I would probably accept the material if it was a low cost of retention to be able to maintain the positive relationship with someone whose material and funds we were wanted to continue receiving in the future . A […]

Discussing this with a lawyer would be helpful to understand the scope of the interviewees copyright claim to the material. Additionally, I would try to leverage the connection with the interviewee who was in […]

Maria, asking for a brand new interview is such an awesome take! It turns a massive headache into fresh content with the consent paperwork done right from day one. And even if the filmmaker passes on that, Sardell […]

Anne, your cost-offset idea is such an elegant way to flip the power dynamic. It also subtly tests the donor’s seriousness – asking them, so to speak, to put their money where their mouth is. And if they’re […]

I would first ask the donor about the volume of materials and the condition they are in, and why these specific items are particularly meaningful to them. To adhere to our collection’s defined scope without […]

Before making any promises, I’d ask the one who requested the recording exactly which part of the tape they need, where the film will end up, and whether they remember who else was in the room, since they’re […]

I think it’s reasonable to let the requester listen to the tapes they are featured on. I’d also be open to letting them use quotes of themselves or Sardell in their documentary, but not the audio itself because of […]

Since the donor is a previous donor and does support the museum financially I would reach out to the donor to gain a better understanding of why they want to donate these items and what their value might be. I […]

If Sardell has already agreed to participate in the interview, my next step would be to see if there is any contact information available for the other two participants. I don’t see any issue with sharing the […]

Nice ideas, Soren. Rather than diving in too fast with too much effort that may ultimately not pan out / be helpful, getting more information is always a good strategy. You could accomplish this through a call, an […]

Ah interesting idea you raise with the dramatic recreation! I could certainly see a documentarian being able to use the content from the tape to get the informational gist of the conversation and play around with […]

Excellent maneuvering of making use of the researcher’s own copyright permission to define the scope of what they can use! It may be tricky / time consuming to parse out the parts of the tape that they were […]

While QC holds the copyright to Alice Sardell’s materials, I would explain that the lack of permission from the other participants makes publishing their voices and contributions both legally and ethically thorny. […]

This falls into navigation of power dynamic we talked about in an earlier session, since in order to preserve a good relationship with the donor, the archivist may feel pressured to accept the new materials. I […]

I’d ask the donor how they see these new materials connecting to their previously donated collections. I’d want to have a tactful discussion with them about scope, both of their deed of gift and of the archive […]

As we discussed in class, the tricky thing here is that copyright for this recording is held not only by Alice Sardell but by the interviewees. One course of action would be to attempt to track down the […]

Good questions to ask–often, researchers won’t necessarily know exactly how they want to use archival content, so it can be helpful to put the responsibility on them to figure out their exact needs before […]

Excellent idea to offer the research notes–so long as personal identifying information can be redacted, this is a solid secondary option for the researcher in question if you cannot secure approval from everyone on the tape.

First, I’d want to know more about the documentary. How exactly would the recording be used? How is the documentary being distributed? Are they planning to make money from it? I’d then explain that the recording […]