Museum Collaborations

"Programming Films on Art in the Museum - An Introduction"

Museum Installations

"Programming Films on Art in the Museum - An Introduction"

Susan Delson

Copyright © Susan Delson and the Program for Art on Film. Originally published in Art on Screen (G.K. Hall, 1992), edited by Nadine Covert, et al., for the Program on Art on Film, a joint venture of The Metropolitan Museum of Art and the J. Paul Getty Trust. Reproduced with permission of author and editor.

With its intrinsic emphasis on visual experience, film possesses a rare potential for enhancing the enjoyment and understanding of art. To the activity of looking, film brings motion, sound, a wonderfully elastic sense of time, and much more. The best films on art are characterized by a discernment, and an invitation to look, that act in synergy with the experience of art.

Outside the museums, there are few venues in this country in which to see films on art. Public libraries do circulate videos about art, among many other subjects. American television, on the other hand, presents documentaries about the fine arts only occasionally. Commercial movie theaters rarely exhibit films about art or artists, and there is no festival in the United States devoted exclusively to films on art. Even when they do present films about art, one of these venues can offer the direct an immediate link between viewing film and viewing art that a museum provides. Films about art can be among the most accessible, informative, and inspiring programs the museum offers its public.

As with a lecture, gallery talk, or other interpretative program, the presentation of art on film is mediated by an intervening sensibility – in this case, that of the filmmaker. For film viewing to effectively complement art viewing, however, a second mediating sensibility is required: that of the film programmer.

Programming is the critical link between films and audiences. It establishes the context in which films are viewed, and how they are related to the art. Good programming can greatly enhance the value of a film for audiences and can increase its effectiveness as an invitation into the galleries. Programming is the lens that focuses the broad field of films on art into a coherent expression of the museum's goals in serving the public.

Film Programming and the Museum's Mission

A museum's programming philosophy with respect to film generally develops out of its role in the community and its perception of where film fits into its overall philosophy. Some museums concentrate their public programming on fine arts exclusively; others consider film as part of a broader cultural agenda and include general interest films not otherwise shown in their communities. Programming philosophies vary widely. The approach could be curatorial, with film and video presented as art forms in and of themselves; historical, which adds to a curatorial perspective the context of media history; or educational, in which films are presented to enrich the experience of art. Many museum programming philosophies reflect a balance among the different approaches, with one or another predominating.

Films on art adapt readily to most programming philosophies. For museums with a strong commitment to education, films on art are a logical programming choice. As examples of the filmmaker's art, outstanding films on art merit inclusion in film-as-art curatorial programming. Films about art and artists by master directors are part of the canon of film history and frequently fit into broader, more entertainment-oriented programming.

Arriving at a functional programming philosophy may require some experimentation; nevertheless, it pays to be as consistent as possible. A consistent programming philosophy communicates itself to the audience and creates an expectation and understanding of the types of films they can expect to see at the museum. This understanding is invaluable in building and sustaining audiences over the long term.

The Screening Situation: A Profile

The choice of films is actually the last step in a programming process that begins with an evaluation of the screening situation. A program's success depends in part on a thorough understanding of those elements that will most strongly influence programming choices.

Audience. The single most important factor in determining the direction of a film program is its audience. For whom is the programming intended? General adult audiences; senior citizens; high school students; families with small children? Program length, venue schedule, and choice of films are all affected by the audience.

Venue. Where will the program be shown? In a quiet theater free from distractions; a screening alcove near an exhibition; on a monitor in the gallery? Venue affects the choice of film and program length. A long film, or one with an intricate structure, may not be suitable for a "drop-in" viewing situation; similarly, a short introductory program would disappoint audiences expecting a fuller film treatment.

Format. In what format will the program be shown? 35mm or 16mm film; 3/4" or 1/2" video? The question of format refers again to audience and venue. How large an audience is planned, and in what size venue? For a large audience in an auditorium, film renders the best image quality. Video projection is an alternative, preferably using a 3/4" system for better image resolution. Video monitors work best with audiences of thirty or fewer, but that capacity can be increased with the addition of more monitors.

