Academic literature on the topic 'Cooperative Cataloging Committee'

This paper sought to show the potential of collaboration of university libraries in ameliorating the common problems and challenges facing the Nigerian Academic Library System on the basis of the current status of collaboration in Nigerian university libraries. The paper addressed the following questions: what is the status of collaboration of Nigerian University libraries? How can University Libraries achieve meaningful collaboration? And what possible benefits can University libraries in Nigeria attain from effective collaboration? The paper clarified three forms of collaboration within the University Library system to address the indiscriminate use of the term ‘Librarian collaboration’ to pass for library collaboration. Based on literature reviewed, the current level of collaboration in Nigerian University Libraries is below expectation and is to a great extent responsible for poor quality teaching, learning and research bedeviling the Nigerian tertiary education system. University Library leadership and the Committee of University librarian in Nigerian Universities (CULNU) were identified as prime movers whose efforts could improve the level of collaboration in Nigerian University Libraries. The paper revealed that possible areas for collaboration include: resource sharing, inter-library loan, cooperative acquisition, cooperative cataloguing, cooperative referencing, staff development, library exchange and librarian and library user networks. The paper further noted that the key benefits of collaboration are significant reduction in operational costs, increased human cooperation and exposure of Librarians to global library practices. The paper identified factors that pose as either a threat or a challenge to the implementation of effective collaboration in Nigerian university libraries. They include: Inadequate funding, leadership issues, lack of structured library development policies, proliferation of informal collaboration, high competition in library profession and resistance to change. The paper therefore recommended that committee of University Librarian in Nigerian Universities and the Nigerian Library Association should make and implement a policy for all University Library Leadership to develop and implement documented and structured develop plans and policies p to provide strategic direction for University libraries.

From its small beginnings in 1981 of six pilot users and the National Library of Australia (NLA), the Australian Bibliographic Network (ABN) has grown to be a truly national system, with 1,315 users at May 1995. The National Bibliographic Database has expanded to over 11 million records and 22 million holdings statements. It includes records from the USA, the UK, Canada, New Zealand, Singapore and Vietnam. It has come to be the single union list of holdings of Australian libraries, and the first point of reference for the majority of interlibrary loan transactions. The ABN is seen as both an NLA business and a cooperative undertaking of Australian libraries. Management consists of a Network Committee, which advises the Director General of NLA on all aspects of operation, and a Standards Committee, whose role is to make recommendations to NLA on cataloguing standards for the network. Annual Users' Meetings are held. Since 1987 NLA has been developing a database host for Australian libraries called OZLINE, in parallel with ABN. In 1990 it was decided to go for complete redevelopment using a text retrieval product and an industry standard Relational Database Management System. Following discussions with the National Library of New Zealand, which had indicated broadly similar requirements, it was agreed that the two libraries would jointly seek a system. The Australian service is to be known in future as WORLD 1.

University libraries in Greece perform poorly by the standards of most other European countries. Only two of the universities have unified campuses, and as a result there is not much library planning. Student education depends mainly on lectures and lecture notes, and teachers do not encourage reading, so that little use of the library is needed. A recent extensive survey (on which the article is based) showed that library provision is widely distributed within each university, and in several universities coordination between the various libraries is weak. Library staff are inadequate in number and training. Collections are generally small, and student provision is minimal. Materials consist almost entirely of monographs and journals. Many libraries do not use recognized cataloguing rules or classification systems. The application of automation has been slow. Services are largely restricted to consultation and lending. Cooperation is informal, as there is no national interlending system. Opening hours are relatively short. Expenditure on libraries (as on higher education generally) is low. Improvement of the situation requires action on several fronts, including the creation of a National Committee on University and Research Libraries.

