Netflix in an Academic Library: A Personal Case Study - Johns ...

 
Netflix in an Academic Library: A Personal Case Study
   Ciara Healy

   Library Trends, Volume 58, Number 3, Winter 2010, pp. 402-411 (Article)

   Published by Johns Hopkins University Press
   DOI: https://doi.org/10.1353/lib.0.0089

       For additional information about this article
       https://muse.jhu.edu/article/380197

Access provided at 19 Mar 2020 02:23 GMT with no institutional affiliation
Netflix in an Academic Library: A Personal
Case Study

Ciara Healy

   Abstract
   This is a personal case study of the implementation of a Netflix
   subscription to augment a media collection at a community college.
   The implementation process is explained against the backdrop of
   a particular collection development crisis that gripped the college
   media collection that year. In these particular circumstances, Netflix
   turned out to be an excellent, cost-effective solution.

The article describes the workflow created to manage the Netflix subscrip-
tion, how the subscription was used as a tool for collection development,
and the limitations of a subscription compared to library ownership of
media. Netflix is an instance of a Web/Library 2.0 service that can work
in tandem with a standing collection, especially a just-in-time collection,
to provide access to a very wide range of DVDs for instructional use. Net-
flix is a subscription-based DVD delivery service that offers an elegant
discovery and delivery system: subscribers queue up a title on the Net-
flix website and a day or two later, the DVD arrives via U.S. mail to their
door, with the prepaid return envelope included. Since it launched in
1999, growth of this service has been steady, and recently it has doubled,
“It took the company eight years to achieve one billion shipments, a mile-
stone it crossed in February 2007, and a bit more than two years to deliver
the next billion” (Netflix 2009).
    While media librarians may not envy Netflix’s gargantuan circulation
statistics, we should envy the ease with which users can discover content
on their site, compared with any OPAC, pathfinder, guide, or searchable
list. Along with software such as iTunes, Netflix has helped set high user
expectations for all library content discovery and delivery. What follows
is an informal case study in which I discuss the experiences of success-

LIBRARY TRENDS, Vol. 58, No. 3, Winter 2010 (“Current Trends in Academic Media Col-
lections and Services,” edited by Ciara Healy), pp. 402–411
© 2010 The Board of Trustees, University of Illinois
healy/netflix in an academic library 403

fully introducing Netflix into an academic library. In 2006, I was a media
librarian in charge of all aspects of managing the collection, including
cataloging; reserves; library instruction for music, film, and television
courses; shelving; and purchasing. The impetus for exploring the use of
Netflix was my experience as an at-home Netflix subscriber: “Let’s get a
Netflix subscription for the library.” So general has been the home use of
Netflix that the importance of the idea was at once recognized by my col-
leagues. In what follows, the implementation process is explained against
the backdrop of a particular collection development crisis that gripped
the college media collection that year. In these particular circumstances,
Netflix turned out to be an excellent, cost-effective solution.

Workflow
While it was the case that a Netflix subscription was a simple idea, design-
ing a workflow to deal with it was less obvious. The media collection at
the library was treated as a special collection, the majority of which was
housed in closed stacks, with a circulating collection of donated, popu-
lar films available for checkout. The very first task in introducing Netflix
was to obtain administrative support for the idea. The director asked for
examples of successful implementations of Netflix at peer institutions. In
2006, a search turned up only one, and that one was unresponsive to my
e-mail inquiries. Posting to VideoLib also netted no media librarians then
using the service. For librarians today who wish to find Netflix policies
and forms used by academic libraries and other librarians working with
Netflix, a simple Internet search will return a dozen or more. Even with-
out many examples to go on, the director agreed that we could introduce
the service as a pilot program, mainly because Netflix is a relatively inex-
pensive commitment and I was willing to devise and manage a workflow.
    Implementations of Netflix in academic libraries requires a successful
answer to this crucial question with regard to subscriptions: “How do you
pay for it?” The problem here is that Netflix was a novel service for the
library, with a service model that did not fit into any existing library print,
serial, and other subscription models. Netflix did not and still does not
have an institutional subscription or method for becoming a state con-
tract-approved vendor. After some delay, the solution came in the form
of the first “purchase card” or “p-card” issued to the library. The p-card is
a credit card, paid from the library budget, that allows one to sign up for
a Netflix subscription using Netflix’s regular Internet subscription form.
Within days of the p-card being issued, a three-at-a-time subscription was
paid for to begin the implementation of the pilot project of what became
a successful service.
   The delay in getting a method of payment provided time for a work-
flow system to be arranged so that requests could be put in the Netflix
queue quickly. The Web services librarian created a form for faculty to re-
404   library trends/winter 2010