The question of format may be previously determined by equipment already in place. If it is still open to discussion, the programming budget, which is discussed below, is another factor to consider.

Scheduling. At what time(s) of the day will programming be offered? On which day(s) of the week? A program for adult audiences, scheduled during weekday business ours, may unintentionally exclude working people; on the other hand, this may be a good time slot for retirees.

Some elements in a screening situation are likely to be determined by fixed external factors, such as museum hours or space availability. Maximizing whatever flexibility the screening situation offers can increase programming opportunities.

The Programming Budget

Budgetary considerations are an important element in the screening profile, raising isues that will shape the film program right from the start.

Implicit in the budgeting process is the decision whether to rent or buy the works to be shown; from another perspective, the question is whether of not to build a film (or video) collection. The best solution may not be apparent at the outset and perhaps should be deferred until the film program is under way.

If your museum is contemplating a policy of acquiring films or videos it might be well to consider these points: Is the museum committed to programming films on art? Is it prepared to undertake the maintenance of a film or video collection and provide appropriate storage conditions? Who will catalogue and manage the collection?

How frequently a title will be used is a determining factor in the decision to buy or rent. Acquisition makes good fiscal sense in situations where you expect to screen the work repeatedly, especially over a period of several years. Owning a print provides programming flexibility and guarantees that the work will be there when you need it; films and tapes don't necessarily stay in distribution indefinitely.

Whether purchased or rented, video generally costs far less than film. A one-hour 16mm film sells for roughly $900-$1100; a comparable 3/4" videocassette can range from $250 to $500 from an American distributor. Owing to a different pricing structure – and the added costs of converting from the European PAL structure to the American NTSC – tapes from Europe can cost as much, or more, than 16mm film prints.

Because of video's low purchase price, some distributors rent in 16mm only. Older titles may be available only on film, while newer ones may be distributed exclusively on video.

Establishing a cordial, long-term relationship with a distributor can benefit your budget. Although distributors fix standard prices for their sales and rentals, there may sometimes be room for negotiation. If you're renting a title for multiple screenings, you might be able to work out a discount rate. And if a title is a little out of your price range, whether purchase or rental, you have nothing to lose by saying so; in many cases distributors would rather have the business than insist on full price, particularly if you are a steady customer.

Among the least expensive sources of film rentals are university media centers, which are covered in the section on Finding the Films.

Public Performance Rights

Whether purchased or rented, any film or video presented to the public must be obtained with public performance rights: permission from the copyright owner to screen the work publicly. In other words, a museum programmer cannot rent a tape intended for home use from the corner video store and screen it in the museum's auditorium.

Public performance rights are usually included in sales or rentals from 16mm distribution companies. When renting or buying works from individual film or video makers, it's a good idea to obtain public performance rights in writing.

Public performance rights may not be included in videotape rentals or purchases, particularly from distributors who specialize in the home video market. You may need to request public performance rights specifically and pay an additional fee, which is usually moderate.

Rental or purchase from an educational distributor may require that the work be screened without a charge to the public for the program. In the case of feature films, if admission is charged, the distributor will in turn charge a percentage of any income from ticket sales, in lieu of or in addition to the rental fee. If you are unclear about either type of screening, ask the distributor for clarification.

With some purchases, usually works produced by museums or universities, the rights include permission to make a limited number of video copies for in-house use. Inquiries should be made about these rights at the time of each transaction. Unless this permission is stated in writing, don't assume that it has been granted. Failure to secure any of these public performance rights can leave the museum and the programmer legally vulnerable. These observations are not intended as legal advice. You may want to discuss the subject with your museum's counsel. The American Library Association also maintains an information service concerning public performance rights.

