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Academic librarians should expand our understanding of what counts as an authoritative resource, and be unafraid to challenge long-established wisdom in this domain. Wikipedia is far from perfect, but neither is the Encyclopedia Britannica. Wikipedia is updated daily, while the Britannica is no longer printed. If we cling to the Britannica as a symbol of authoritativeness, we will become obsolete ourselves. One way to prevent this fate is to reframe our collective thinking. In 2014 the Association of College and Research Libraries (ACRL) will issue a revised version of the Information Literacy Competency Standards for Higher Education. The task force shepherding this revision (ACRL, 2012) argues that the standards "should not be reapproved as they exist but should be extensively revised" (pg. 1). This is because the Internet has profoundly altered the ways in which we create, share, analyze and validate information. To be credible, the new ACRL standards must take full account of this change.

In an as yet unpublished paper on computer-assisted visual anthropology, Michael D Fischer and David Zeitlyn [1] describe a 'book model' approach to multimedia, not strictly sequenced, but essentially consisting of a main text with hyperlinks to supporting information. At first glance this CD-ROM appears to conform to this model: a dominant text, in this case a complete digitization of Tim Asch and Napoleon Chagnon's 1974 film The Ax Fight, supplemented with a variety of additional information in the form of still photographs, genealogies of the main participants, maps, diagrams, short essays and transcriptions. In short, a main text plus footnotes and appendixes. If this were so, then Yanomamö Interactive would be a valuable but rather limited product, useful really only to those aquainted with the film who wished to learn a little more about it and its content.

Ethnographic film in Hungary has developed in ways mostly similar to its European counterparts. However, it is distinctive in terms of its technological development and institutional involvement that have lead to some specific modes of representing the chronotype, that is, the time-space of Hungary. This article examines how Hungarian ethnographic film manipulates the concepts of time. The very nature of film makes it an appropriate medium in which to consider time. Film continually and readily undergoes change. As a signifying, material object, film transcends the conditions of its immediate production as it generates a stream of meaningful representations. Film from the past can be added to recent footage-it is not locked within a particular time. [ABSTRACT FROM AUTHOR]