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Video Trust is a 40-year-old nonprofit corporation formerly known as the National Media Market whose ultimate goal is to "strengthen libraries through education and advocating for the critical understanding and appreciation of film" via their website, webinars, a quarterly journal, monthly newsletter, and much more. They are an extremely valuable resource for librarians looking to understand more about "film history, commerce, copyright, and technology." Video Librarian sat down with Executive Director Chad Hunter to discuss his vision for the future and the incredible contributions Video Trust has made to the media library collective.
What makes Video Trust different from other organizations?
Video Trust has worked for over 43 years to help grow video collections at libraries, likely the oldest of any organization devoted to the field. We have a pretty unique cross-section of members and followers, including librarians, IT professionals, educators, distributors, and filmmakers. As formats and distribution models continue to change, many say they need us now more than ever to help stay connected and informed.
How has Video Trust impacted the community?
Over the decades, thousands of librarians have participated in our annual market and conference, and a lot of films have made their way onto library shelves as a result – which in turn has benefited the distributor and filmmaker communities as well. Our webinar series has also been helpful to many library professionals. We heard recently from a reference librarian at Cal State San Bernardino who said she was given responsibility for faculty video requests earlier this year, and she immediately put to use some of what she learned at one of our webinars. That’s music to our ears!
How do you feel about the ongoing changes happening when it comes to media?
Format changes are inevitable. In the early part of the 20th century, 28mm and 16mm educational film libraries were introduced. We later had laserdiscs, Betamax and VHS, and then DVD and Blu-Ray. The move to streaming means, in the best of situations, easier and broader access. As much as we love physical media, it’s ultimately the content and not the format that matters. However, it’s crucial that the bigger producers and distributors recognize that institutional access should be an essential part of their distribution formulas – it benefits everyone!
Do you believe in the preservation of media and do you believe library institutions will die out due to the easy access of streaming titles?
We simply can’t have continued access without preservation, they go hand in hand. In fact, our biggest project – the Academic Libraries Video Trust – is focused squarely on both. Under specific copyright guidelines, member libraries digitize titles they own on obsolete formats and upload them to a shared server, and can download fresh digital copies of replacement titles they need for their own collections. Libraries serve so many different needs, and we believe they will continue to evolve with the times to help their communities – including viewing, learning from, and being entertained by moving images.
How can the development of film and video collections in libraries and schools improve classrooms and library communities?
Younger generations have now fully embraced video that they can easily view on their phones and laptops, with an enormous amount of junk content being pushed in their feeds every day. That reality is an opening for librarians to be a positive force by providing and promoting options for higher quality educational and entertainment content. But to do that more successfully we need media companies producing or distributing video to make institutional licensing of streaming content much easier and more affordable. Greater access will make for greater minds. We need that now more than ever.
How was Video Trust affected by COVID-19?
Video Trust is fortunate to be an all-virtual organization, so our staff and board have been able to continue to work from home during the pandemic. The professional and personal lives of the media library community, however, were clearly disrupted. We hope that we have played at least a small part in keeping librarians engaged via our monthly webinars and newsletters throughout.
What filmmaker(s) do you find inspiring and encourage educators and institutions to look out for?
The 2019 documentary Apollo 11 made from large format archival footage was my favorite film of the past couple of years. I’m not ashamed to say I may have shed a tear while watching it on a giant theater screen – it’s such a powerful film. One of my favorite films is Stranger With a Camera (2000) made by Appalshop filmmaker Elizabeth Barret. More recently she made Portraits and Dreams: Revisited, which showed on PBS’s POV program this past fall. I love pretty much all of Werner Herzog’s films, even the smaller, quirkier ones. And I have an undying passion for silent film. I recently co-founded National Silent Movie Day, which will take place for the first time this September 29 all around the country. You can organize your own event or find one near you at www.nationalsilentmovieday.org (events are just starting to be added). In Pittsburgh, I’ll be showing the silent version of Alfred Hitchcock’s silent masterwork Blackmail (1929) with live piano accompaniment. If you need a silent movie recommendation, please ask me!
In your mission statement you write, "Film is not critically understood by most library patrons - many who can articulate the grammar of language can't do so for this vital medium." How can librarians help patrons learn more about film?
Film is often taken for granted in comparison to other mediums. It’s common to see a selection of recommended books displayed on a library wall, but how often do you see a well-curated selection of great films prominently displayed? Highlighting a dozen films hand-picked by a librarian, teacher, or a favorite local musician, chef, or news anchor on your website and social media can generate some good buzz. Many librarians know that great event programming can do the job too, whether it’s a film screening celebrating National Hispanic Heritage Month, a performance by a local School of Rock band along with the film School of Rock, or a special lecture and screening of a film from the Jazz Age. Some educators need to be reminded what a great learning tool film is too, and producing and sharing a topic guide to films that match upcoming courses can help teachers strengthen their curriculum (and often make it more interesting for students).
What are your goals for the future of Video Trust?
Video Trust needs to adapt as an organization to better serve our members and the larger field. We’re currently applying with the IRS to change from a 501(c)6 nonprofit to a 501(c)3 charitable nonprofit organization. This change will allow us to pursue grants to help grow the Academic Libraries Video Trust project, to create a digital toolkit with best practices for media librarians, and to pursue tax-deductible sponsorships and donations to make the organization healthier. Additionally, we plan on updating our organizational model to a membership association to better engage with librarians. One new offering for members will be Stream Magazine, a new quarterly online publication offering insights and perspectives on video streaming, access, usage, and preservation. We’ve also reimagined our annual fall market and conference, taking place this October 25-29, which will include two new awards for outstanding contributions to our field, a keynote speech, six professional development sessions, opportunities to get discounts from vendors, and the return of our popular Market Mania event. There is a lot in store for this next year!
Chad Hunter, Executive Director, is formerly a film archivist at institutions such as George Eastman Museum in Rochester, NY; Appalshop in eastern Kentucky; and musician Peter Gabriel’s human rights organization WITNESS in New York City. Most recently he worked in film exhibition and programming, including as Senior Director of The Rangos Giant Cinema at Carnegie Science Center. He was co-founder of the Center for Home Movies and Home Movie Day and is director of the Pittsburgh Silent Film Society. He holds a Master of Arts Management degree from Carnegie Mellon University and lives in Pittsburgh with his wife and two children.