Finding the Films

The following is a subjective list, based on individual experience. For a more comprehensive list of available resources, consult the bibliographies listed below. A list of addresses for the institutions and publications mentioned here follows this article

The Art on Film Database. An initiative of the Program for Art on Film, the Art on Film database offers its users access to a detailed inventory of information on over 17,000 films and videos about art. The database is set up to facilitate searches in several different ways: by title, artist, subject, material, technique, and other categories. Many of the entries include critical evaluations of the films, or citations of published reviews. This relatively low-cost service is a valuable resource in the development of thematic planning. It eliminates an immense amount of primary research and ensures a all-but-comprehensive overview of whatever is available on a given subject.

Bibliographies. The Program for Art on Film publishes a regularly updated Films on Art Bibliography that lists reference book, filmographies, dissertations, distributors of art films and videos, and film festivals. The Summer 1990 issues of Sightlines included a useful "Bibliography of Resource Materials for Media Centers."

Filmographies. The Art on Screen directory (G.K. Hall, 1992), for which this article was written, is one of the best first steps in acquainting yourself with films on art. The bibliographies mentioned above list a number of other filmographies on art-related topics.

Distributor Mailing Lists. With any film purchase or rental, the distributor adds your institution to its mailing list and catalogues eventually follow. Catalogues are a good, if random, way of keeping up with new releases and are particularly useful for distributors with whom you have a steady relationship. Sales catalogue film descriptions, however, may not be as informative as you would like and are hardly unbiased.

Media and Education Periodicals. In addition to articles of interest, many professional journals include reviews of new releases. Recommended publications include Booklist; Library Journal; Sightlines; and Video Librarian.

Programs and Calendars from Other Museums. Other museums, especially those with programming philosophies similar to your institution's, are a good source of new film listings. Larger museums - such as the National Gallery in Washington, the Museum of Fine Arts in Boston, the Museum of Modern Art and the Metropolitan Museum of Art in New York - present extensive film programming, and programmers are generally available to answer inquiries about the films.

Film Festivals and Conferences. A few film festivals throughout the country include categories for films on art. Particularly recommended is the American Film & Video Festival, sponsored by the American Film & Video Association. As one of the premier events of its kind, the festival attracts a high number of entries; its Festival Guide is an excellent listing of recent films in the nontheatrical market. The AFVA also publishes AFVA Evaluations, which provides additional information on Festival entries.

The International Festival of Film on Art, held annually in Montreal, is the only film festival in North America devoted exclusively to films on art. It is an excellent opportunity for concentrated viewing, including European films not yet available in American markets. The Festival is bilingual; some entries will be shown in French versions, without English sound tracks or subtitles. The catalogue, however, provides synopses in English for all films, and is another recommended source of information on recent releases.

In addition, national, regional, and local conferences about nontheatrical film exhibition, like the annual National Alliance of Media Arts Centers (NAMAC) conference, offer opportunities to meet colleagues and discuss programming and exhibition issues.

The Educational Film and Video Locator. This is a two-volume directory of films and videos available for rental from the forty-six-member Consortium of College and University Media Centers. University media centers rent educational films (including film on art) at relatively low cost; they are sometimes the last sources for films no longer in commercial distribution. A drawback to media center prints is that many are in poor condition as a result of constant circulation.

The Locator includes an exhaustive index by subject, title and audience level; alphabetical entries for film titles with brief synopses; and a directory of university media centers. At $175, the Educational Film & Video Locator is something of an investment; it is, however, a valuable resource when putting together inexpensive, rental-based programming.

Alternatively, most university media centers publish their own catalogues. Among the collections with extensive art titles are the University of California Extension Media Center in Berkeley; the University of Illinois Film Center; the University of Michigan Film and Video Library; and the Pennsylvania State University AV Services. Other Consortium members also maintain large collections.

Selecting Films

When it comes to choosing films for screening, the most extensive description or evaluation is no substitute for previewing. Most distributors will send out preview copies for titles that are being considered for purchase and may send previews for rental bookings as well. If not, you may be able to negotiate a preview by offering an exchange, such as a screening for local libraries and educators who are in a position to purchase. Regardless of the final screening format, previews may be sent in 1/2" VHS to minimize shipping costs, so be sure to clarify the preview format with your distributor before shipment.