quest a Netflix DVD. The request could then be positioned in the Netflix
queue based on date needed. In addition, it was possible to now make use
of a previously unused media booking module of the library integrated
library system. When a request form arrived, a booking request could be
created to stipulate the lending period for each DVD on a case-by-case
basis. A pop-up note upon checkout was added to prevent other patrons
requesting or checking out Netflix films waiting for pick-up.
   Once a Netflix DVD arrived, it was placed in an empty DVD case that
was barcoded and banded with a paper Netflix sleeve. Because of the three
subscriptions, there were three of these cases each linked to a brief record
in the catalog titled, respectively, Netflix -1, -2, -3. Because there were only
ever a maximum of three Netflix DVDs at any time, it was also easy to cre-
ate a small “holds” area for them at the circulation desk. The final step in
the workflow was to get the DVD back to be returned in the mail.
   A random sampling of 2009 Netflix rules and policies found online
(for example, at Skidmore College, North Idaho College, Seton Hall Uni-
versity) reveals that many impose fines for overdue Netflix DVDs. In the
case of my library, however, faculty members were exempt from all library
fines. In stark contrast to library-owned media materials, which many
professors considered “their items” and held onto, Netflix DVDs were in
fact returned promptly perhaps because of the patron familiarity with the
video rental model that was characteristic of Netflix.
   A complication that had to be dealt with was that the college expanded
one campus and opened a new one in an eighteen-month period. Add-
ing inter-campus lending to the Netflix model was tricky, but extension of
the service to deal with this expansion became part of the pilot program
because several professors who taught on more than one campus wanted
to use Netflix DVDs wherever they taught. In the case of a branch campus
request, when the Netflix DVD arrived it was simply sent via intercampus
mail to the branch library along with the Netflix return envelope. The
librarian at the branch campus was responsible for following the hold,
checkout, and return procedures put in place at the main campus. The
branch campus librarian was also in charge of dealing with any issues re-
lated to overdue materials on his or her campus.
   This was the timeline: arrival of a DVD from Netflix’s distribution center
to the mailroom on the main campus took about two days on average. From
there to arrival at the library took one day and then another day for it to ar-
rive at the branch campus. In most cases this process was completed at least
a day or two in advance of the day booked for pickup. The system worked
well as long as branch campus requests were infrequent. Once requests
steadily exceeded the threshold of two or three a month on any given cam-
pus, the campus was encouraged to begin its own Netflix subscription.
   The “rental model” that, in my opinion, accounted for prompt returns
however created a problem of expectation in the receipt of requested ma-
healy/netflix in an academic library 405

terials. The Netflix website boasted a shipment time of about one day.
This is intended for home service and does not take into account the
processing time that is needed once the DVD arrives at the library. If the
request came from a branch library, this entailed yet a further delay. Pa-
trons, however, expected the same speed of arrival at the library that was
one of the hallmarks of Netflix’s home service. It was impossible for the li-
brary to meet this expectation. However, moving the subscription level up
to Netflix’s unlimited subscription helped the library buy time for branch
campus lending while still being able to meet booking commitments for
in-class viewings. This is because an unlimited subscription allowed the
next DVD in the queue to be sent without requiring the return of a DVD
that has already been received.