Purpose The purpose of this paper is to report the training of college librarians, academic and management staff, IT managers and students on how to organise, manage and use a user-friendly library. In Uganda, as in many countries, the problem is that school and/or college libraries are managed by librarians who may have good cataloguing and management skills, but who do not have the pedagogic skills and knowledge of the school curricula that are necessary for librarians to be able to guide and mentor both teachers and students or organise curriculum-related activities or facilitate research. The development of user-friendly libraries contributes in improving education quality through nurturing the interest of students and teachers in literacy activities and active search for knowledge. Under the stewardship of the Belgium Technical Cooperation and the Ministry of Education in Uganda, library stakeholders were trained on how to put users – rather than themselves – in the centre of the library’s operations and introduced to active teaching and learning methodologies and activities with emphasis on getting engaged in transforming spaces, services, outreach to users and collections. Several measures, short and long term were taken to address the gaps limiting the performance of the librarians. Given the disparities in the trainees’ education level and work experience, the training was delivered in seven modules divided into three units for over eight months in 2015. By the end of the training, trainees developed unique library strategic plan, library policies and procedures, capacity to use library systems, physical design and maintenance systems, partnerships, library structure and staff job descriptions. Design/methodology/approach To effectively engage the participants each topic was conducted using active teaching and learning (ATL) methodologies, including: lecture with slides and hands-on practice – each topic was introduced in a lecture form with slides and hands-on exercises. The main goal was to introduce the participants to the concepts discussed, offer opportunities to explore alternative approaches, as well define boundaries for discussion through brainstorming. The question-answer approach kept the participants alert and to start thinking critically on the topic discussed – brainstorming sessions allowed thinking beyond the presentation room, drawing from personal experiences to provide alternatives to anticipated challenges. The goal here was for the participants to provide individual choices and approaches for real life problems; group discussions: case study/ scenario and participant presentations – participants were provided with a scenario and asked to provide alternative approaches that could solve the problem based on their personal experience at their colleges. By the end of the group discussion, participants presented a draft of the deliverable as per the topic under discussion. More so, group discussions were an excellent approach to test participant’s teamwork skills and ability to compromise, as well as respecting team decisions. It was an opportunity to see how librarians will work with the library committees. Group discussions further initiated and cemented the much-needed librarian–academic staff – college management relationship. During the group discussion, librarians, teaching staff, ICT staff and college management staff, specifically the Principals and Deputy Principals interacted freely thus starting and cultivating a new era of work relationship between them. Individual presentation: prior to the workshop, participants were sent instructions to prepare a presentation on a topic. For example, participants were asked to provide their views of what a “user-friendly library” would look like or what would constitute a “user-friendly library”; the college library of HTC-Mulago was asked to talk about their experience working with book reserves, challenges faced and plans they have to address the challenges, while the college librarian from NTC-Kaliro was asked to describe a situation where they were able to assist a patron, the limitations they faced and how they addressed them. Doing so did not only assist to emotionally prepare the participants for the training but also helped to make them start thinking about the training in relation to their libraries and work. Take-home assignment: at the end of each session, participants were given home assignments to not only revise the training material but also prepare for the next day training. Further the take-home assignments provided time for the participants to discuss with their colleagues outside of the training room so as to have a common ground/ understanding on some of the very sensitive issues. Most interesting assignment was when participants were asked to review an article and to make a presentation in relation to their library experiences. Participant reports: participant reports resulted from the take-home assignments and participants were asked to make submission on a given topic. For example, participants were asked to review IFLA section on library management and write a two-page report on how such information provided supported their own work, as well as a participant report came from their own observation after a library visit. Invited talks with library expert: two invited talks by library experts from Consortium of Uganda University Libraries and Uganda Library and Information Science Association with the goal to share their experience, motivate the participants to strive higher and achieve great things for their libraries. Library visitation: there were two library visits conducted on three separate days – International Hospital Kampala (IHK) Library, Makerere University Library and Aga Khan University Hospital Library. Each of these library visits provided unique opportunities for the participants to explore best practices and implement similar practices in their libraries. Visual aids – videos, building plans and still