Since excellent criteria for evaluating films are presented in the article "Reflections on Quality: Evaluating Films on Art," they will not be addressed here. Once you have become somewhat familiar with the field of available films, the task then turns to programming.

The Programming Grid

Whether your museum shows one film a week or twenty, a grid approach can make film programming more accessible to audiences. Assigning a program format to a regular time slot – e.g., daily lunch-hour documentaries; feature-length programs on Saturday afternoons; films for families on Sunday mornings – can help build audiences, enabling people to incorporate programs into their own schedules. This is especially important if the museum offers more than one type of film, or films for more than one audience.

Horizontal vs. Vertical. For ongoing programs, as well as occasional series, a weekly, monthly, or bimonthly grid can be useful. For films shown daily, a week-by-week thematic structure can organize programming into discernable units; for a short, one-time series, a one-week or two-week structure may offer the most impact.

In contrast to the "horizontal" program structures is the "vertical" structure of once-a-week programs. Vertical programming works well over an extended period, creating more opportunity for regular attendance and word-of-mouth support. The best balance of horizontal and vertical program structures will depend on your specific audiences, and may require some trial and error.

The Grid Supports the Series. The grid, and the different program formats that comprise it, form the structure for the actual programming. Established formats, such as the lunch-hour documentaries mentioned above, readily lend themselves to organization in discrete series. A series approach works well with both short-term occasional programming and ongoing formats. A good series concept is broad enough to include some diversity in the choice of films, and focused enough to inspire coherent single programs within the series context.

A Thematic Approach

The history of art is rich with interrelationships, influences and contrasts; the possibilities for film programming are similarly abundant. Programming can draw parallels, debate issues, or connect artistic process with the finished product; it can link individual artists, art movements, or genres across history and cultures. Films on art lend themselves particularly well to the synergy that results from juxtaposing one film wit another, whether in a single program or a series.

Good films on art are distinguished by a certain programming flexibility, and the ability to communicate a subtly different emphasis depending on context. A film on the work of Diego Rivera, for instance, takes on a slightly different reading when presented in a series on art of the Mexican Revolution, or in a historical survey of frescoes and wall paintings. Similarly, a film about Goya's Disasters of War can be programmed in a survey of Goya's work, with films on the printmaking process, or with other films about art and war.

In programming for museums, a point to consider is the degree of curator involvement in the selection of films, particularly those relating to exhibitions. Will the film selection adhere to the curatorial point of view, or does the programmer have the option to present other perspectives?

Programming themes frequently take their direction from the function of film in the museum. If the intention is to support an in-house exhibition, for instance, a number of thematic strategies could work: most directly, films about the art and artists in the exhibition, but also films about other artists working at the time, or in that culture; surveys of the culture or historical era in question; studies of the materials or techniques featured in the exhibition; and so on. With a broader programming mandate, the choices increase.

At some point, even the most intriguing programming theme may run aground on an unfortunate reality: one must program from available films. No concept, however engrossing, will sustain audience interest in a truly bad film. Successful programming sometimes requires a cart-before-horse mentality: in other words, figuring out an interesting programming concept that can link a number of good films.

The synergistic effect of good programming can be an advantage in balancing a single program or series. For instance, a strongly informational film can be balanced by a more evocative, poetic treatment of the same subject; or feature films can complement a documentary series on the same general topic.

Publicity and Promotion

Publicity is important. After all, people generally come to museums with another purpose in mind. It may take some time to establish public awareness of film programs, but good publicity, both in and outside the museum, will speed the process.

In the Museum. Film programs should be included in any calendars or listings for the public, and in exhibition brochures where appropriate. The notice should include, if possible, a paragraph highlighting series concepts, plus brief descriptions of the films, and their running times (length of the program is a recurrent question from the public).