Collection Development and Access
As Gary Handman explains elsewhere in this issue, two main forms that
media collections take are:
     “Just-in-Case” Collections: Comprehensive standing collections of print
     and online materials selected to anticipate a broad range of current
     and future teaching, research, and general institutional needs. While
     such collections may include materials requested to support specific
     curricula or programs, they also have broader and longer-term func-
     tions: fostering the discovery and use of valuable new resources, and
     providing and preserving a range of unique materials not widely avail-
     able in the information marketplace. Because of the expertise required
     to build “just-in-case” collections, the broad scope of such collections,
     and the high cost of financing them, this type of collecting is almost
     always the province of libraries—academic libraries in particular—
     rather than other institutional support units.
        “Just-in-Time” Collections: Materials acquired to meet specific and
     sometimes temporal teaching needs, both in the classroom and for
     individual study outside of the classroom. (2010, p. 325)

   The media collection at the library was an example of a “just-in-time”
collection, which Handman further describes as sometimes, “the only type
of video acquisition supported by a library or learning center” (2010,
p. 325 his emphasis). This was also the case at the library where I was me-
dia librarian, which was a patron-driven collection and where purchases
were determined by faculty request on a title-by-title basis. The media li-
brarian was encouraged to make purchases for the sake of the collection
itself, but these were often led by faculty requests or pushed to faculty for
consent before purchase.
   Netflix, in addition to being an easy, popular service to offer faculty, was
also meant to serve as a collection development tool in the following ways:
• The media acquisitions policy was changed to include the stipulation
  that if a single title was requested via Netflix more than twice, the library
  would purchase that title and add it to the collection.
406   library trends/winter 2010

• Professors were encouraged to preview a title using a Netflix film before
  making a purchase suggestion.
• A Netflix film could be used as a second copy available for short-term
  reserve or when a title was on loan to branch campuses and demand
  could be used to help determine if a second or third copy needed to
  be purchased.
• Requested Netflix titles that were already in the media collection, would
  help stress the fact that the library media collection was convenient and
  readily accessible.

   With regard to the last point above, requests for materials already
owned by the college, while infrequent, did happen sometimes because of
difficulties of finding media in the OPAC. As cataloger Jessica Schomberg
notes:

      Major innovations in computer technology that allow access to full-text
      searching of title pages or perhaps even the entire monograph cannot
      help someone discover the contents of non-text based materials, such
      as an oral interview on compact disc, or confirm that a koala puppet
      is merely a puppet. Video collections are especially dependent upon
      detailed catalog descriptions since they are often not browseable, both
      figuratively and literally. (Schomberg, unpublished)

    Because of Netflix’s ease of use, provision of images of attractive DVD
covers and detailed item descriptions, the Netflix website makes discovery
gratifyingly easy, compared to the difficulties presented by the average
OPAC. In the case of my library, I often called up Netflix’s site rather than
search for the catalog record because this allowed us easily to provide
patrons with extra details such as long plot descriptions or DVD special
features such as director’s commentary or to take advantage of Netflix’s
Cinematch recommendation system.
    Given the ease of use of Netflix’s service and website and the com-
prehensiveness of its collection, it was possible that library patrons might
become dissatisfied by comparisons with the library’s media collections
and services. This fear was unfounded. Because, for the most part, the ex-
isting collection served the faculty well for instructional purposes, there
was no deluge of Netflix requests. So while the Netflix subscription was
not superfluous, its role for faculty was decidedly, though conveniently,
supplemental. Thus, Netflix’s real benefits lay in the expected and unex-
pected ways in which it worked to benefit the existing collection. At the
price of sixteen dollars per month, even if the only benefit of a Netflix
subscription was a neat, new library service to offer faculty, it was a good
value. When other benefits are added, the Netflix service might well be
considered a bargain at twice the price.
healy/netflix in an academic library 407

