The world’s largest library. View historic photos, maps, books and more. Contact experts for help with research. Plan a visit. Home of U.S. Copyright Office.

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National Film Registry - National Film Preservation Board

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National Film Registry - National Film Preservation Board

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Film Registry | National Film Preservation Board | Programs | Library of Congress

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The National Film Registry selects 25 films each year showcasing the range and diversity of American film heritage to increase awareness for its preservation.

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National Recording Registry - National Recording Preservation Board

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National Recording Registry - National Recording Preservation Board

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Each year, the National Recording Registry at the Library of Congress chooses 25 recordings showcasing the range and diversity of American recorded sound heritage in order to increase preservation awareness. The diversity of nominations received highlights the richness of the nation's audio legacy and underscores the importance of assuring the long-term preservation of that legacy for future generations. Currently, there are 600 works/titles on the National Recording Registry.

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Recording Registry | National Recording Preservation Board | Programs | Library of Congress

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Each year, the National Recording Registry at the Library of Congress chooses 25 recordings showcasing the range and diversity of American recorded sound heritage in order to increase preservation awareness. The diversity of nominations received highlights the richness of the nation's audio legacy and underscores the importance of assuring the long-term preservation of that legacy for future generations.

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library congress education culture film history government lectures preservation music art science

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Timeless treasures and contemporary presentations from the Library of Congress in Washington, D.C. As the world's preeminent reservoir of knowledge, we are the steward of millions of recordings dating from the earliest Edison films to the present. In addition, we sponsor events, lectures and concerts that are free and open to the public.

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Includes Selections from the National Film Registry

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library congress education culture film history government lectures preservation music art science

# data[].attributes.attachment_link.description
Timeless treasures and contemporary presentations from the Library of Congress in Washington, D.C. As the world's preeminent reservoir of knowledge, we are the steward of millions of recordings dating from the earliest Edison films to the present. In addition, we sponsor events, lectures and concerts that are free and open to the public.

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Careers in Music Libraries IV

Edited by Misti Shaw, Susannah Cleveland

TR039 Shaw and Cleveland, eds.: Careers in Music Libraries IV

Music librarianship offers meaningful and fulfilling work to people from varied backgrounds. As libraries adapt to everchanging economic, demographic, cultural, and technological landscapes, it is essential for music library workers to possess a keen understanding of what is needed to remain relevant and to thrive. Whether contemplating a new career in music libraries, expanding liaison responsibilities in music, seeking paths for professional development, or feeling eager to reinvigorate a music library career, readers can turn to this book to gain practical and approachable guidance to succeed.

In this substantially expanded edition of Careers in Music Librarianship III, experienced expert professionals have updated their pragmatic advice and insight from the previous edition to reflect the realities and challenges of today's landscape. Since music library work takes place in both traditional and non-traditional settings, this edition incorporates advice on a wide range of topics not covered in earlier editions, including paraprofessional employment, liaison work, archives settings, and transitions from performance-based careers. Geared toward workers in music libraries, rather than simply to those who are, or aspire to be, librarians, this volume is intended to support people on an array of potential career paths. All who work in music libraries will find both inspiration and straightforward guidance in this indispensable book.

1. Music Library Environments and Positions Types

2. Building Bridges: Music Librarians as Library Liaisons

3. Music Technical Service Librarians and their Influence on the

4. Music Subject Specialists in Archives, Special Collections, and Museums

Melissa E. Wertheimer and Matthew Testa

5. Professional Associations and Societies for Music Librarians

Preparing for Work in Music Libraries

6. Training and Education of Music Librarians

7. Pre-Professional and Co-Curricular Music Library Experiences

8. First-Time Attendee: How to Get the Most Out of Being a Student at a

Music Library Association Meeting

9. Don't Give Up Your Night Job: Active Musical Performance and

Transferable Skills for Music Librarianship

Maristella Feustle, Stephanie Lewin-Lane, and Rick McRae

10. Breaking into Music Librarianship

11. Job Seekers in Early Career Land: Perspectives from Recent Graduates

and Emerging Professionals

12. First and Lasting Impressions: Applying and Interviewing for Music

13. Behind the Closed Door: Search Committees and the Hiring Process

Kristi Bergland and Laura Gayle Green

14. You Landed the Job! Now What?

15. Mentor, Mentee: Creating and Sustaining Mutually Beneficial Mentorships

16. The Glue that Binds the Library: The Roles of Paraprofessionals in

17. Faculty Status, Tenure, and Promotion for the Music Librarian

18. Career Flexibility: Moving between Position and Institution Types

19. Upwardly Mobile: Music Librarians Leave the Nest

20. Diversity in Music Libraries: A Look at the Recruitment and Support

of Librarians from Underrepresented Communities

21. Rocking the Boat: Leading and Managing Change in the Music Library

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Shaw and Cleveland, eds.: Careers in Music Libraries IV

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Music librarianship offers meaningful and fulfilling work to people from varied backgrounds. As libraries adapt to everchanging economic, demographic, cultural, and technological landscapes, it is essential for music library workers to possess a keen understanding of what is needed to remain relevant and to thrive.