In-house posters can be very effective in recruiting the public, whether simple desktop publishing efforts or more sophisticated designs. They should be readily visible in main public areas and outside the screening space. Publicity posted near exhibitions, for related film programs, is key to establishing the link between the films and the art.

Budget permitting, additional publicity could include a calendar devoted exclusively to film programming, or a brochure focusing on a single major series.

Outside the Museum. Local newspapers and magazines frequently list cultural events, and local radio and television stations may be able to offer public service announcements about your programs. A mailing list for film brochures or flyers should include local universities and libraries, as well as community centers, senior centers, and high schools when applicable.

A newspaper article, or a brief mention on a local news show, can be invaluable in establishing our programs in the public mind. If your museum has an office that coordinates press and publicity museum-wide, it is logical to work with them. As the film programmer, however, you are the best contact person for your programs; no one else can furnish as much information or link the films to the art as effectively.

Presenting the Films

The screening is an important opportunity to communicate directly with the audience: to elaborate on the film; to explore its relationship to other films on the program and in the series or to the art on exhibition; to direct viewers' attention to certain aspects of the film; or to link the films to other museum programs. Generally this is done through a personal introduction by the programmer or through written program notes. In some instances, it may be most effective to do both.

It is always helpful to attend the films you program, if only at the beginning and end. This is an informal but fairly accurate way of gauging who is coming to your programs, and how well the films are received. Particularly in larger museums, audiences appreciate knowing who is responsible for a program, and their comments are an additional measure of the films' effectiveness.

Program notes present the opportunity for longer, more complex explanations. They are particularly useful with films that need additional background for full appreciation, or with a series in which the thematic links can be further developed.

Some programming themes encourage discussion and debate; others present films that could use additional art historical or scholarly background. In such cases, you might consider a program presenter – a scholar or museum curator, for instance – who can give audiences a more complete introduction to the film, or lead a discussion afterwards. In some situations, a panel discussion in which several points of view are represented can be a lively counterpoint to a provocative film.

Program Evaluation

Once film programming is under way, it's useful to evaluate its effectiveness on a regular basis. Periodic evaluation can keep a program on target, or lay the groundwork for expansion. It can demonstrate the success of a program in easily understood terms, and justify continued expenditures.

Evaluation techniques can range from informal comment cards to sophisticated surveys, depending on what is being assessed. As a simple baseline, it's a good idea to take attendance at each film program. In evaluating the effectiveness of publicity, some programmers like to query viewers as to where they heard about the films. Distributing comment cards is a simple and inexpensive way to capture audience reactions and suggestions.

If you are trying to identify your audience or to evaluate the educational effectiveness of a program, a more sophisticated survey may be called for. For an evaluation in a which statistical profile is a goal, it's important to gather an adequate sample. More complex statistical surveys may require the assistance of a qualified statistician who is experienced in data gathering and interpretation.

Conclusions

As cultural institutions, museums are responsible for making their collections accessible to the communities they serve. The visual nature of the film medium recommends it to this task, and film programming can be one of the most effective means of making art accessible to the general public.

In programming films on art, finding good films and showing them is the last step, not the first. Successful programming requires an understanding of museum goals, a sense of the different audiences to be served, and the development of programming contexts that emphasize connections to the art experience.

Programming films is a highly specialized way of thinking about art and about film. The art of programming consists in setting films in dialogue with each other increasing the resonance and clarity with which they speak. It is part of the cycle of insight and discernment that originates with the work of art and continues through the process of filmmaking; as the link between films and audience, programming is key to ensuring the completion of the cycle in the minds of audiences and in their subsequent encounters with art.

©1991 by Susan Delson. All rights reserved.

¹As elsewhere in this volume, film here is used as a generic terms that includes video, except where video is mentioned specifically.