Netflix Benefits for the Media Collection
The main—and unexpected—benefit Netflix offered the media collec-
tion initially related to a set of circumstances peculiar to the college at
that time. Over a period of several years, the department in which film
and television studies classes were offered had accumulated almost one
thousand items from the library media collection. These were housed in
various professors’ offices and in a large, locked “media closet.” The items
involved were mostly VHS tapes that were described as the “crucial texts”
of film studies and thus were considered to belong, in a fundamental, per-
haps even a moral, sense, to the department. In this uncontrolled envi-
ronment, there were often multiple, homemade copies and other bootleg
copies of these “crucial texts.” The problem the library faced was how to
reintegrate these materials into the central collection without alienating
the departmental faculty and staff involved.
    The problem was solved essentially by deciding to ignore, in a sense to
abandon, the departmental collection and slowly to purchase new copies
of needed items in it as the budget allowed. The idea was not to replace
each title but to get the best, most representative current example of the
item. With the Netflix subscription it was possible to begin to search for a
variety of titles, browsing for example to see what was on offer for college
instruction, and comparing this to what was in the collection. Unsurpris-
ingly, Netflix does not carry many titles for the narrow educational mar-
ket. Netflix’s main benefit to the collection was in its function as a collec-
tion development tool. While Netflix does not carry many educational
market titles, it carries almost everything else and there is significant
overlap, especially in the area of documentary films. For instance, Netflix
does not offer Film Media Group’s Understanding Sir Gawain and the Green
Knight, but does offer Ken Burns’ documentary Jazz, both of which were
already held in the collection I managed. But unlike my collection, Netf-
lix has most of Burns’ other work as well and offers several suggestions for
similar titles including DVDs of live performances from the Jazz Icons and
Jazz Legends series.
    Because the college collection was a prime example of a “just-in-time”
collection, the majority of items already held were more the Sir Gawain va-
riety, which was used regularly once per semester, for a particular English
class. But Burns’ Jazz documentary was used more widely and circulated
often. The Netflix subscription allowed me to offer easy access to new
titles the collection did not have that could be considered for request and
purchase.
    In Chris Anderson’s now famous 2004 article in Wired Magazine, he in-
troduces the concept of The Long Tail, which states, briefly, that in physi-
cal places like movie theaters or music stores, items have to sell big—be
blockbusters—to justify the shelf space. The Long Tail consists of all those
408   library trends/winter 2010

films and CDs that are not huge hits, which are the majority of all films
and CDs that cannot justify their shelf space and so become less available
to customers. Anderson notes that this is a commonly known feature of
supply and demand but goes on to say that the Internet changes things by
allowing greater access to The Long Tail:
      Unlimited selection is revealing truths about what consumers want
      and how they want to get it in service after service, from DVDs at Net-
      flix to music videos on Yahoo! Launch to songs in the iTunes Music
      Store and Rhapsody. People are going deep into the catalog, down the
      long, long list of available titles, far past what’s available at Blockbuster
      Video, Tower Records, and Barnes & Noble. And the more they find,
      the more they like. As they wander further from the beaten path, they
      discover their taste is not as mainstream as they thought (or as they
      had been led to believe by marketing, a lack of alternatives, and a hit-
      driven culture). (2004)
In so far as Netflix is an example of a service providing access to The
Long Tail, it allowed the identification of the kinds of obscure, though
not strictly educational titles that might be acquired for the collection but
were not otherwise readily discoverable or perhaps had only recently been
released on DVD. More specifically in the particular case being reported
on here, the departmental collection that was being abandoned mainly
comprised VHS theatrical release titles from The Long Tail. Netflix saved
the library from having to repurchase all of the titles in the departmental
collection by allowing us to test the extent of the demand for individual
titles and for purchases to be made based on that demand. Our policy,
stated in the library’s formal collection development policy, was that any
film that was requested more than twice would be purchased. The idea
was that faculty requests would allow the collection to be built up in such
a way that what was in the department VHS collection would be replaced
only if demand warranted it. Furthermore, the existence of the Netflix
service meant that nothing needed to be hoarded. It was thus made clear
in the collection development policy that library items purchased with
library funds would circulate to all patrons.