photos: these were visual learning aids to supplement text during the lectures because they carried lot of information while initiating different thoughts best on the participants’ past experience and expertise. The training advocated for the use of ATL methodologies and likewise similar methodologies were used to encourage participants do so in their classrooms. Findings Addressing Key Concerns: Several measures, both long and short term, were taken to address the gaps limiting the performance of the librarians. The measures taken included: selected representative sample of participants including all college stakeholders as discussed above; active teaching and learning methodologies applied in the training and blended in the content of the training materials; initiated and formulated approaches to collaborations, networks and partnerships; visited different libraries to benchmark library practices and encourage future job shadowing opportunities; and encouraged participants to relate freely, understand and value each other’s work to change their mindsets. College librarians were encouraged to ensure library priorities remain on the agenda through advocacy campaigns. Short-term measures: The UFL training was designed as a practical and hands-on training blended with individual and group tasks, discussions, take-home assignments and presentations by participants. This allowed participates to engage with the material and take responsibility for their own work. Further, the training material was prepared with a view that librarians support the academic life of teaching staff and students. Participants were tasked to develop and later fine-tune materials designed to support their work. For example, developing a subject bibliography and posting it on the library website designed using open source tools such as Google website, Wikis, blogs. The developed library manual includes user-friendly policies and procedures referred to as “dos and don’ts in the library” that promote equitable open access to information; drafting book selection memos; new book arrivals lists; subscribing to open access journals; current awareness services and selective dissemination of information service displays and electronic bulletins. Based on their library needs and semester calendar, participants developed action points and timelines to implement tasks in their libraries at the end of each unit training. Librarians were encouraged to share their experiences through library websites, Facebook page, group e-mail/listserv and Instagram; however, they were challenged with intimate internet access. College libraries were rewarded for their extraordinary job. Given their pivotal role in the management and administration of financial and material resources, on top of librarians, the participants in this training were college administrators/ management, teaching and ICT staff, researchers and student leadership. Participants were selected to address the current and future needs of the college library. These are individuals that are perceived to have a great impact towards furthering the college library agenda. The practical nature of this training warranted conducting the workshops from developed but similar library spaces, for example, Aga Khan University Library and Kampala Capital City, Makerere University Library, International Hospital Kampala Library and Uganda Christian University Library. Participants observed orientation sessions, reference desk management and interviews, collection management practices, preservation and conservation, secretarial bureau management, etc. Long-term measures: Changing the mindset of librarians, college administrators and teaching staff is a long-term commitment which continues to demand for innovative interventions. For example: job shadowing allowed college librarian short-term attachments to Makerere University Library, Uganda Christian University Library, Aga Khan Hospital University Library and International Hospital Kampala Library – these libraries were selected because of their comparable practices and size. The mentorship programme lasted between two-three weeks; on-spot supervision and follow-up visits to assess progress with the action plan by the librarians and college administration and college library committee; ensuring that all library documents – library strategic plan, library manual, library organogram, etc are approved by the College Governing Council and are part of the college wide governing documents; and establishing the library committee with a job description for each member – this has strengthened the library most especially as an advocacy tool, planning and budgeting mechanism, awareness channel for library practices, while bringing the library to the agenda – reemphasizing the library’s agenda. To bridge the widened gap between librarians and the rest of the stakeholders, i.e. teaching staff, ICT staff, college administration and students, a college library committee structure and its mandate were established comprising: Library Committee Chairperson – member of the teaching staff; Library Committee Secretary – College Librarian; Student Representative – must be a member of the student Guild with library work experience; and Representative from each college academic department. A library consortium was formed involving all the four project supported colleges to participate in resource sharing practices, shared work practices like shared cataloguing, information literacy training, reference interview and referral services as well a platform for sharing experiences. A library consortium further demanded for automating library functions to facilitate collaboration and shared work. Plans are in place to install Koha integrated library system that will cultivate a strong working relationship between librarians and students, academic staff, college administration and IT managers. This was achieved by ensuring that librarians innovatively implement library practices and skills acquired from