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THE AUDIE AWARDS COMPETITION & ANNUAL GALA

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The submission period for the 2023 Audie Awards is now closed.
Click here to review the deadlines, rules, and information for the 2023 competition.

Looking for the Audiobook of The Year supplemental form? Download it here.

The 2023 Audies Gala will take place at Chelsea Piers' Pier Sixty - The Lighthouse on Tuesday, March 28, 2023. The day before, the Audio Publishers Annual Convention (APAC) will be hosted at the New York Marriott Marquis in Times Square on Monday, March 27, 2023.

Please secure your room now through APA's Room Block - be sure to reserve asap to ensure that rooms are available.

The Audie Awards® is the premier awards program in the United States recognizing distinction in audiobooks and spoken-word entertainment. Publishers and rights holders enter titles in various categories for recognition of achievement. Finalists are selected, and then one winner is awarded in each category at the Audies Gala.

The Audies Ceremony - Annually, the audiobook industry gathers to celebrate the year's finest works and talent. The 2022 Audies Gala played on March 4th on YouTube (catch the replay) - hosted by Kal Penn, with celebrity judges Gigi Gorgeous, Caitlyn Paxson, Anthony Allen Ramos, Kristen Arnett, Gayle Forman, and Seija Rankin!

Please visit our gala page for information on past programs and this year's gala.

Questions? Please e-mail: audies@audiopub.org

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The submission period for the 2023 Audie Awards is now closed. Click here to review the deadlines, rules, and information for the 2023 competition. Looking for the Audiobook of The Year supplemental form? Download it here . The 2023 Audies Gala will take place at Chelsea Piers' Pier Sixty - The Lighthouse on Tuesday, March 28, 2023.

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SOUND SUCCESS
AN INFOGRAPHIC ON AUDIOBOOKS AND LITERACY

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Have you ever wondered just how much audiobooks can improve early literacy skills? Download our infographic for a quick look at how audiobooks can impact reading accuracy, vocabulary skills, pronunciation, reading speed and more.

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Have you ever wondered just how much audiobooks can improve early literacy skills? Download our infographic for a quick look at how audiobooks can impact reading accuracy, vocabulary skills, pronunciation, reading speed and more.

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Featured audiobook reviews

About AudioFile

AudioFile, the magazine to discover more about audiobooks. We recommend the best listening, most interesting performances, and the audiobooks worth your listening time. We review 50 audiobooks a week, feature narrator and author profiles, and award exceptional performances with AudioFile's Earphones Awards. Our blog and podcast offer curated audiobook picks from AudioFile editors.

We'll help you find your next great listen.

Learn more about us.

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AudioFile, Discover the World of Audiobooks

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Explore great audio book listening with AudioFile recommendations and reviews. We help you find your next great audiobook. Independent reviews help you discover the best narrators, great listening, and spoken word programs worth your listening time. We talk all audiobooks, all the time.

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New Featured Audiobook Reviews

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AudioFile, Discover the World of Audiobooks

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Explore great audio book listening with AudioFile recommendations and reviews. We help you find your next great audiobook. Independent reviews help you discover the best narrators, great listening, and spoken word programs worth your listening time. We talk all audiobooks, all the time.

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SYNC is a free summer audiobook program for teens 13+. | AudioFile Magazine

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SYNC is a free summer audiobook program for teens 13+. | AudioFile Magazine

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Returning Spring 2023, SYNC gives participants two thematically paired audiobooks each week. Titles are all available worldwide and change every Thursday at midnight Eastern Time during the season.

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SYNC is a free summer audiobook program for teens 13+.

Returning Spring 2023, SYNC gives participants two thematically paired audiobooks each week. Titles are all available worldwide and change every Thursday at midnight Eastern Time during the season.

Access Details

Titles are accessible in Sora, the student reading app from OverDrive.

Sora is available in your browser at soraapp.com, or as an app from the Apple App Store or Google Play.

Each SYNC audiobook will be featured in Sora for a window of 7 days.

Titles are yours indefinitely once you "borrow" them during their 7-day availability window in Sora.