Conclusion: What Netflix Can Do, What It Can’t Do
What It Can Do
Netflix’s primary usefulness for academic libraries is as a value-added ser-
vice. This is true for both just-in-case and just-in-time collections by of-
fering an easy interface for item discovery and access. In addition to its
usefulness in collection development, the Netflix service can be used in
potentially politically charged situations to prevent hoarding and to en-
sure that there is general, widespread access to needed materials as in the
case presented here.
   According to Karen Calhoun’s 2006 report The Changing Nature of the
Catalog and Its Integration with Other Discovery Tools, “interviewees agreed
healy/netflix in an academic library 409

that today’s research library catalogs are not the right finding tools for
users. . . . An information seeker’s first exploratory point is highly likely to
be outside the catalog. Today the research library’s task is to switch users
in their communities from where they find things to library collections”
(p. 37). Though Netflix or any of its more attractive search features were
not integrated into the catalog, they worked in tandem with the catalog
and collection. Discovery happened on Netflix, and access was had via the
catalog and the library’s media collection or Netflix itself.
   Netflix can also deliver material formerly hidden in “The Long Tail.”
For a just-in-time collection that relies on patron-driven acquisitions, offer-
ing an easy way to discover new titles for purchase, providing supplemen-
tal copies of held or checked out titles, and assuring quick turnaround
were mutually beneficial services.
What It Cannot Do
Obviously, Netflix cannot supplant a library media collection. This is es-
pecially true for just-in-case collections that are driven by faculty requests.
Netflix, with its efficient business model, is ultimately a commercial ser-
vice designed for individual home use that appeals to an entertainment
market. It can be adapted for institutional use, as I have shown, but only
in cases where it can be taken on its own terms. To expect Netflix to solve
fundamental problems that may beset a collection, such as budgetary
problems, is ill advised. This is mainly because faculty require educational
media titles that they use for face-to-face classroom instruction. These
generally are not the titles that Netflix offers, though certain academic
departments may benefit from access to the kinds of film emphasized in
a Netflix subscription. It is also almost certainly the case that some pro-
fessors already use their personal subscriptions to get Netflix DVDs for
in-class use.
   While Netflix, with 100,000 titles in its collection, offers tremendous
access, it cannot offer the benefits of ownership. One of the main benefits
of academic library ownership of media consists in the fact that the mate-
rial can be used broadly outside of the classroom for scholarship. Owning
a DVD on the shelf encourages extended, repeated, and transformative
use that result in a range of benefits for both professors and students.
This is especially true for items that have sloughed off The Long Tail,
are rare, have been archived, are difficult to find for purchase, and have
more scholarly than entertainment value. Librarians are, of course, usu-
ally willing to share what they can and to work in league with one another
to the patron’s advantage. This is antithetical to the Netflix commercial
orientation.
   Ownership also gives a measure of stability and control over a media
collection that cannot be had merely through access to a service such as
Netflix. The trade off with Netflix, analogous to the broader move away
from print to electronic holdings in academic libraries, is that it provides
410   library trends/winter 2010

easier access to more resources, but this access becomes less reliable over
time given the vicissitudes of business models, mergers, terms of service
and periodic license, and price negotiations. Though Netflix is always ac-
quiring new titles, including niche and even some educational titles, Net-
flix Inc., and not the library, ultimately determines when and how they
are accessed and by whom. In the infamous 2004 “throttling the queue”
lawsuit brought against Netflix, subscriber Frank Chavez “alleged that
contrary to its advertising Netflix was employing sophisticated algorithms
to prioritize the allocation of its DVDs to its lowest-consuming members
with the effect that high-consuming members would receive fewer DVDs
per month, reducing the costs Netflix incurred to serve this high-usage
group, and increasing its profits” (Frank Chavez v. Netflix Inc., Court of
appeals doc, p.3). Before settling out of court with undisclosed terms,
Netflix agreed to make changes to how it advertises its service. Currently,
Netflix no longer offers an “unlimited” subscription for purchase.