the workshop as well as show their relevance to the academic life of the academic staff. Cultivating relationships takes a great deal of time, thus college librarians were coached on: creating inclusive library committees, timely response to user needs, design library programmes that address user needs, keeping with changing technology to suite changing user needs, seeking customer feedback and collecting user statistics to support their requests, strengthening the library’s financial based by starting a secretarial bureau and conducting user surveys to understand users’ information-seeking behaviour. To improve the awareness of new developments in the library world, college librarians were introduced to library networks at national, regional and international levels, as a result they participated in conferences, workshops, seminars at local, regional and international level. For example, for the first time and with funding from Belgium Technical Cooperation, college librarians attended 81st IFLA World Library and Information Congress in South African in 2015. College libraries are now members of the Consortium of Uganda University Libraries and Uganda Library and Information Science Association and have attended meetings of these two very important library organisations in Uganda’s LIS profession. The college librarians have attended meetings and workshops organized by these two organisations. Originality/value At the end of the three units training, participants were able to develop: a strategic plan for their libraries; an organogram with staffing needs and job description matching staff functions; a Library Committee for each library and with a structure unifying all the four project-support Colleges; a library action plan with due dates including deliverables and responsibilities for implementation; workflow plan and organisation of key sections of the library such as reserved and public spaces; furniture and equipment inventory (assets); a library manual and collection development policy; partnerships with KCCA Library and Consortium of Uganda University Libraries; skills to use Koha ILMS for performing library functions including: cataloguing, circulation, acquisitions, serials management, reporting and statistics; skills in searching library databases and information literacy skills; skills in designing simple and intuitive websites using Google Sites tools; and improved working relationship between the stakeholders was visible. To further the user-friendly libraries principle of putting users in the centre of the library’s operations, support ATL methodologies and activities with emphasis on getting engaged in transforming spaces, services, outreach to users and collections the following initiatives are currently implemented in the colleges: getting approval of all library policy documents by College Governing Council, initiating job shadowing opportunities, conducting on-spot supervision, guide libraries to set up college library committees and their job description, design library websites, develop dissemination sessions for all library policies, incorporate user-friendly language in all library documents, initiate income generation activities for libraries, set terms of reference for library staff and staffing as per college organogram, procurement of library tools like DDC and library of congress subject headings (LCSH), encourage attendance to webinars and space planning for the new libraries.

The Program for Cooperative Cataloging Operations Committee meets annually to update participants on developments and information related to working cooperatively with other catalogers within the program. The Listen and Learn session is an overview of important points of this meeting, as well as an update on the state of affairs of the Atla NACO and SACO Funnels programs.

Annually, the Operations Committee (OpCo) of the Program for Cooperative Cataloging (PCC) presents a two-day meeting in Washington, DC, to advise participants in the PCC programs of what they need to know to work cooperatively with all the other catalogers in the program. This year, the in-person meeting was replaced by several online sessions, but the purpose was the same. This Listen and Learn session is intended to update Atla participants in the NACO, CONSER, or SACO funnels with the information that was presented at OpCo, so that their work in the Atla funnels will adhere to the current practices in the PCC programs. The session also presents news of changes coming in programs and tools that funnel participants use.

Annually, the Operations Committee (OpCo) of the Program for Cooperative Cataloging (PCC) presents a two-day meeting in Washington, DC, to advise participants in the PCC programs of what they need to know to work cooperatively with all the other catalogers in the program. This year, as last year, an online meeting replaced the in-person meeting, but the purpose was the same. This Listen and Learn session will update Atla participants in the NACO, CONSER, or SACO funnels with the information that was presented at OpCo, so that their work in the Atla funnels will adhere to the current practices in the PCC programs. The session also presents news of changes coming in programs and tools that funnel participants use.

Annually, the Operations Committee (OpCo) of the Program for Cooperative Cataloging (PCC) presents a two-day meeting in Washington, DC, to advise participants in the PCC programs of what they need to know to work cooperatively with all the other catalogers in the program. This year, as last year, an online meeting replaced the in-person meeting, but the purpose was the same. This Listen and Learn session will update Atla participants in the NACO, CONSER, or SACO funnels with the information that was presented at OpCo, so that their work in the Atla funnels will adhere to the current practices in the PCC programs. The session also presents news of changes coming in programs and tools that funnel participants use.

Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you simply had to “Do It!”—and Noyce did. He dived head-on into these times and with a voracious appetite for its many aspects—film, theatre, rallies, music, art and politics in general. In fact he often was the driving force behind such activities. Noyce described his personal epiphany occurring in 1968: A few months before I was due to graduate from high school, […] I saw a poster on a telegraph pole advertising American 'underground' movies. There was a mesmerising, beautiful blue-coloured drawing on the poster that I later discovered had been designed by an Australian filmmaker called David Perry. The word 'underground' conjured up all sorts of delights to an eighteen-year-old in the late Sixties: in an era of censorship it promised erotica, perhaps; in an era of drug-taking it promised some clandestine place where marijuana, or even something stronger, might be consumed; in an era of confrontation between conservative parents and their affluent post-war baby-boomer children, it promised a place where one could get together with other like-minded youth and plan to undermine the establishment, which at that time seemed to be the aim of just about everyone aged under 30. (Petzke 8) What the poster referred to was a new, highly different type of film. In the US these films were usually called “underground”. This term originates from film critic Manny Farber who used it in his 1957 essay Underground Films. Farber used the label for films whose directors today would be associated with independent and art house feature films. More directly, film historian Lewis Jacobs referred to experimental films when he used the words “film which for most of its life has led an underground existence” (8). The term is used interchangeably with New American Cinema. It was based on a New York group—the Film-Makers’ Co-operative—that started in 1960 with mostly low-budget filmmakers under the guidance of Jonas Mekas. When in 1962 the group was formally organised as a means for new, improved ways of distributing their works, experimental filmmakers were the dominant faction. They were filmmakers working in a more artistic vein, slightly influenced by the European Avant-garde of the 1920s and by attempts in the late 1940s and early 1950s. In film history, this era is also known as the Third Avant-garde. In their First Statement of the New American Cinema Group, the group drew connections to both the British Free Cinema and the French Nouvelle Vague. They also claimed that contemporary cinema was “morally corrupt, aesthetically obsolete, thematically superficial, temperamentally boring” (80). An all-encompassing definition of Underground Film never was available. Sheldon Renan lists some of the problems: There are underground films in which there is no movement and films in which there is nothing but movement. There are films about people and films about light. There are short, short underground films and long, long underground films. There are some that have been banned, and there is one that was nominated for an Academy Award. There are sexy films and sexless films, political films and poetical films, film epigrams and film epics … underground film is nothing less than an explosion of cinematic styles, forms and directions. (Renan 17) No wonder that propelled by frequent serious articles in the press—notably Jonas Mekas in the Village Voice—and regular screenings at other venues like the Film-makers’ Cinemathèque and the Gallery of Modern Art in New York, these films proved increasingly popular in the United States and almost immediately spread like bush fires around the world. So in early September 1968 Noyce joined a sold-out crowd at the Union Theatre in Sydney, watching 17 shorts assembled by Ubu Films, the premier experimental and underground film collective in 1960s Australia (Milesago). And on that night his whole attitude to art, his whole attitude to movies—in fact, his whole life—changed. He remembered: I left the cinema that night thinking, "I’m gonna make movies like that. I can do it." Here was a style of cinema that seemed to speak to me. It was immediate, it was direct, it was personal, and it wasn’t industrial. It was executed for personal expression, not for profit; it was individual as opposed to corporate, it was stylistically free; it seemed to require very little expenditure, innovation being the key note. It was a completely un-Hollywood-like aesthetic; it was operating on a visceral level that was often non-linear and was akin to the psychedelic images that were in vogue at the time—whether it was in music, in art or just in the patterns on your multi-coloured shirt. These movies spoke to me. (Petzke 9) Generally speaking, therefore, these films were the equivalent of counterculture in the area of film. Theodore Roszak railed against “technocracy” and underground films were just the opposite, often almost do-it-yourself in production and distribution. They were objecting to middle-class culture and values. And like counterculture they aimed at doing away with repression and to depict a utopian lifestyle feeling at ease with each imaginable form of liberality (Doggett 469). Underground films transgressed any Hollywood rule and convention in content, form and technique. Mobile hand-held cameras, narrow-gauge or outright home movies, shaky and wobbly, rapid cutting, out