Museum Installations

Case study: JFK Library and Museum

Contributor: Allan Goodrich, Chief Archivist, John F. Kennedy Library

AR 7595-B 20 November 1962 President Kennedy at a news conference. State Dept. Auditorium. "Abbie Rowe, National Park Service/John Fitzgerald Kennedy Library, Boston”.

KN-C29248 26 June 1963 President Kennedy's address to the people of Berlin. Rudolphe Wilde Platz, West Berlin, Federal Republic of Germany. "Robert Knudsen, White House/John Fitzgerald Kennedy Library, Boston".

ST-116-9-61 05 May 1961 Watching the lift-off of the first American in space. (L-R) Vice President Johnson, Arthur Schlesinger, Adm. Arleigh Burke, President Kennedy, Mrs. Kennedy. White House,Office of the President's Secretary. "Cecil Stoughton, White House/ John Fitzgerald Kennedy Library, Boston".

To describe our film programming at the John F. Kennedy Library I have to describe our Museum. The original design of 1979 was a straightforward birth-death linear approach. The redesign of 1993 totally scrapped the original and rebuilt the Museum. It's design goal is to give the visitor a sense of what the times were like when JFK was alive, what he was like, and to give the visitor a feel of being in the White House while he was President.

The film and videos were designed to reinforce that goal.

1. The introductory film runs about 18 minutes. It is 35mm and is shown from a central projection booth sequentially in two theaters. The projection booth has a platter system for one theater and 2 interlocking projectors for the other. We are able to project all 35mm formats in one theater and

2. 16mm as well. The 35mm projectors are Cinemeccanicas, the 16mm is a Hortsen. The film is untitled, has no closing credits, no music except reality music used within the film for segues. The film is autobiographical in intent. It opens on a cu still of JFK, uses vintage footage and stills for visuals throughout. The narrator is JFK in his own voice. We're fortunate that he did enough interviews that we could find sound bites of him talking (however briefly) of his childhood. The film ends in 1960 with footage of the 1960 National Convention. Visitors exit directly from the theaters into the first museum exhibit:

   [Note: all videos are endless loops; all are activated by motion sensors.]

3. A space with a static display designed to evoke the 1960 Convention. A video monitor in this area plays JFK's acceptance speech continuously. The speech is open captioned. The monitor is 1 50" plasma screen, fed by a DVD player.

4. Visitors exit this space into a gallery we call "Main St." It has displays evoking a notions shop, an appliance store, other storefronts. A video monitor in the "appliance store" plays brief clips from tv programming of the time -- "Father Knows Best," "77 Sunset Strip" -- that are intercut with political spots from the 1960 campaign.

   This video is not captioned. The monitor is a Sony dressed up in a vintage Philco cabinet. The original source of the video was a laser disc recently replaced by a DVD.

5. Three Sony CRT monitors on one wall in this gallery play similar video excerpts of campaign speeches/appearances of JFK & Nixon. The video source is laserdisc.

6. A small room off this gallery evokes the WBBM studio in Chicago that hosted the 1st Kennedy-Nixon Debate. The equipment in this room is the actual equipment used then (we borrowed it from the Smithsonian) and 2 monitors simultaneously play excerpts from the debate. This video is captioned. The 2 monitors are 42" plasma screens. The video source is laserdisc.

7. A little further down the gallery is a room with a TV anchor's (Cronkite's) desk, the wall has the same design of the CBS News studio on Election Night of 1960 and a Sony CRT monitor in that room carries clips of the reporting of the returns. The video source is laserdisc.

8. The visitor goes from that space into an open area with seating facing a large 61" plasma screen that continuously plays a color video of JFK's swearing-in and his Inaugural Address. Again, the idea is to give the visitor a feel for what it must have been like to be there (without freezing, in this case). The video is open captioned. The video source is laserdisc.

   The visitor goes through a portal and into a space that gives them the feeling of what it's like to be in the White House ... it is an approximation of the cross hall that runs the length of the White House. Different rooms off the hall offer topical exhibits

9. One room carries a video loop of JFK appearances at various press conferences. The equipment is a 41" Pioneer videocube. The video is open captioned. The source is laserdisc.