The Departmental Collection
The particular circumstances of the media collection I managed made
Netflix an especially attractive solution for the problems the collection
faced. The Netflix subscription allowed me to cut loose the thousand
items in the departmental collection for which the library had been pu-
tatively responsible. These items became the sole responsibility of the de-
partment in question and subsequently had none of the library benefits
of good cataloging and searching via the OPAC, an easily accessible, orga-
nized central location, standardized circulation—and everything else that
libraries offer and librarians know how to do.
    The library, the media collection, and the media librarian benefitted
from an increased profile because of the Netflix subscription. The fact
that the Netflix DVDs were not owned by anyone went a long way toward
reorienting faculty member’s attitudes toward the media collection. Own-
ership of the media collection within and by the library was firmly reestab-
lished; rules governing the circulation of all media were clearly defined
and consistently applied. While a thousand videos were let go, the alterna-
tive was access—and in a more attractive DVD format—to over ten thou-
sand. This was effectively a coup.
    Netflix, in addition to being the premier example of The Long Tail, is
often used as an instance of a Web 2.0 application, primarily because of
its Cinematch recommendation service, which connects its head with The
Long Tail. Netflix’s recommendation service has recently improved as a
result of the Netflix Prize, which offered a million dollars to anyone who
could come up with a 10 percent improvement to Cinematch’s recom-
mendation algorithm. The recommendation service uses customer rat-
ings to suggest movies that they might also like, farther down The Long
Tail. In library literature, Library 2.0 is a similar concept, emphasizing
healy/netflix in an academic library 411

customizability, user contributions such as book ratings and recommen-
dations, and has been succinctly defined as any service “that operates ac-
cording to the expectations of today’s users” (Curran, Murray, & Christian
2007, p.288). In October 2009, Tim O’Reilly and John Battelle, cocreators
of the term Web 2.0, revisited the idea and published a white paper entitled
Web Squared: Web 2.0 Five Years On. Netflix is not mentioned in O’Reilly’s
white paper, though examples used throughout include Twitter, iPhones,
and Flickr. While it may no longer be a novel business model, Netflix still
succeeds in offering what many library media collections and catalogs
cannot.
    However, for sixteen dollars a month subscription to Netflix, a library
can buy some Web 2.0. When paired with library collections, Netflix can
be used to meet user expectations for searching, for recommendations
and for access to very long tail titles, while just-in-case library media col-
lections can use it to help provide deeper collection development that
meets the instruction needs of a particular campus community. As an at-
tractive, popular user service and as a collection development tool, a sub-
scription can function much like any value-added service in enhancing or
at least supplemen ting owned and licensed items.

References
Anderson, C. (2004, October) The Long Tail. Wired Magazine, 12(10). Retrieved December
     20, 2009, from http://www.wired.com/wired/archive/12.10/tail.html
Calhoun, K. (2006). The changing nature of the catalog and its integration with other discovery tools.
     Library of Congress. Retrieved December 20, 2009, from http://www.loc.gov/catdir/
     calhoun-report-final.pdf
Curran, K., Murray, M., & Christian, M. (2007). Taking the information to the public through
     Library 2.0. Library Hi Tech, 25(2), 288. doi: 1355784531.
Frank Chavez v. Netflix Inc., Cal.App.4th, the Court of Appeal First Appellate District, Division
     One. (2008, April 21). Retrieved December 20, 2009, from http://www.lexisnexis.com
     .www.remote.uwosh.edu/us/lnacademic/search/casessubmitForm.do
Handman, G. (2010). License to look: Evolving models for library video acquisition and ac-
     cess. Library Trends, 58(3), 324–334.
Netflix. Press Releases. (2009, April 2). Netflix delivers 2 billionth movie since subscription service
     was launched in ‘99. Retrieved December 20, 2009, from http://netflix.mediaroom.com/
     index.php?s=43&item=310
O’Reilly, T. (2005). What is Web 2.0? Design patterns and business models for the next generation of
     software. Retrieved December 20, 2009, from http://www.oreillynet.com/pub/a/oreilly/
     tim/news/2005/09/30/what-is-web-20.html
O’Reilly, T., & Battelle, J. (2009, October). Web squared: Web 2.0 five years on. Retrieved De-
     cember 20, 2009, from http://assets.en.oreilly.com/1/event/28/web2009_websquared
     -whitepaper.pdf
Schomberg, J. (2009). Trends in catalog access for media materials. Unpublished manuscript.

    Ciara Healy is an academic staff member at the University of Wisconsin Oshkosh’s
    Polk library where she holds the position of outreach librarian. Healy’s formerly
    held library jobs include community college media librarian, school library media
    specialist, and technical services librarian. Her work on this issue of Library Trends is
    her first foray into scholarly publishing.
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