of focus, non-narrative, disparate continuity—you name it. This type of experimental film was used to express the individual consciousness of the “maker”—no longer calling themselves directors—a cinematic equivalent of the first person in literature. Just as in modern visual art, both the material and the process of making became part of these artworks. Music often was a dominant factor, particularly Eastern influences or the new Beat Music that was virtually non-existent in feature films. Drug experiences were reflected in imagery and structure. Some of the first comings-out of gay men can be found as well as films that were shown at the appropriately named “Wet Dreams Festival” in Amsterdam. Noyce commented: I worked out that the leading lights in this Ubu Films seemed to be three guys — Aggy Read, Albie Thoms and David Perry […They] all had beards and […] seemed to come from the basement of a terrace house in Redfern. Watching those movies that night, picking up all this information, I was immediately seized by three great ambitions. First of all, I wanted to grow a beard; secondly, I wanted to live in a terrace house in the inner city; and thirdly, I wanted to be a filmmaker. (Ubu Films) Noyce soon discovered there were a lot of people like him who wanted to make short films for personal expression, but also as a form of nationalism. They wanted to make Australian movies. Noyce remembered: “Aggy, Albie and David encouraged everyone to go and make a film for themselves” (Petzke 11). This was easy enough to do as these films—not only in Australia—were often made for next to nothing and did not require any prior education or training. And the target audience group existed in a subculture of people willing to pay money even for extreme entertainment as long as it was advertised in an appealing way—which meant: in the way of the rampaging Zeitgeist. Noyce—smitten by the virus—would from then on regularly attend the weekly meetings organised by the young filmmakers. And in line with Jerry Rubin’s contemporary adage “Do it!” he would immediately embark on a string of films with enthusiasm and determination—qualities soon to become his trademark. All his films were experimental in nature, shot on 16mm and were so well received that Albie Thoms was convinced that Noyce had a great career ahead of him as an experimental filmmaker. Truly alternative was Noyce’s way to finally finance Better to Reign in Hell, his first film, made at age 18 and with a total budget of $600. Noyce said on reflection: I had approached some friends and told them that if they invested in my film, they could have an acting role. Unfortunately, the guy whose dad had the most money — he was a doctor’s son — was also maybe the worst actor that was ever put in front of a camera. But he had invested four hundred dollars, so I had to give him the lead. (Petzke 13) The title was taken from Milton’s poem Paradise Lost (“better to reign in hell than serve in heaven”). It was a film very much inspired by the images, montage and narrative techniques of the underground movies watched at Ubu. Essentially the film is about a young man’s obsession with a woman he sees repeatedly in advertising and the hallucinogenic dreams he has about her. Despite its later reputation, the film was relatively mundane. Being shot in black and white, it lacks the typical psychedelic ingredients of the time and is more reminiscent of the surrealistic precursors to underground film. Some contempt for the prevailing consumer society is thrown in for good measure. In the film, “A youth is persecuted by the haunting reappearance of a girl’s image in various commercial outlets. He finds escape from this commercial brainwashing only in his own confused sexual hallucinations” (Sydney Filmmakers Co-operative). But despite this advertising, so convincingly capturing the “hint! hint!” mood of the time, Noyce’s first film isn’t really outstanding even in terms of experimental film. Noyce continued to make short experimental films. There was not even the pretence of a story in any of them. He was just experimenting with his gear and finding his own way to use the techniques of the underground cinema. Megan was made at Sydney University Law School to be projected as part of the law students’ revue. It was a three-minute silent film that featured a woman called Megan, who he had a crush on. Intersection was 2 minutes 44 seconds in length and shot in the middle of a five-way or four-way intersection in North Sydney. The camera was walked into the intersection and spun around in a continuous circle from the beginning of the roll of film to the end. It was an experiment with disorientation and possibly a comment about urban development. Memories was a seven-minute short in colour about childhood and the bush, accompanied by a smell-track created in the cinema by burning eucalyptus leaves. Sun lasted 90 seconds in colour and examined the pulsating winter sun by way of 100 single frame shots. And finally, Home was a one-and-a-half-minute single frame camera exploration of the filmmaker’s home, inside and out, including its inhabitants and pets. As a true experimental filmmaker, Noyce had a deep interest in technical aspects. It was recommended that Sun “be projected through a special five image lens”, Memories and Intersection with “an anamorphic lens” (Sydney Filmmakers Co-operative). The double projection