10. Another has a monitor of JFK meeting with Peace Corps Volunteers and of volunteers at work in different countries. The source is laserdisc.

11. Further down the hall is a small mini theater that shows a 17 minute video about the Cuban Missile Crisis. This video, like the introductory film, has no titles, no credits, no music. The narration is all JFK in his own voice plus audio from EXCOM meetings during the Crisis. Its purpose is to give the viewer the feeling that he's sitting in on an EXCOM meeting. An NEC LCD video projector is fed by laserdisc.

    At the end of the hall are two rooms:

12. One has a static display about the space effort and a 41" Pioneer videocube monitor running loops of JFK speeches about space and some actuality footage of John Glenn's flight. The source is laserdisc.

13. The other area is the one space we have for changing exhibits. A 50" plasma screen plays videos that the Library staff compiles from the Library's archival holdings to complement the displays, and these videos match the permanent installations in tone/style. The source for the temporary video displays is DVD.

14. A room further back contains a static display giving one the sense of being in Robert Kennedy's office at the Justice Department, and a CRT video monitor in the room plays footage of RFK at work in his office.

15. Moving on, the visitor sees a simulation of JFK's Oval Office. i.e., a replica of the desk he used, furniture and other items that were in his office. Two 42" plasma video monitors simultaneously run a video having to do with the civil rights effort of the 1960s. The video is open captioned.

    [13 & 14 are the only videos that run a film credit, due to the insistence of the provider of some archival footage.]

16. Moving on the visitor sees a display about Jacqueline Kennedy as First Lady and can view a video of her interview on "A Tour of the White House," which CBS allowed the Library to display. The source is DVD.

17. A display of personal items of JFK has a monitor that runs clips of family home movies - complete with the noise of film going over sprockets.The source is laserdisc.

18. An antechamber across from that displays personal effects of Jacqueline Kennedy and this area has a monitor showing video of her various activities. The source is DVD.

    At the end of this corridor are two displays:

19. One about mental retardation that features a mini documentary produced by Charles Guggenheim. It is the only museum video in this style. The monitor is a Sony CRT, the source is DVD.

20. The other display is about JFK's trip to Ireland in 1963 and a CRT video monitor in it shows footage of his trip. The source is laserdisc.

21. Visitors exit that area into a black hallway that has 6 monitors simultaneously portraying clips of news reports of the assassination and actuality footage of the funeral ceremonies. The Sony PVM monitors range in size from 14" to 21".

    The visitor leaves that area into a well-lighted room that has 3 Sony PVM monitors in continuous play:

22. Off to the left side a monitor plays clips of speeches by RFK & Edward Kennedy.

23. A second monitor, facing the visitor, plays clips of programs/events that came to fruition after JFK's death -- landing a man on the Moon, for instance.

24. The last video display shows President William Clinton on camera in the Rose Garden talking about his meeting JFK in the Rose Garden in 1963, with a cutaway to actuality footage showing them shaking hands.

    The source for these 3 monitors is laserdisc.

Visitors then exit the exhibit area into the grand pavilion that Jacqueline Kennedy had IM Pei build.

Visitors would watch over 2 1/2 hours of programming were they to watch every video display from end to end. They don't, but the overall effect of the videos and constantly hearing JFK's voice is a success and people who weren't born back then come out with a sense of what JFK was like and of his administration's goals and accomplishments.

All the above are permanent installations, running 9-10 hours/day, 7 days/week.

In addition: every Saturday and Sunday the Library has a special screening of Charles Guggenheim's "Robert F. Kennedy Remembered." This film won the 1968 Academy Award for 30 minute documentary.

On Mother's Day and her birthday, the Library has screenings of Mikki Ansin's "Rose: A Portrait of Rose Fitzgerald Kennedy." This film was commissioned by the Kennedy family to mark Rose Kennedy's 90th birthday.