For Technical Assistance

Please contact [email protected]

SYNC Program Questions

For questions about the program, titles, and how to use the tool kit to connect with teen students, library patrons, and other teen listeners, please contact the SYNC Manager at [email protected]

Terms of Use

SYNC audiobooks are intended for personal use only and may not be copied or distributed under any circumstances.

Titles in the SYNC program appeal to a wide range of interests, maturity levels, and ability levels. Please preview the materials to decide if the titles match your personal needs.

Frequently Asked Questions about SYNC
Can I use Libby or the OverDrive app for the SYNC program instead of the Sora app?
The SYNC program will only work with Sora, the student reading app from OverDrive. You don't need to be affiliated with a school to use Sora with the SYNC program.

First register for SYNC. Then set up Sora.
How do I set up Sora?

1. Download Sora from the Apple App Store or Google Play Store, or go to soraapp.com in your browser.

2. In Sora, tap I have a setup code (at the bottom of the screen).

3. Enter this setup code: audiobooksync and tap Get Started!

4. Enter the email address you used to sign up for SYNC.

5. Tap Explore (at the bottom of the screen) to see the week's featured titles [SYNC 2022 starts April 28]

I already use Sora for school. How do I add SYNC titles?
If you already use Sora, you'll need to add the SYNC program's library. Here are the steps:

1. In Sora, open the menu (in the top-right corner).

2. Select Add library.

3. Search for audiobooksync and select the library from the results.

4. Enter the email address you used to sign up for SYNC.

I home school or am not affiliated with a school. Can I still access SYNC audiobooks?
Yes, please register here and follow the instructions.
When does each SYNC week start?
New titles will be available each Thursday at midnight Eastern time (ie, 12:01am ET). You can access the titles for 7 days, until the next Wednesday at 11:59pm ET.
How long is each audiobook available in Sora?
To keep each audiobook, you must tap Borrow. Each audiobook is available to borrow for one week. Once you've borrowed an audiobook, it stays on your Shelf in Sora indefinitely.
I missed last week's audiobooks. Can I still get them?
No, our agreement with publishers is that the audiobooks are only available during their featured week.

If you miss an audiobook, we suggest borrowing it from your local library or visiting the title's page on the SYNC website for purchasing options.
I don't see one of the titles for the week what should I do?
In Sora, be sure that your search preferences (at the top of the Explore screen) have "Available books" set to Everything and "Format" set to Audiobooks.
I have students/patrons who love audiobooks. May I give them copies of my audiobook in class or reading/listening group?
SYNC audiobooks are for your personal use only and may not be distributed to others. Please encourage students/patrons to sign up for the SYNC program and download their own copies.
Can I delete the titles from my device?
Yes, you can delete the downloaded audiobook files in Sora if you need to free up space on your device. If you delete the files, the title will stay on your Shelf, and you'll be able to download and access it again.

To delete a downloaded audiobook's files, tap the checkmark next to the title on your Shelf, select Stream (when online), then select Yes, delete download.

PLEASE NOTE: If you Return an audiobook, it will be completely removed from your account in Sora and you'll lose access to it once its SYNC weeklong borrowing period is over. We don't recommend doing this!
Can I access the audiobook's MP3 files?
No, you need to download and listen to the audiobooks entirely in the Sora app. There's no option to download separate MP3 files.
My question hasn't been answered. How do I get more help?
Please feel free to contact [email protected] , and we'll be glad to help.

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AudioFile, Discover the World of Audiobooks

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Explore great audio book listening with AudioFile recommendations and reviews. We help you find your next great audiobook. Independent reviews help you discover the best narrators, great listening, and spoken word programs worth your listening time. We talk all audiobooks, all the time.

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Performing Arts Libraries, Archives & Museums

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Performing Arts Libraries, Archives & Museums

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Library Ebooks Streaming - Public Twitter List

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Library Ebooks Streaming - Public Twitter List

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Library Streaming Services. And ebooks! Podcasts! Databases!

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Awards shows. Folks Who Write About Them. No big whoop.

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To provide a forum for dance librarians and others working in or interested in dance to discuss issues and exchange ideas; to encourage, develop and support projects which will improve access to and the organization of dance materials in libraries and archives; to inform, educate and encourage coope…

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Movies. Movie Studios. Film Festivals. No big whoop!

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LIVE streamed interviews and other news/music pieces, usually in-tweet

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Special Livestreams - Public Twitter List

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Special Livestreams - Public Twitter List

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Events available to watch online - Concerts, Movies, Theatre, Opera, Dance, Author Talks, TV; US, UK

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Movie box office money results