for Better to Reign in Hell and the two screens required for Good Afternoon, as well as the addition of the smell of burning leaves in Memories, were inroads into the subgenre of so-called Expanded Cinema. As filmmaking in those days was not an isolated enterprise but an integral part of the all-encompassing Counterculture, Noyce followed suit and became more and more involved and politiced. He started becoming a driving force of the movement. Besides selling Ubu News, he organised film screenings. He also wrote film articles for both Honi Soit and National U, the Sydney University and Canberra University newspapers—articles more opinionated than sophisticated. He was also involved in Ubu’s Underground Festival held in August and in other activities of the time, particularly anti-war protests. When Ubu Films went out of business after the lack of audience interest in Thoms’s long Marinetti film in 1969, Aggy Read suggested that Ubu be reinvented as a co-operative for tax reasons and because they might benefit from their stock of 250 Australian and foreign films. On 28 May 1970 the reinvention began at the first general meeting of the Sydney Filmmakers Cooperative where Noyce volunteered and was elected their part-time manager. He transferred the 250 prints to his parents’ home in Wahroonga where he was still living he said he “used to sit there day after day just screening those movies for myself” (Petzke 18). The Sydney University Film Society screened feature films to students at lunchtime. Noyce soon discovered they had money nobody was spending and equipment no one was using, which seemed to be made especially for him. In the university cinema he would often screen his own and other shorts from the Co-op’s library. The entry fee was 50 cents. He remembered: “If I handed out the leaflets in the morning, particularly concentrating on the fact that these films were uncensored and a little risqué, then usually there would be 600 people in the cinema […] One or two screenings per semester would usually give me all the pocket money I needed to live” (Petzke 19). Libertine and risqué films were obviously popular as they were hard to come by. Noyce said: We suffered the worst censorship of almost any Western country in the world, even worse than South Africa. Books would be seized by customs officers at the airports and when ships docked. Customs would be looking for Lady Chatterley’s Lover. We were very censored in literature and films and plays, and my film [Better to Reign in Hell] was banned from export. I tried to send it to a film festival in Holland and it was denied an export permit, but because it had been shot in Australia, until someone in the audience complained it could still be screened locally. (Castaway's Choice) No wonder clashes with the law happened frequently and were worn like medals of honour in those days of fighting the system, proving that one was fighting in the front line against the conservative values of law and order. Noyce encountered three brushes with the law. The first occurred when selling Ubu Films’ alternative culture newspaper Ubu News, Australia’s first underground newspaper (Milesago). One of the issues contained an advertisement—a small drawing—for Levi’s jeans, showing a guy trying to put his Levis on his head, so that his penis was showing. That was judged by the police to be obscene. Noyce was found guilty and given a suspended sentence for publishing an indecent publication. There had been another incident including Phil’s Pill, his own publication of six or eight issues. After one day reprinting some erotic poems from The Penguin Collection of Erotic Poetry he was found guilty and released on a good behaviour bond without a conviction being recorded. For the sake of historical truth it should be remembered, though, that provocation was a genuine part of the game. How else could one seriously advertise Better to Reign in Hell as “a sex-fantasy film which includes a daring rape scene”—and be surprised when the police came in after screening this “pornographic film” (Stratton 202) at the Newcastle Law Students Ball? The Newcastle incident also throws light on the fact that Noyce organised screenings wherever possible, constantly driving prints and projectors around in his Mini Minor. Likewise, he is remembered as having been extremely helpful in trying to encourage other people with their own ideas—anyone could make films and could make them about anything they liked. He helped Jan Chapman, a fellow student who became his (first) wife in December 1971, to shoot and edit Just a Little Note, a documentary about a moratorium march and a guerrilla theatre group run by their friend George Shevtsov. Noyce also helped on I Happened to Be a Girl, a documentary about four women, friends of Chapman. There is no denying that being a filmmaker was a hobby, a full-time job and an obsessive religion for Noyce. He was on the organising committee of the First Australian Filmmakers’ Festival in August 1971. He performed in the agit-prop acting troupe run by George Shevtsov (later depicted in Renegades) that featured prominently at one of Sydney’s rock festival that year. In the latter part of 1971 and early 1972 he worked on Good Afternoon, a documentary about the Combined Universities’ Aquarius Arts Festival in Canberra, which arguably was the first major manifestation of counterculture in Australia. For