The educational screen (c1922-c1956])

June, 1942 Page 221 The Matter of flUA INSURANCE H. A. GRAY Director of Field Studies, Erpi Classroom Films THE question of insurance against film loss or damage has for some time been a matter for discussion. There are those who believe that the cost of such insurance exceeds the protection value derived. Another group feel that protection against fire and theft is all that is required. Still others think that coverage against film damage during projection is needed. Following are de- scriptions of insurance plans now in effect, based upon information received from a number of in- surance companies and film libraries. Blanket Policies While it is not possible at this time to secure insurance from commercial underwriters giving complete coverage on film loss or damage, there are so-called blanket policies which include films, cameras, exchange and projection equipment in their coverage against fire, theft, windstorm and the usual contingencies. These blanket policies are usually taken out by large organizations, and institutions desiring protection for their buildings, materials, and equipment all in one policy. Usually, however, such policies do not insure articles when off the premises of the insured. The policies are custom made, the rates varying with the fire haz- ards and the amount and nature of the property involved. Some states carry such insurance for all of their agencies and properties. Floater Policies A second type of policy offers protection against loss by fire, theft, and other specified causes regardless of the location of the property. This is called a floater policy, such as the Camera Form approved by the Inland Marine Association-—an organization of insurance companies created to make decisions on insurance problems. This Camera Form insures films, cameras, projectors, and re- lated accessories against all losses except those caused by normal wear and tear, and actual opera- tional use. In other words, this type of policy pro- vides protection against loss or damage to films except when they are being projected, inspected, rewound, repaired or processed. The annual pre- mium rates vary from about one and one-quarter to two per cent of the valuation. The Camera Form may be obtained from most any insurance underwriter. An advantage of it is that it guards against losses while films are in transit. One of the commercial underwriters recently has made a modification of the Camera Form as an experi- ment, which would enable an organization to insure films, reels, and containers against practically all risks of loss or damage within the United States and Canada, excluding war, ordinary depreciation, and loss or damage while being repaired or pro- cessed. However, the premium specifications for such a policy have not been definitely determined. Carrier Insurance A third type of insurance available to film li- braries is that written by carriers—the postoffice department, railway express, and bus companies. This insurance, of course, applies only during the time the film is in the possession of the carrier. Parcel post rates are 5c for $5.00; 10c for $25.00; 15c for $50.00; 25c for $100.00; 30c for $150.00; and 35c for $200.00 valuations. Any shipment over $200.00 valuation must be sent first-class mail and registered. Where film shipments are made by railway express, insurance up to $50.00 is provided without charge. A charge of 10c is made for each $100.00 declared valuation up to the limit of $10,- 000.00. The Greyhound Bus Company charges 10c for each $100.00 valuation on shipments accepted for delivery within any one of its divisions, but has a $200.00 maximum. Other bus companies follow about the same procedure. Individual Film Library Plans Several libraries have set up their own film in- surance plans. The Extension Division of the University of Kansas protects its film customers from transportation losses at a rate considerably lower than the usual parcel post insurance charges. The Extension Division of the University of Georgia insures film users against loss in shipment, theft, or damage by fire or windstorm while in the user's possession, and damage by projection equip- ment while being shown. The charge for this is 10c per title, per day of use, payable at the time of ordering the film. If the insurance is not ordered and paid for in advance the user assumes full re- sponsibility for the film. This plan is reported as functioning satisfactorily. Another plan is sponsored by the Ohio State Film and Slide Exchange, and the Department of Visual Instruction at the University of Iowa. It protects film users against projection damage only up to $50.00 for the advance payment of $3.00 per year. At the end of the year any unexpended balance in the fund is prorated among the subscribers to the plan or applied to their next year's premium. The plan does not cover fire, theft, or transportation losses. During the relatively short time it has been function- ing no definite decisions about its success have been reached. What are the Chances? From the testimony of film libraries and users, it seems that film losses due to fire, theft or transporta- tion rarely occur; that the greatest hazard is the in- experienced or careless operator who does not exer- cise even ordinary care in threading and operating the projector. However, losses caused by the latter are decreasing due to better trained operators and more effective supervision. With careful use, it is remarkable how well 16mm. films will stand up. The writer knows of prints which have been projected more than three thousand times within a period of nearly ten years. Keeping the pro- jector clean and in proper adjustment and repair; care- ful threading; and due attention during projection seem to be the deciding factors on film longevity.