this the Aquarius Foundation—the cultural arm of the Australian Union of Students—had contracted him. This became a two-screen movie à la Woodstock. Together with Thoms, Read and Ian Stocks, in 1972 he participated in cataloguing the complete set of films in distribution by the Co-op (see Sydney Filmmakers Cooperative). As can be seen, Noyce was at home in many manifestations of the Sydney counterculture. His own films had slowly become more politicised and bent towards documentary. He even started a newsreel that he used to screen at the Filmmakers’ Cooperative Cinema with a live commentary. One in 1971, Springboks Protest, was about the demonstrations at the Sydney Cricket Ground against the South African rugby tour. There were more but Noyce doesn’t remember them and no prints seem to have survived. Renegades was a diary film; a combination of poetic images and reportage on the street demonstrations. Noyce’s experimental films had been met with interest in the—limited—audience and among publications. His more political films and particularly Good Afternoon, however, reached out to a much wider audience, now including even the undogmatic left and hard-core documentarists of the times. In exchange, and for the first time, there were opposing reactions—but as always a great discussion at the Filmmakers’ Cinema, the main venue for independent productions. This cinema began with those initial screenings at Sydney University in the union room next to the Union Theatre. But once the Experimental Film Fund started operating in 1970, more and more films were submitted for the screenings and consequently a new venue was needed. Albie Thoms started a forum in the Yellow House in Kings Cross in May 1970. Next came—at least briefly—a restaurant in Glebe before the Co-op took over a space on the top floor of the socialist Third World Bookshop in Goulburn Street that was a firetrap. Bob Gould, the owner, was convinced that by first passing through his bookshop the audience would buy his books on the way upstairs. Sundays for him were otherwise dead from a commercial point of view. Noyce recollected that: The audience at this Filmmakers’ Cinema were mightily enthusiastic about seeing themselves up on the screen. And there was always a great discussion. So, generally the screenings were a huge success, with many full houses. The screenings grew from once a week, to three times on Sunday, to all weekend, and then seven days a week at several locations. One program could play in three different illegal cinemas around the city. (Petzke 26) A filmmakers’ cinema also started in Melbourne and the groups of filmmakers would visit each other and screen their respective films. But especially after the election of the Whitlam Labor government in December 1972 there was a shift in interest from risqué underground films to the concept of Australian Cinema. The audience started coming now for a dose of Australian culture. Funding of all kind was soon freely available and with such a fund the film co-op was able to set up a really good licensed cinema in St. Peters Lane in Darlinghurst, running seven days a week. But, Noyce said, “the move to St. Peters Lane was sort of the end of an era, because initially the cinema was self-funded, but once it became government sponsored everything changed” (Petzke 29). With money now readily available, egotism set in and the prevailing “we”-feeling rather quickly dissipated. But by the time of this move and the resulting developments, everything for Noyce had already changed again. He had been accepted into the first intake of the Interim Australian Film & TV School, another one of the nation-awareness-building projects of the Whitlam government. He was on his “long march through the institutions”—as this was frequently called throughout Europe—that would bring him to documentaries, TV and eventually even Hollywood (and return). Noyce didn’t linger once the alternative scene started fading away. Everything those few, wild years in the counterculture had taught him also put him right on track to become one of the major players in Hollywood. He never looked back—but he remembers fondly…References Castaway’s Choice. Radio broadcast by KCRW. 1990. Doggett, Peter. There’s a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of ’60s Counter-Culture. Edinburgh: Canongate, 2007. Farber, Manny. “Underground Films.” Negative Space: Manny Farber on the Movies. Ed. Manny Farber. New York: Da Capo, 1998. 12–24. Jacobs, Lewis. “Morning for the Experimental Film”. Film Culture 19 (1959): 6–9. Milesago. “Ubu Films”. n.d. 26 Nov. 2014 ‹http://www.milesago.com/visual/ubu.htm›. New American Cinema Group. “First Statement of the New American Cinema Group.” Film Culture Reader. Ed. P. Adams Sitney. New York: Praeger, 1970. 73–75. Petzke, Ingo. Phillip Noyce: Backroads to Hollywood. Sydney: Pan McMillan, 2004. Renan, Sheldon. The Underground Film: An Introduction to Its Development in America. London: Studio Vista, 1968. Roszak, Theodore. The Making of Counter Culture. New York: Anchor, 1969. Stratton, David. The Last New Wave: The Australian Film Revival. Sydney: Angus and Robertson, 1980. Sydney Filmmakers Co-operative. Film Catalogue. Sydney: Sydney Filmmakers Co-operative, 1972. Ubu Films. Unreleased five-minute video for the promotion of Mudie, Peter. Ubu Films: Sydney Underground Movies 1965-1970. Sydney: UNSW Press, 1997.